Disquiet.com 3.1: Now Mobile/Tablet-Friendly

Details on the newly responsive design, and other tweaks

The Disquiet.com site has this week experienced its first major design revision since December 2011 (“Welcome to Disquiet.com 3.0”). Consider this one as version 3.1. If you’re reading this on a laptop or desktop, or on a large-format tablet, most of the improvements will be initially invisible. The majority of the update is focused on mobile phones and smaller-size tablets.

Among the major improvements:

¶ Below left is what the home page of the Disquiet.com website looked like on a mobile phone (in portrait mode) before the new design was implemented, and below right is what it looks like today.

Much if not all of the site was essentially illegible on a phone, since it was simply showing the full desktop/laptop view on a tiny screen, requiring continuous zooming and panning and scanning, like an old widescreen flick reformatted via pan and scan. Now the site resizes and rearranges its various sections depending on the screen on which it is viewed. For smaller tablets and for mobile phones, the left sidebar material scoots down to the bottom of the page, and the home screen only displays one full post at time, presenting the earlier posts with header and subhead. This design approach is called “responsive design.”

¶ In phone/tablet view, when the sidebar shifts to the bottom of the screen there’s one column of information in the phone size, and two columns in the tablet size.

¶ Thanks to the responsive-design mode, there’s just one URL per article — there’s no “m.disquiet” or “.com/mobile” version to confuse matters. And each page loads once, so if you rotate your mobile phone from portrait to landscape and back again, the design should adjust in your browser accordingly.

Additional minor touches:

¶ There’s been a further winnowing of typefaces. There are, aside from the logo and the display face, just two typefaces, and each appears in only two sizes and three colors (black, grey, blue).

¶ Pages that result from category view and tag view are noted as such up top above the first post in the return.

¶ Speaking of tag view, I’ve retreated from the term “topic” and acknowledged “tag” as the near-universal word for taxonomy. This is a situation in which the site’s design was catching up with its content, as I’ve long championed the idea of tags, especially as an improvement on the mistaken concept of genre. I just hadn’t implemented that thinking here.

¶ Subhead descriptions of categories appear on the category view pages (i.e., “interviews” brings up the phrase “Talks with musicians/artists/coders”).

¶ Comments have been fully overhauled. The design is much more clean, and there’s no longer any pre-screening moderation of comments. If you do write something obnoxious or off-topic, I’ll delete it, but I’m no longer reading each comment before posting. The problem in the past hadn’t been overheated conversation; it had been spam, and a handful of plug-ins and an in-page math test have fixed that (at least for now).

¶ Bullets for list pages, like the weekly automated summaries of twitter.com/disquiet, now fit in the confines of the body copy of a post, rather than sitting oddly outside the grid.

There will be some refinements in the coming weeks (especially in the loosely defined “smaller tablet” zone), and I’m looking at various additional plans, like possibly adding a discussion forum. This week’s design improvements cap a series of recent additions to the site, including Instagram sidebar implementation, and sidebar spots as well for upcoming events and for Disquiet Junto projects. Major thanks to futurepruf.com, which also produced the December 2011 refinement of the longrunning Disquiet.com theme.

Disquiet Junto Project 0028: Netlabel Net

The Assignment: Remix one of two tracks of a recent netlabel release.


Each Thursday evening at the Disquiet Junto group on Soundcloud.com 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 to the Junto is open: just join and participate.

The assignment was made late in the day, California time, on Thursday, July 12, with 11:59pm on the following Monday, July 16, as the deadline. View a search return for all the entries as they are posted: disquiet0028-netlabel.

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

Disquiet Junto Project 0028: Netlabel Net

This week we’re going to collectively reworks tracks from a netlabel release — in part to recognize the inspiration that netlabels provide, and in part to encourage a particular type of netlabel.

Netlabels provided one of the strongest inspirations for the origination of the Disquiet Junto. Netlabels offer up the music of their participating artists for free, and they exist in a loose constellation of mutual support. It’s a pretty dense constellation. There are estimated to be between 400 and 500 netlabels in existence, all building on the model of the Creative Commons.

While netlabels give away music for free, a surprising few do so under the license that allows for derivative creations — that is, for remixing and reworking. To encourage that sort of license, the Disquiet Junto assignment this week is to remix one of two tracks selected from a recent album on the great Audiotalaia netlabel, all of the releases on which allow for derivative works. The album is Gently Annoying by Xesús Valle. You’ll find the music at the following two URLs. Please select one of these two tracks to remix: “Ochita” or “Tanku.”

http://audiotalaia.net/catalogue/at053-xesus-valle/
http://archive.org/details/at053GentlyAnnoying

You can add whatever you’d like to the music in the process of making your remix, even combining the two songs into one.

Deadline: Monday, July 16, at 11:59pm wherever you are.

Length: Please keep your track to between 2 and 5 minutes.

