My 33 1/3 book, on Aphex Twin's Selected Ambient Works Volume II, was the 5th bestselling book in the series in 2014. It's available at Amazon (including Kindle) and via your local bookstore. • F.A.Q.Key Tags: #saw2for33third, #sound-art, #classical, #juntoElsewhere: Twitter, SoundCloud, Instagram

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Disquiet Junto Project 0332: Lucky Numbers

Make music based on the lottery.

Each Thursday in the Disquiet Junto group, 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.

Deadline: This project’s deadline is 11:59pm (that is, just before midnight) wherever you are on Monday, May 14, 2018. This project was posted shortly after noon, California time, on Thursday, May 10, 2018.

Tracks will be added to the playlist for the duration of the project.

These are the instructions that went out to the group’s email list (at tinyletter.com/disquiet-junto):

Disquiet Junto Project 0332: Lucky Numbers
Make music based on the lottery.

Step 1: Every day, newspapers around the world publish the local lottery numbers. We’ll be making music based on these numbers. Think about how a string of numbers might inform — might seed — a short musical composition.

Step 2: Locate the lottery numbers near your — or, if you live somewhere that doesn’t have a lottery, find someplace that does.

Step 3: Generally speaking, the winning lottery numbers come in the form of a small set, such as 4, 7, 28, 37, 41, 2 (the recent Super Lotto jackpot here in California).

Step 4: Having located a set of lottery numbers, then compose and record a short composition that is somehow based on them. (Do detail how you extrapolated sound from the lottery when uploading the track.)

Six More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0332” (no spaces or quotation marks) in the name of your track.

Step 2: If your audio-hosting platform allows for tags, be sure to also include the project tag “disquiet0332” (no spaces or quotation marks). If you’re posting on SoundCloud in particular, this is essential to subsequent location of tracks for the creation a project playlist.

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

Step 4: Please consider posting your track in the following discussion thread at llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0332-lucky-numbers/

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

Step 6: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Other Details:

Deadline: This project’s deadline is 11:59pm (that is, just before midnight) wherever you are on Monday, May 14, 2018. This project was posted shortly after noon, California time, on Thursday, May 10, 2018.

Length: The length of your track is up to you, but around a minute or two sounds about right.

Title/Tag: When posting your track, please include “disquiet0332” in the title of the track, and where applicable (on SoundCloud, for example) as a tag.

Upload: When participating in this project, post one finished track with the project tag, and 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 preferable that your track is set as downloadable, and that it allows for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution).

Linking: When posting the track online, please be sure to include this information:

More on this 332nd weekly Disquiet Junto project (Disquiet Junto Project 0332: Lucky Numbers / Make music based on the lottery) at:

https://disquiet.com/0332/

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0332-lucky-numbers/

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

The photo associated with this project is by Rick, used via Flickr and a Creative Commons license:

https://flic.kr/p/4rCdaA

https://creativecommons.org/licenses/by-nc-sa/2.0/

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What Sound Looks Like

An ongoing series cross-posted from instagram.com/dsqt


I couldn’t live here, but it’s sure cool to visit. The clock repair person says, understandably, that he keeps most (not all, but most) of the (many many) grandfather clocks turned off.

An ongoing series cross-posted from instagram.com/dsqt.
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What Sound Looks Like

An ongoing series cross-posted from instagram.com/dsqt


Generative noise playlist for birthday party

An ongoing series cross-posted from instagram.com/dsqt.
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RIP, Cecil Taylor (1929-2018)

Learning from the fierce pianist's intensity

My favorite Cecil Taylor story is secondhand. I used to see him play at the Knitting Factory in the late 1980s when I was fortunate to live a few blocks away. I would often sit in the audience with Irving Stone and his wife, Stephanie. (It’s after Stone that John Zorn named the venue he founded, the Stone.) Taylor was late to a show one night, and Stone told of an epic late appearance by Taylor decades earlier. Taylor had been booked on a boat that would tool around Manhattan while jazz musicians played for a willingly captive audience. Taylor, who was often late for shows, Stone said, was warned not to be late because the ship’s schedule was unforgiving. The night of Taylor’s performance arrived, as did the boat. The audience boarded, along with other scheduled musicians. But no Taylor. They waited briefly, but the schedule had to be kept, and the boat left the dock. And then, of course, arrived Cecil Taylor, running to the end of the dock, unable to reach the boat, his eager audience stranded aboard, watching his figure fade in the distance. Judging by how late he was to the Knitting Factory that night, Taylor had never learned his lesson, though of course his audience, me included, was going nowhere. We waited. He arrived, and blew our minds.

I reviewed a massive Cecil Taylor box set many years ago, and I mentioned to a friend what I’d been working on, and he asked, teasingly, if I had managed to do so without using the word “cluster.” Cecil Taylor is the musician most synonymous with the word “cluster” (often employed by critics to describe his playing), except perhaps for Roedelius, Moebius, Plank, and Eno — and, as someone reminded me on Twitter, Cowell.

The walls of noise of Cecil Taylor and Anthony Braxton, and Godflesh and Slayer, and Last Exit and Machine Gun, translated at some point, for me, into a model of dense fields with cascading details. That all, in some way, I realize in retrospect, led me to focus on ambient music. Not ambient music as a refuge from noise, but as quiet form whose sublime intensity I had come to appreciate as having a kinship with noise, one of uniform-yet-chaotic pattern-fields best appreciated upon close examination, or upon utter surrender. It’s wrong to reduce Cecil Taylor’s music to its intensity, yet coping with and eventually reveling in its intensity is an important path that Taylor-admirers must walk. Ambient music rewards (if not requires) similar levels of dedication, notably patience and attention-paying. It’s almost certainly easier for someone ear-trained in Cecil Taylor’s piano crucible to find a way into ambient music than the other way around, but ambient listeners will find much reward in the wildly fluctuating systems of Taylor’s recordings if they take the time required.

Anyhow, my favorite Cecil Taylor album is For Olim, released in 1987 on Soul Note. It’s solo, and essential. Seek it out.

RIP, pianist, improviser, genius Cecil Taylor (b. 1929).

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What Sound Looks Like

An ongoing series cross-posted from instagram.com/dsqt


Excavated some cassettes of turntablism music (turntable as instrument) while cleaning out some of my old boxes this past weekend. Back then, around 1996 and 1997, when these were released, turntablism was often documented and circulated on cassette. These days, 20-plus years later, a lot of my listening is manipulation of the cassette tape itself, as well as digital approximations of tape manipulation. Some of the turntablists whose work is shown here have long since left traditional turntable vinyl behind and now use computer software that turns the turntable into a tactile controller for audio files.

An ongoing series cross-posted from instagram.com/dsqt.
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