New Disquietude podcast episode: music by Lesley Flanigan, Dave Seidel, KMRU, Celia Hollander, and John Hooper; interview with Flanigan; commentary; short essay on reading waveforms. • Disquiet.com F.A.Q.Key Tags: #saw2for33third, #field-recording, #classical, #juntoElsewhere: Twitter, SoundCloud, Instagram

Listening to art. Playing with audio. Sounding out technology. Composing in code. Rewinding the soundscape.

Monthly Archives: June 2017

Disquiet Junto Project 0287: Digital Pause Tape

Make a track using only cut and paste.

Each Thursday in the Disquiet Junto group, a new compositional challenge is set before the group’s members, who then have just over four days to upload a track in response to the assignment. Membership in the Junto is open: just join and participate. A SoundCloud account is helpful but not required. There’s no pressure to do every project. It’s weekly so that you know it’s there, every Thursday through Monday, when you have the time.

Tracks will be added to this playlist for the duration of the project:

This project’s deadline is 11:59pm wherever you are on Monday, July 3, 2017. This project was posted in the early evening, California time, on Thursday, June 29, 2017.

These are the instructions that went out to the group’s email list (at tinyletter.com/disquiet-junto):

Disquiet Junto Project 0287: Digital Pause Tape
Make a track using only cut and paste.

Step 1: You’re going to make a piece of music using only cut and paste. By “only cut,” this means any sound in your finished piece of music must have been sourced from one or more pre-existing recordings. As for “only paste,” this means no other effects will be employed (with the exception of adjusting volume). Please note: In the finished work, no two source items should be heard at the exact same time. In other words, there will be no layering of the source audio.

Step 2: Choose sufficient source material based on the requirements set out in Step 1. You may choose to just use two or three elements, or myriad little pieces, or anything in between.

Step 3. Create a piece of music based on the source material from Step 1 utilizing the plan set out in Step 1.

Five More Important Steps When Your Track Is Done:

Step 1: If your hosting platform allows for tags, be sure to include the project tag “disquiet0287” (no spaces) in the name of your track. If you’re posting on SoundCloud in particular, this is essential to my locating the tracks and creating a playlist of them.

Step 2: Upload your track. It is helpful but not essential that you use SoundCloud to host your track.

Step 3: In the following discussion thread at llllllll.co please consider posting your track:

https://llllllll.co/t/disquiet-junto-project-0287-digital-pause-tape/

Step 4: Annotate your track with a brief explanation of your approach and process.

Step 5: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Deadline: This project’s deadline is 11:59pm wherever you are on Monday, July 3, 2017. This project was posted in the early evening, California time, on Thursday, June 29, 2017.

Length: The length is entirely up to the participant, though roughly three minutes is suggested.

Title/Tag: When posting your track, please include “disquiet0287” in the title of the track, and where applicable (on SoundCloud, for example) as a tag.

Upload: When participating in this project, post one finished track with the project tag, and be sure to include a description of your process in planning, composing, and recording it. This description is an essential element of the communicative process inherent in the Disquiet Junto. Photos, video, and lists of equipment are always appreciated.

Download: It is preferable that your track is set as downloadable, and that it allows for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution).

Linking: When posting the track online, please be sure to include this information:

More on this 287th weekly Disquiet Junto project — Digital Pause Tape: Make a track using only cut and paste — at:

https://disquiet.com/0287/

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0287-digital-pause-tape/

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

Image associated with this project is by Flickr member Scott Schiller, used thanks to a Creative Commons license:

flic.kr/p/npZ5z2

creativecommons.org/licenses/by-nc/2.0/

Tags: , , / Comment: 1 ]

Disquiet Junto Project 0286: Found in Translation

Make three versions of something from different distances.

Each Thursday in the Disquiet Junto group, a new compositional challenge is set before the group’s members, who then have just over four days to upload a track in response to the assignment. Membership in the Junto is open: just join and participate. A SoundCloud account is helpful but not required. There’s no pressure to do every project. It’s weekly so that you know it’s there, every Thursday through Monday, when you have the time.

