Disquiet Junto Project 0628: Alchemical Brothers

The Assignment: Explore an aspect of the ancient occult science using music.

Each Thursday in the Disquiet Junto music community, a new compositional challenge is set before the group’s members, who then have just under five 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 and interest.

Deadline: This project’s deadline is the end of the day Monday, January 15, 2024, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, January 11, 2024.

Tracks are added to the SoundCloud playlist for the duration of the project. Additional (non-SoundCloud) tracks appear in the lllllll.co discussion thread.

These following instructions went out to the group’s email list (at tinyletter.com/disquiet-junto). Note that this service will change shortly, likely to Buttondown, due to Tinyletter shutting down.

Disquiet Junto Project 0628: Alchemical Brothers
The Assignment: Explore an aspect of the ancient occult science using music.

Step 1: There are, we’re told, seven stages of alchemy, the ancient occult science concerned with the transformation of matter. The third of these stages is “Separation,” which is symbolized by the element of air. Since air is closely associated with the transmission of sound, Separation suggests itself as a stage of alchemy that might be explored through music. Read up a bit on alchemy.

Step 2: Produce a piece of alchemy-inspired music that explores the concepts of “transformation” and “separation” as you interpret them.

Seven Important Steps When Your Track Is Done:

Step 1: Include “disquiet0628” (no spaces or quotation marks) in the name of your tracks.

Step 2: If your audio-hosting platform allows for tags, be sure to also include the project tag “disquiet0628” (no spaces or quotation marks). If you’re posting on SoundCloud in particular, this is essential to subsequent location of tracks for the creation of a project playlist.

Step 3: Upload your tracks. It is helpful but not essential that you use SoundCloud to host your tracks.

Step 4: Post your track in the following discussion thread at llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0628-alchemical-brothers/

Step 5: Annotate your track with a brief explanation of your approach and process.

Step 6: If posting on social media, please consider using the hashtag #DisquietJunto so fellow participants are more likely to locate your communication.

Step 7: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Note: Please post one track for this weekly Junto project. If you choose to post more than one, and do so on SoundCloud, please let me know which you’d like added to the playlist. Thanks.

Additional Details:

Length: The length is up to you. Consider the opportunity to explore numerology as well.

Deadline: This project’s deadline is the end of the day Monday, January 15, 2024, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, January 11, 2024.

Upload: When participating in this project, 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 always best to set your track as downloadable and allowing for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution, allowing for derivatives).

For context, when posting the track online, please be sure to include this following information:

More on this 628th weekly Disquiet Junto project, Alchemical Brothers — The Assignment: Explore an aspect of the ancient occult science using music — at: https://disquiet.com/0628/

About the Disquiet Junto: https://disquiet.com/junto/

Subscribe to project announcements: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0628-alchemical-brothers/

The image associated with this project is a detail from a 16th century alchemical text in the public domain.

TWiS: “370 Consistent Acoustic Features of Healing Music”This Week in Sound

A lightly annotated clipping service

These sound-studies highlights of the week originally appeared in the January 9, 2024, issue of the Disquiet.com weekly email newsletter, This Week in Sound. This Week in Sound is the best way I’ve found to process material I come across. Your support provides resources and encouragement. Most issues are free. A weekly annotated ambient-music mixtape is for paid subscribers. Thanks.

▰ Will Power: As described by Engadget’s Daniel Cooper, this collaboration between Mercedes-AMG and musician will.i.am sound kind of incredible: “MBUX SOUND DRIVE works by pairing musical elements in a song with ten inputs taken from the car. Start the car and all you get is the track’s bed, so to speak, looping in the background waiting for you to get moving. Push on the accelerator at low speeds and it’ll add some bass reverb to the song, while turning the steering wheel gets you extra effects or the chorus loop kicking in. It’s only when you open the car up on a clear highway and the main music and lyrics will start blasting, rewarding you for moving along. And then, when you’re coasting toward a stop light, the lead vocal and melody will peel away, returning you to the far less intrusive backing track.”

▰ Grateful Dead: Few publications unpack the memeosphere of the internet — which is not to be mistaken for the internet as a whole, a fact that many unpackers of the mesosphere seem to forget — with the intelligence of the Garbage Day email newsletter, which managed to take the meta-humor of a video about sound being accidentally posted without sound, and then consider it as evidence of the so-called “dead internet” theory. See, despite the original post having failed conceptually: “It has 30 million ‘views’ and almost two thousand retweets. And the hundreds of replies beneath the video are all from other verified novelty accounts promoting their own content.”

