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

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

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News, essays, reviews, surveillance

DALL·E 2 Experiments: AI on AI

Ongoing exploits with the Algorithm

Prompt: “Siri and Alexa on vacation at the beach”

My DALL·E 2 experiments have yielded numerous sad results. This one really stood out.

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DALL·E 2 Experiments: Microphones

Ongoing exploits with the Algorithm

Slight variations on “macro lens photo of a tiny microphone balancing on the head of a pin”

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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.

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Here Comes Trebble

A nifty web audio app

Trebble is the name of a nifty web audio app that lets you not just edit but augment recordings in your browser. It works best in Chrome. You upload spoken text, which is automatically transcribed (and, yes, is prone to error — and yes, we’re being trained by our speech-to-text tools to enunciate with greater precision, and yes, I do find new reasons to rewatch Francis Ford Coppola’s The Conversation pretty much every day in our ever more increasingly technologically mediated world). You can then — magically, as it were — edit the audio by editing the text. That is: If you want to remove a clause from the audio, you either cut it or instruct Trebble to ignore it. You can also remove noise and — this is pretty cool — add music to select moments within the track. And when you’re satisfied with the result, you can output the recording for subsequent use, with all the edits and other augmentations in place. Trebble is clearly still in beta. The interface reminds me a bit of what you can do in rev.com’s transcription service, but the editing and enhancement is something else entirely. It’s still early going for Trebble, but the user experience provides an upstream view of what’s ahead. Tools like this quite quickly go from web novelties to universal norms. (Found via the always excellent webaudioweekly.com.)

Try it out at trebble.fm

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DALL·E 2 Experiments: Microphones

Ongoing exploits with the Algorithm

Prompt: “microphone hanging out a window, pixel art, black and white”

Made with DALL·E 2, via labs.openai.com.

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