Tracks will be added to this playlist for the duration of the project:

This project’s deadline is 11:59pm wherever you are on Monday, June 26, 2017. This project was posted in the late afternoon, California time, on Thursday, June 22, 2017.

These are the instructions that went out to the group’s email list (at tinyletter.com/disquiet-junto):

Disquiet Junto Project 0286: Found in Translation
Make three versions of something from different distances.

Step 1: Choose some piece of music, something expressly melodic or rhythmic might work best, with the intention of doing multiple renditions of it.

Step 2: Consider what it means to “transliterate” something, and how that differs from “translating” something, and how both differ from “interpreting” something.

Step 3: Now produce a recording that begins with the original from Step 1, and then follows it, in sequence, with versions that serve to transliterate, translate, and interpret it.

Five More Important Steps When Your Track Is Done:

Step 1: If you hosting platform allows for tags, be sure to include the project tag “disquiet0286” (no spaces) in the name of your track. If you’re posting on SoundCloud in particular, this is essential to my locating the tracks and creating a playlist of them.

Step 2: Upload your track. It is helpful but not essential that you use SoundCloud to host your track.

Step 3: In the following discussion thread at llllllll.co please consider posting your track:

https://llllllll.co/t/disquiet-junto-project-0286-found-in-translation/

Step 4: Annotate your track with a brief explanation of your approach and process.

Step 5: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Deadline: This project’s deadline is 11:59pm wherever you are on Monday, June 26, 2017. This project was posted in the late afternoon, California time, on Thursday, June 22, 2017.

Length: The length is entirely up to the participant, though roughly three minutes is suggested.

Title/Tag: When posting your track, please include “disquiet0286” in the title of the track, and where applicable (on SoundCloud, for example) as a tag.

Upload: When participating in this project, post one finished track with the project tag, and be sure to include a description of your process in planning, composing, and recording it. This description is an essential element of the communicative process inherent in the Disquiet Junto. Photos, video, and lists of equipment are always appreciated.

Download: It is preferable that your track is set as downloadable, and that it allows for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution).

Linking: When posting the track online, please be sure to include this information:

More on this 286th weekly Disquiet Junto project — Found in Translation: Make three versions of something from different distances — at:

https://disquiet.com/0286/

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0286-found-in-translation/

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

Image associated with this project is by Flickr member Hannah, used thanks to a Creative Commons license:

flic.kr/p/6HUQyt

creativecommons.org/licenses/by-nc/2.0/

Tags: , , / Leave a comment ]

Music for Aging

The Marcus Fischer score to the film Youth, on which I was the music supervisor

Last year I completed work on the score to Youth, a science fiction film directed by Brett Marty and produced by Josh Izenberg. I served as music supervisior and collaborated on sound design with the film’s composer, Marcus Fischer. Fischer has edited the score for release as an album, and it was published this week, first to supporters of the film, and then as a general release on Bandcamp. It’s titled Film Variations and features Ted Laderas on cello. I wrote the liner notes for the album, which appear below:

“Sounding Out Time”

It’s a love story. Like many love stories it has a quality of being timeless. Unlike most love stories it deals centrally with matters of time — and because it’s a science fiction film, time is a quite tactile element, something that humans can, for both better and worse, warp to their own desires.

The film in question, Youth, tells a dark tale of growing old in an era of eternal youth. Not to give too much away, the couple at the heart of Youth have been together for a very long time, and thanks to futuristic technology they get a glimpse of an opportunity to extend that romance.

When I was approached to assist on the film as music supervisor, I found a lot of material in it that I was excited to explore. A key notion, to me, was how much the future within the film looks like aspects of our present day, and how elegant and enticing that sleek normality is for the viewer. The attractive homes, like the attractive physiques of the protagonists’ circle of friends, mask the repercussions of what technology has wrought. My suggestion was that the score could be quiet and calm, itself as refined and tasteful as the scenery, and similarly let slip echoes of darker truths.

After discussing numerous potential composers whom I proposed to the film’s director, Brett Marty, and producer, Josh Izenberg, we commissioned our resulting unanimous first choice: Marcus Fischer. The plan was for Marcus to develop lovely music with an undercurrent of dread. Aspects like clocks ticking and chimes glimmering would connect to the story and to the sun-dappled setting of near-future San Francisco.

