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.

Instagr/am/bient Vol. II Update

Anything but instant

Life has been busy, and among the busy things has been the inbound expressions of interest in participating in the Instagr/am/bient sequel project, celebrating the 10th anniversary of that compilation (last week of December 2021), just shy of the 10th anniversary of the Disquiet Junto (first week of January 2022). I’m experiencing minor flashbacks to the flurry of interest in a video project I mentioned at the outset of the pandemic last year, a response that was so substantial it ended up occluding the project, which has been on hold ever since. I hope to get back to the video project, but the logistics got unwieldy once hundreds of people got involved. The beauty of the Disquiet Junto is that I send out a project concept and people do the work independently. This is precisely why the projects are structured as they are, and why proposed projects that deviate from the now standard norm don’t happen (that would be: projects where some sort of collaboration, coordination, or syncing up during the project is necessary). Anyhow, I’m pretty sure we’re going to do the Instagr/am/bient Volume II project, but the response has been a lot to manage. Which is a long way of saying, if you expressed interest, thanks, and I’ll be back in touch shortly(ish). Which is also to say: It’s wonderful how many people want to engage. I’m quite excited about it. (For those reading about Instagr/am/bient for the first time, the concept back in 2011 was that people each sent me a photo, and I recirculated those photos, and when they received one from me it became the cover to a single they then recorded. It’s still online.)

By Marc Weidenbaum

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