Scratch Pad: Dinklage, Shea, Cochlear

From the past week

I do this manually at the end of each week: collating most of the recent little comments I’ve made on social media, which I think of as my public scratch pad. I mostly hang out on Mastodon (at post.lurk.org/@disquiet), and I’m also trying out a few others

▰ There was a car alarm this morning so shrill, so sharp, so persistent that it was like I’d been transported to a far worse world where the neighborhood is synced to the same dystopian municipal wake-up call.

▰ The “composer tuning to the portable vacuum” moment from :27 – :38 in this trailer for the new Anne Hathaway / Peter Dinklage / Marisa Tomei movie, She Came to Me, is everything. Now looking forward to heaps of Cate Blanchett / Peter Dinklage modern composer memes

▰ Actually overheard today:

Person 1: “How is your implant?”

Person 2: “…”

Person 1: “How is your implant working?”

Person 2: “…”

Person 1: “How is your cochlear implant working?”

Person 2: “Huh?”

▰ Nothing like stopping by the used record shop and overhearing three people talking about all the times they saw the Beatles

▰ When you’re used to San Francisco summer weather, all foggy like a film noir, and you find yourself in 78º for the afternoon, and you think, as you type outside, “The backs of my hands feel warm”

▰ Yo, Duolingo/multilingual folks — anyone out there used Duolingo for Korean and have pros/cons to share? This week marked my 100-day milestone in Duolingo, which I’ve been using for German. Trying it out for German has been more of a test than a long-term plan. I was considering switching over to Korean. Thanks for any input you might have. For what it’s worth, I’m much more interested in reading than I am in conversing. Language was always my worst subject in school, and I’ve been trying, quite belatedly, to get back to it.

▰ YouTube is a time machine. I think of a concert I saw and wonder if there’s footage/audio. Found Slayer (Arco, Sacramento ’95), two Nirvana shows (Crest and Cattle Club, Sac ’90), Sun Ra / Don Cherry (Battery Park ’89), Pavement (Old Ironsides, Sac ’93), and Yes (MSG, NYC ’84).

Sync History

No Strings Attached theories

I’d love to read a detailed explanation of this chart showing these two words’ relative use over time. Is this some sort of extended Y2K hangover?

. . .

After I asked online, Ranjit Bhatnagar masterfully posted this in response:

Disquiet Junto Project 0607: Silence Wave

The Assignment: From close to zero and back again, alter the relative amount of sound to silence in a piece of music.

Each Thursday in the Disquiet Junto music community, 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 and interest.

Deadline: This project’s deadline is the end of the day Monday, August 21, 2023, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, August 17, 2023.

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).

Disquiet Junto Project 0607: Silence Wave 
The Assignment: From close to zero and back again, alter the relative amount of sound to silence in a piece of music.

There’s just one step to this project:

Compose a piece of music in which the relative amount of sound to silence starts at zero (that is, no sound), rises to approximately 40 percent (that is, 60 percent silent) and returns to zero again. Keep the pace fairly steady.

Background: This project builds on the two previous ones. You needn’t have done them; do give them some consideration. In the first of the two, each participant composed a piece of music with as much silence as notes. In the second, each composed a piece of music with three times as much silence as sound. Jason Richardson proposed the first project in what has since become a sequence. As that project unfolded, Klaus-Dieter Hilf (aka RabMusicLab) commented that maybe the instruction should have read “sound” in place of “notes.” Since the first project went well, a subsequent project increased the amount of silence, and implemented Hilf’s proposal. This project takes it a step further still.

Eight Important Steps When Your Track Is Done:

Step 1: Include “disquiet0607” (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 “disquiet0607” (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-0607-silence-wave/

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.

Step 8: Also join in the discussion on the Disquiet Junto Slack. Send your email address to [email protected] for Slack inclusion.

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. A steady pace over an extended period of time can have a unique kind of impact.

Deadline: This project’s deadline is the end of the day Monday, August 21, 2023, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, August 17, 2023.

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 607th weekly Disquiet Junto project, Silence Wave (The Assignment: From close to zero and back again, alter the relative amount of sound to silence in a piece of music), at: https://disquiet.com/0607/

Thanks this week to Jason Richardson and Klaus-Dieter Hilf.

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-0607-silence-wave/

TWiS Listening Post 0009

A cue, a soundscape, and an album

This went out today as a weekly bonus — a thank-you to people who financially support This Week in Sound. It supplements the free Tuesday and Friday issues, which feature a broader array of sound studies material. It contained an annotated playlist of recommended music. I wrote about (1) a cue from Top Boy by Brian Eno, (2) a soundscape from Yui Onodera, and (3) an album of excellent “rough ambient” music by Stijn Hüwels.

This Week in Sound: “Hyperreal Sound of the Crunch of Her Footsteps”

A lightly annotated clipping service

These sound-studies highlights of the week originally appeared in the August 5, 2023, 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.