▰ Doctor’s Notes: “Doctors at the Shanghai Jiao Tong University School of Medicine have now identified the distinct acoustic features of healing music. Based on a ‘healing music dataset’ of 165 pieces of music recommended by experts, they extracted 370 consistent acoustic features of healing music that transcend genre, and they validated their ability to positively shape emotional states. The work has ‘implications for the development of artificial intelligence models for identifying therapeutic music, particularly in contexts where access to professional expertise may be limited,’ they write.” —The always interesting proto.life email newsletter summarized the findings of research published in General Psychiatry.

▰ QUICK NOTES: Fine Tuning: TWiS reader Miles Anderson helpfully suggested, via email, that the Roy Lichtenstein painting/sculpture I wrote about in the previous issue of This Week in Sound might, in fact, depict 93.9FM (which is to say, the dial is set a smidge to the left of 94 rather than to the right), which would be WNYC. ▰ Sound Off: This mask that lets you talk without being overheard has to (somewhat ironically) be seen to be believed. It’s the “Silent Mask” from Skyted, a company whose name sounds like if the TED Talks took over SkyMall, which is in essence what the mask looks like. ▰ Wipe Out: “The radar and antenna were damaged. Manila later said that China also used a long-range acoustic device that temporarily caused severe discomfort and weakness to some Filipino crew, but there was no evidence of this on the ship we were on” — that’s a side note from a New York Times piece about the impact experienced from Chinese military water cannons. ▰ Say Meow Meow: Princeton professor of music Gavin Steingo has a book coming out in March titled Interspecies Communication: Sound and Music Beyond Humanity, and I’ll be reading it for sure. (Thanks, Rich Pettus!) ▰ : Two others on my ever-growing list: A Book of Noises: Notes on the Auraculous by Caspar Henderson, and Listen: On Music, Sound and Us by Michel Faber, both recently reviewed by Mythili G. Rao(Thanks, Mike Rhode!) ▰ Only Waiting for This Moment to Arise: The Shriek of the Week is the blackbird — and better yet, the birder behind the Shriek of the Week is now letting non-paying readers access the full posts. ▰ Horn Dogs: Two Australian professors try to sort out what characteristics make for the best didgeridoo.

On the Line

Some favorite recent sentences

"Her own sound was singular, in life as in print. If you called her, as I often did while working with her as a fact checker, a decade ago, and then as an editor’s assistant, you got used to waiting out a dozen rings and the answering-machine greeting — she screened the old-fashioned way — followed by the sudden burst of that rich, deliberate voice picking the conversation up midstream.

That is Alexandra Schwartz memorializing the late critic Joan Acocella, who died on Sunday, in The New Yorker.

. . .

"He cut the tape, built a loop, excised the guitar, slowed it all to a narcotized pace, and played along, augmenting the phrases where he saw fit."

That is Grayson Haver Currin writing about the process behind Brian Eno’s album Ambient 1: Music for Airports for Pitchfork’s Sunday review

. . .

"Now came an auditory impression. It must have been there all along, but I was only now processing it. Low voices, coming from the other side of the door. Footsteps, doors opening and closing. Beeps and electronic tones. Telephone sounds, hospital noises. The ordinary, busy clamour of a large institution. It could be a school, a government building, our own project. It didn't sound like the past."

That is from Permafrost, the first novel I’ve read by Alastair Reynolds. I’m currently 79% of the way through, according to my Kindle. It’ll likely be the first novel I finish reading in 2024, unless Shards of Earth by Adrian Tchaikovsky comes to a close sooner. It’s a fantastic story of time travel, especially in terms of how it depicts perception, as shown here, when the protagonist is transported several decades into the past (more to the point, this being time travel, into “a” past). I’m a big fan of heavy in medias res storytelling — “hard science fiction” being a recognized subgenre, I kinda wish “hard in medias res science fiction” was a subgenre — and it’s an approach that is particularly useful in Permafrostbecause we experience the book with the same initial bewilderment that several characters experience in the scenarios they find themselves facing.