Sealing the deal was Marcus’ long-running collaborative relationship with Ted Laderas, a master of the electronically enhanced cello. Ted’s job, as featured soloist, was to inject just a bit of old-school sentimentality into the score, to serve as the sonic representation of the main characters’ mutual affection and personal history.

This album collects themes from the Youth score, lightly edited and reworked with standalone listening in mind. It was initially produced as a reward for the generous supporters whose pledges helped fund the film. Now it’s available for a general audience. It makes a great soundtrack for everyday life, albeit with occasional reminders of our collective mortality.

More on the film at brettmarty.com, the director’s website.

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What Sound Looks Like

An ongoing series cross-posted from instagram.com/dsqt


When the universe knows you’re giving a talk on doorbells tonight and wants to pitch some potential material.

An ongoing series cross-posted from instagram.com/dsqt.
Tag: / Leave a comment ]

What Sound Looks Like

An ongoing series cross-posted from instagram.com/dsqt


An ongoing series cross-posted from instagram.com/dsqt.
Tag: / Leave a comment ]
  • about

  • Marc Weidenbaum founded the website Disquiet.com in 1996 at the intersection of sound, art, and technology, and since 2012 has moderated the Disquiet Junto, an active online community of weekly music/sonic projects. He has written for Nature, Boing Boing, The Wire, Pitchfork, and NewMusicBox, among other periodicals. He is the author of the 33 1⁄3 book on Aphex Twin’s classic album Selected Ambient Works Volume II. Read more about his sonic consultancy, teaching, sound art, and work in film, comics, and other media

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    • December 13, 2022: This day marks the 26th anniversary of the founding of Disquiet.com.
    • January 6, 2023: This day marked the 11th anniversary of the start of the Disquiet Junto music community.

  • Recent
    • April 16, 2022: I participated in an online "talk show" by The Big Conversation Space (Niki Korth and Clémence de Montgolfier).
    • March 11, 2022: I hosted a panel discussion between Mark Fell, Rian Treanor and James Bradbury in San Francisco as part of the Algorithmic Art Assembly (aaassembly.org) at Gray Area (grayarea.org).
    • December 28, 2021: This day marked the 10th (!) anniversary of the Instagr/am/bient compilation.
    • January 6, 2021: This day marked the 10th (!) anniversary of the start of the Disquiet Junto music community.
    • December 13, 2021: This day marked the 25th (!) anniversary of the start of the Disquiet Junto music community.
    • There are entries on the Disquiet Junto in the book The Music Production Cookbook: Ready-made Recipes for the Classroom (Oxford University Press), edited by Adam Patrick Bell. Ethan Hein wrote one, and I did, too.
    • A chapter on the Disquiet Junto ("The Disquiet Junto as an Online Community of Practice," by Ethan Hein) appears in the book The Oxford Handbook of Social Media and Music Learning (Oxford University Press), edited by Stephanie Horsley, Janice Waldron, and Kari Veblen. (Details at oup.com.)

  • My book on Aphex Twin's landmark 1994 album, Selected Ambient Works Vol. II, was published as part of the 33 1/3 series, an imprint of Bloomsbury. It has been translated into Japanese (2019) and Spanish (2018).

  • disquiet junto

  • Background
    Since January 2012, the Disquiet Junto has been an ongoing weekly collaborative music-making community that employs creative constraints as a springboard for creativity. Subscribe to the announcement list (each Thursday), listen to tracks by participants from around the world, read the FAQ, and join in.

    Recent Projects

  • 0544 / Feedback Loop / The Assignment: Share music-in-progress for input from others.
    0543 / Technique Check / The Assignment: Share a tip from your method toolbox.
    0542 / 2600 Club / The Assignment: Make some phreaking music.
    0541 / 10BPM Techno / The Assignment: Make some snail-paced beats.
    0540 / 5ive 4our / The Assignment: Take back 5/4 for Jedi time masters Dave Brubeck and Paul Desmond.

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