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.

My Online Hangs

A recent accounting as of October 2022

Where I hang out online:

Twitter: Twitter is my public notepad (or scratchpad), more than anywhere else aside from Disquiet.com itself. I tweet weekdays at twitter.com/disquiet. I’ve made an OK home for myself on Twitter by muting frequently and blocking occasionally. I take weekends off. On Saturdays I do a roundup here on Disquiet.com of some of what I’ve tweeted.

Instagram: There’s at least one new image a week at instagram.com/dsqt, and often more. (I’d like to have instagram.com/disquiet, but it’s under the possession of someone who hasn’t used it since 2012. If you happen to know how I could trade out for that, I’d appreciate it. Maybe you work at Instagram and would like to help.)

Mastodon: If you use Mastodon, I’m at @[email protected] I don’t use it as much as I’d like, because it remains more theoretical than practical, but I keep at it. (I wrote a lengthy appreciation of Mastodon back in May.)

YouTube: I sometimes post videos at youtube.com/disquiet, though not as often as I used to. I also occasionally update my ongoing YouTube playlist of fine live performance of ambient music). My main streaming music service is music.youtube.com, which includes an ad-free YouTube subscription, which is the only recommended way to use YouTube. There is no social component to music.youtube.com, which confuses me to no end.

SoundCloud: My soundcloud.com/disquiet has over 10,600 followers at this point. Unfortunately, I can only follow 2,000, because that’s a SoundCloud restriction.

Bandcamp: I buy and listen on Bandcamp. You can see some of what I’m listening to at bandcamp.com/disquiet, and if we follow each other we can keep abreast of such activities. It’s low-level social, and somewhat useful.

llllllll.co: There’s a great online discussion group called Lines at llllllll.co, where I spend a lot of time. If you make music, especially if digital tools mediate your creative process, I recommend the community.

Etc.: My Facebook is mostly friends and family. Facebook is where you realize how little you have in common with people you know and Twitter is where you realize how much you have in common with people you don’t know. My Reddit activity is minimal, though I do peek it regularly. There are some Slacks, in particular the Disquiet Junto one, but most aren’t public in the primary sense of the word. Same for Discord, which has yet to become a habit for me. I see “social” as a function, not a category. GitHub is social. LinkedIn is social. Email is social (especially many-to-many group email lists), etc. I am social.

Anyhow, the above are my main hangs.

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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  • Upcoming
    • 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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