Disquiet Junto Project 0698: Second Third

The Assignment: Record the second third of a trio.

Each Thursday in the Disquiet Junto music community, a new compositional challenge is set before the group’s members, who then have five days to record and upload a track in response to the project instructions.

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. The Junto is weekly so that you know it’s there, every Thursday through Monday, when your time and interest align.

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

Disquiet Junto Project 0698: Second Third
The Assignment: Record the second third of a trio.

There are two versions of the instructions for this week’s project — one very short, the other very long.

Very short version (about 25 words): Select a track from last week’s project (disquiet.com/0697), pan it to the left, and add your own line to the right, leaving room in the center for someone to eventually turn it into a trio.

. . .

Very long version of the instructions (about 600 words):

While this is the second part of a three-part project, you can participate in one, two, or all three of the parts, which will occur over the course of three consecutive weeks, starting last week. You needn’t have done last week’s to do this week’s.

Step 1: This week’s Disquiet Junto project is the second in a sequence intended to encourage and reward asynchronous collaboration. This week you’ll be adding music to a pre-existing track, which you will source from the previous week’s Junto project (disquiet.com/0697). Note that you aren’t creating a duet, precisely — you’re creating the second third of what will eventually be a trio. What that means is: Leave space for what is yet to come.

Step 2: The plan is for you to record a short and original piece of music, on any instrumentation of your choice, as a complement to a pre-existing track. First, however, you must select the piece of music to which you will be adding your own music. There are tracks by numerous musicians to choose from (over 40 as of last count). All but a few are in this playlist:

https://soundcloud.com/disquiet/sets/disquiet-junto-project-0697

One additional track is on the Lines discussion board:

https://llllllll.co/t/disquiet-junto-project-0697-first-third/71838/19

And very short one is on Mastodon:

https://ioc.exchange/@philsawa/114504063097101750

(Note that it’s possible another track or two will pop up in — and some may disappear from — that playlist and discussion. Things are fluid on the internet.)

To select a track, you can listen through all those and choose one, or simply look around and select, or you can come up with a random approach to sifting through them.

Note: It’s fine if more than one person uses the same original track as the basis for their piece (more on this in Step 5 below).

It is strongly encouraged that you look through the discussion thread for the previous project on the Lines forum because many tracks include additional contextual information there:

https://llllllll.co/t/disquiet-junto-project-0697-first-third/

Step 3: Record a short piece of music, roughly the length of the piece of music you selected in Step 2. Your track should complement the piece from Step 2, and leave room for an eventual third piece of music. When composing and recording your part, don’t alter the original piece of music at all, except to pan the original fully to the left if it hasn’t been panned left already. In your finished audio track, your new part should be panned fully to the right. 

To be clear: the track you upload won’t be your piece of music alone; it will be a combination of the track you selected in Step 2 and yours.

Step 4: Also be sure, when done, to make the finished track downloadable, because it will be used by someone else in a subsequent Junto project.

Step 5: You can contribute more than one track this week. In normal circumstances, Junto projects have a one-track-per-participant limit. You can do two this time. For the second, it’s appreciated if you try to work with a solo that no one else has used yet. I will keep an updated list in this Google Drive document of what has been utilized:

https://docs.google.com/spreadsheets/d/1dSDNhH5KnB2YlSlmBQiuhKTpAQ0Ijl391OnSUE8r4SI/edit?gid=0#gid=0

The goal is for many as people as possible to benefit from the experience of being part of an asynchronous collaboration. That, foremost, is the spirit of this project.

Tasks Upon Completion:

Label: Include “disquiet0698” (no spaces/quotes) in the name of your track.

Upload: Post your track to a public account (SoundCloud preferred but by no means required).

Share: Post your track and a description/explanation at https://llllllll.co/t/disquiet-junto-project-0698-second-third/

Discuss: Listen to and comment on the other tracks.

Additional Details:

Length: The length is up to you. Stick close to the length of the track yours adds to.

Deadline: Monday, May 19, 2025, 11:59pm (that is: just before midnight) wherever you are.

About: https://disquiet.com/junto/

Newsletter: https://juntoletter.disquiet.com/

License: It’s preferred (but not required) to set your track as downloadable and allowing for attributed remixing (i.e., an attribution Creative Commons license).

Please Include When Posting Your Track:

More on the 698th weekly Disquiet Junto project, Second Third — The Assignment: Record the second third of a trio — at https://disquiet.com/0698/

Empty the Magazine

For what ails you

This was at the doctor’s office today. I have no idea what it means. I do like that someone added that question mark. It wasn’t me. (And per the comments below and ones I’ve received on social media, it is likely the case that this empty rack is a remnant of when healthcare providers were concerned about physical objects as transference vectors for Coronavirus.)

Work in Progress

More to come in Frame by Frame

Work in progress for the next Frame by Frame comic I’m doing with Hannes Pasqualini (hannes.papernoise.net). Meanwhile, full back catalog of the series at disquiet.com/fxf.

. . .

Update (2025.05.13): And after I initially posted this, Hannes posted more details. He wrote, “Things have been extremely busy round here, so I’m a bit late with the new Frame by Frame episode with @dsqt. In the meantime, here’s little teaser, with some details from the panels I’m working on!”

Listening to Bosch Listening

Courtesy of Michael Connelly

I mentioned last month, when I started reading the first Bosch book, The Black Echo, a scene in which Michael Connelly, author of the series, highlights the details of such a mundane thing as dialing a pay phone. It’s a moment, as I said at the time (having not yet finished the book), when something someone might not have imagined at the time of the book’s writing, the early 1990s, would ever become outdated was given the attention normally associated with historical fiction: getting all the precise aspects right.

Phones play a crucial role in the novel, as Bosch, a Los Angeles Police Department detective, and his FBI agent partner try to sort out the nature of a complex crime they are investigating. There are office phones and pay phones and home phones, and pagers, and, no surprise to the reader, surveillance taps on such phones, as delineated in this passage above.

The key thing in that passage is Bosch’s ear. This isn’t merely Connelly writing about phones; this is Bosch’s own thinking, the thinking of a detective. He had, earlier in the book, noticed a hang-up on his home phone’s answering machine. Much later in the book he reconsiders what he had heard, and finds meaning in it. The above, per my Kindle, is 58% of the way through the book. The original scene, when he first notices the recorded hang-up, occurs at 41%:

What’s especially funny to me, as the book’s reader, is that like Bosch, I also didn’t take much note of the hang-up at the time. In fact, I highlighted a totally different sentence when I read that paragraph, the bit about how Bosch listens to CDs. I did so because in the TV show, the Bosch character also listens to jazz, but only on vinyl. (I noted this on social media at the time, but somehow left it off my weekly collation of my social media posts, so I just added it.) Above I’ve now also highlighted the moment when this bit of crucial information — in the form of silence — is witnessed by Bosch, and he doesn’t comprehend it until another 17% of the story passes.