▰ LISTEN IN: “US researchers have been able to reconstruct a ‘recognizable version’ of a Pink Floyd song based on the pulses of activity moving through a specific part of the brain’s temporal lobe in volunteers as they listened to the hit Another Brick in the Wall Part 1.” The implications are substantial: “For example, the musical perception findings could contribute to development of a general auditory decoder that includes the prosodic elements of speech based on relatively few, well-located electrodes.” (Thanks, Glenn Sogge!)

▰ TWO EARS GOOD: “We’ve already got machine-learning systems and natural language processors that can translate human speech into any number of existing languages, and adapting that process to convert animal calls into human-interpretable signals doesn’t seem that big of a stretch. However, it turns out we’ve got more work to do before we can converse with nature.” Andrew Tarantola digs into why modern AI and ML (artificial intelligence and machine learning) miracles don’t mean we’ll be chatting with our pets anytime soon. Though even if we can’t talk to the animals, learn their languages, we can learn from them: “Better understanding their calls will help us better understand their levels of stress, which can serve both modern conservation efforts and agricultural ends.”

▰ CRY BABY: On the one hand, it’s fascinating that crocodiles can recognize and respond to and perhaps even relate to the sound of human babies crying. On the other, this could just be another way to find food. “It’s possible the answer was both. Some crocodiles tried to bite the speakers. However, Dr. Grimault said, ‘We saw one crocodile that came and tried to defend the loudspeaker from other crocodiles.’ It put its body in front of the speaker and turned to face its fellow predators.” (Thanks, Mike Rhode!)

▰ MISSED ALARM: “Hawaii boasts what it describes as the largest system of outdoor public safety warning sirens in the world, alarms that blare in cases of danger. Residents who survived the fire have wondered aloud why no one activated the sirens, which emit noises at a higher decibel level than a loud rock concert and can be heard from more than half a mile away.” Every major news story seems to have a sonic component: “The emergency sirens are tested once a month, but they weren’t sounded for some unknown reason to announce these fires.”

▰ SIREN SONG: Fascinating — those emergency vehicle sirens don’t have to necessarily be as violently loud as they are. This from New York City: “One bill, sponsored by Councilmember Gale Brewer, proposes to add a device to emergency vehicles that would emit a low-frequency pulse, already used in the U.K. and across the U.S., that drivers can feel instead of hear. The second bill, sponsored by Councilmember Carlina Rivera, aims to replace the blaring New York siren with the lower-frequency two-tone siren popular in Europe. … A 2015 University of Michigan study found that reducing noise by even five decibels could decrease a community’s prevalence of hypertension by 1.4 percent and coronary heart disease by 1.8 percent — that’s approximately 279,000 fewer cases.” (Thanks, Adrienne Wong!)

▰ BIRD LISTENER: “’Birds are my eyesight,’ said Ms. Glass, a poet and a professor of English at West Valley Community College who has been blind since birth. ‘When I check into a hotel in Pittsburgh, I might remember the rock dove and the house finch in the parking lot, rather than the architecture.’” The New York Times’ Alexandra Marvar writes about blind birders: “According to Freya McGregor, a 35-year-old birder and occupational therapist specializing in blindness and low vision, the term ‘birder’ was once reserved for those who were more serious than the hobbyist ‘bird watcher.’ But increasingly, ‘birder’ is becoming a catchall, thanks to a growing awareness that some hobbyists identify birds not by watching, but exclusively by listening.”

▰ HER STORY: “‘Sometimes you’re breathing into a microphone for 20 seconds,’ [a voice actor] said. ‘Sometimes you have to do something like kiss your hand to get a more authentic sound.’” The New York Times covers the growing and increasingly mainstream industry of female-oriented audio erotica

▰ DOWN UNDER DONE: Elle Gibbons and Jodie Boehme go into detail of how they recorded the soundtrack for ABC Science programming about Australia: “We wanted to start the show in silence — well, as close to silence as we could find in the natural world. … The remoteness of the location and lack of vegetation (no leaves to rustle in the breeze) meant we could demonstrate how even one of the quietest landscapes was still awash with sound. We recorded wisps of wind, the buzz of a fly and the roof of our tent flapping. Microphones were attached to each of Ann’s boots, allowing us to record in stereo a hyperreal sound of the crunch of her footsteps over the salt.”

▰ QUICK NOTES: ▰ Zoom Out: Zoom has done a 180, and it won’t train AI on customer data. ▰ Delay Line: You’ve likely seen the widely circulated photo of the doorbell with the guitar pedal attached, but have you heard it in action? (Via Loraine James — thanks, Tobias Reber!) ▰ Game On: There’s a two-day convention in Burbank, California, on sound (design and music) for video games. I kinda wanna go. It’s called GameSoundCon and it happens on October 17 and 18. ▰ Bug Out: Damon Krukowski can hear the decimation of insects and birds from his backyard garden. ▰ Screening Time: The “Live Voicemail” feature in the upcoming iOS 17 will let you read a transcription of a voicemail as it is being recorded, and “pick up the call while the person is leaving their message.” ▰ Show Time: Composer Austin Wintory talks about how his interest and experience in musical theater informs his work on video game music, most recently on Stray Gods▰ String Theory: Another Instagram short from The Repair Shop (one of my favorite TV series), this one collecting the “other” soundsthat a guitar makes.