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
This Week in Sound

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

3D Render of Earbud Using Nanotechnology

Picture this

When DALL·E 2 opened the user floodgates on Thursday, I was ready with my generative visual aspirations. The New York Times, back in April, described the browser-based software DALL·E 2 as “building technology that lets you create digital images simply by describing what you want to see.” That might sound like yet another technologist’s empty vaporware promise, but as the intervening months have shown, the software actually works — which is both thrilling and, true to the modern internet, terrifying. (The same day DALL·E 2 became accessible to anyone, Facebook announced its own AI art app, a text-to-video tool called Make-a-Video.) I spent about an hour during breakfast feeding concepts into the DALL·E 2 algorithm and waiting patiently to see what might pop out. Of all the images I received, the one shown here was my favorite. The prompt I entered was “3D render of an earbud that uses nanotechnology to connect with your hippocampus.” I may share some more of my audio-themed DALL·E 2 harvest later. I posted a bunch to twitter.com/disquiet over the course of the day, and included some telling fails. I particularly like this result because it looks both fantastic (that is, beyond what I had myself imagined when I asked for it) and yet very much like the burnished fantasies (over)sold by technology companies. One has to wonder how much of the raw cultural material — the now hotly debated source content for DALL·E 2’s automated creativity — this is based on was no more real than is this image itself. The dreams that dreams are made of. I’ve spent the past decade sending brief music composition prompts to a growing community called the Disquiet Junto, who each week make new tracks based on carefully worded instructions. Needless to say, interacting in an adjacent manner with artificial intelligence is quite interesting to me.

Give it a go at labs.openai.com.

By Marc Weidenbaum

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  • 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).

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  • 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.

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  • This is an image of three colorful rulers against a plain background. The rulers look normal at first, and then you realize they're sort of oddly colored. That's because they were made by an AI.
  • 0567 / Three Meters / The Assignment: Make music in 5/8, 6/8, and 7/8 time signatures.
    0566 / Outdoor Furniture Music / The Assignment: Imagine the ur-ambient Erik Satie musique d’ameublement concept en plein air
    0565 / Musical Folly / The Assignment: Make a piece of music inspired by this architectural concept.
    0564 / Octave Lept / The Assignment: Work an octave leap — or more than one — into a piece of music.
    0563 / Digital Magical Realism / The Assignment: What does this imaginary genre sound like?

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