Information: Please when posting your track on SoundCloud, please 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.

Title/Tag: When adding your track to the Disquiet Junto group on Soundcloud.com, please include the term “disquiet0028-netlabel”in the title of your track, and as a tag for your track.

Download: As always, you don’t have to set your track for download, but it would be preferable.

Linking: When posting the track please include this information:

Source music from the album Gently Annoying by Xesús Valle, remixed courtesy of the Creative Commons “Attribution-Non Commerical-Share Alike” license:

http://audiotalaia.net/catalogue/at053-xesus-valle/
http://archive.org/details/at053GentlyAnnoying

More on the Audiotalaia label at:

http://actsofsilence.com/album-review/desde-la-atalaia/

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/info

10 Seconds a Day for 6 Months (Again)

The sonic diary in miniature

Back in July of last year, a sonic diary by Harold Schellinx was featured here. The single track concatenated 10 seconds of audio recorded every day over the course of six months, for a total of over half an hour of incidental sound. He’s done it again, and again it is featured as part of the Radius broadcast and podcast. The effect is varied. One strong impression is simply that of sound as itself the subject — rather, for example, than the day’s events being recorded. Were one to take a photograph each day or to draw something each day, it is unlikely that the result would seem to take photography or drawing as its respective subject, yet here the concept of sound never seems to recede. There’s music, and discussion of music, and recorded noise, and someone mentioning David Bowie in passing. There are other things, too, notably someone having sexual intercourse — perhaps Schellinx, perhaps someone in a movie — and snatches of attended lectures and listening to (presumably) radio broadcasts. It’s a wash of noise, with Schellinx, clearly, as its best audience; one envies what it will sound like to him in the distant future.

Track originally posted at soundcloud.com/radius-14. More information at theradius.us.

“Alternative Musical Interfaces”: Disquiet @ GAFFTA (San Francisco, September 19)

Panel discussion at the new media hub


On Wednesday, September 19, there’s a panel discussion in San Francisco at the Grey Area Foundation for the Arts on “Alternative Musical Interfaces,” and I’ll be serving as moderator.

The panelists include the highly talented trio of Michael ZbyszyÅ„ski (mikezed.com), Peter Nyboer (see his bayimproviser.com entry), and Spencer Salazar (see his ccrma.stanford.edu page) — more on whom at gaffta.org.

It’s all under the auspices of GAFFTA’s Sound Research Group. GAFFTA is located at 923 Market St, Suite 200, which is between 5th and 6th Streets. The event runs from 7:00pm until 8:30. Tickets are $20, but GAFFTA has a solid “no one turned away for lack of funds” policy.

I’m excited to be headed back to GAFFTA. I last took part in a discussion there in August 2011, when I presented some thoughts on “Sound as Commentary.”

Update (2012.07.25): The following description of the event has been added to the GAFFTA page at gaffta.org:

We’ve seen many shifts in ways to control sound over the millenia; everything from animal skins and bones to hacked Game Boys and everywhere in between. We find ourselves positioned at an interesting point in time for how we manipulate sound in a post-instrument world. The topic of alternative musical interfaces has been discussed by those attempting to redefine how we’ve shaped sound since the tribal era, but the discourse seems to be thriving. We’ve brought together three specialists (see below) who have dedicated large portions of their lives to the noble task of constructing new musical interfaces and pushing musicians to interact with their instruments in new and different fashions.

The object of this evening is to gather together those interested in redefining our physical relationship to sounds and music. If you are interested in audio we recommend that you come join in the discussion with us.

Karriem Riggins Gets Alone Together (MP3)

An instrumental hip-hop taste from the longtime jazz drummer

The great Stones Throw record label has shared an MP3 teaser of the debut full-length from longtime sideman and producer Karriem Riggins, whose CV is absurd in its breadth, from support as a drummer to Diana Krall, Mulgrew Miller, and Ray Brown, to production work for the Roots, Slum Village, and Common. Those jazz and hip-hop threads have overlapped at times, notably in his projects with Madlib. The forthcoming Riggins album, Alone Together, will be a set of hip-hop instrumentals. The advance taste is titled “Moogy Foog It,” a bit of downtempo martial-drumming arts, the beat a flangy percussive riff, above which an 8bit snake charm melody noodles around lazily. The track ends quite suddenly, suggesting it will merge with the subsequent song when the full album appears.

[audio:http://www.stonesthrow.com/jukebox/karriem_moogy.mp3|titles=”Moogy Foog It”|artists=Karriem Riggins]

More on the release at stonesthrow.com. The notes on the album page are a little confusing, in that they list October 23 as the release date but state “Vinyl and digital will be released in two-parts over summer and fall 2012.” Perhaps this MP3 comprises the “digital” part of that release.

And for additional context, here’s Chet Baker covering the jazz standard, by Arthur Schwartz and Howard Dietz, from which the Riggins album takes its name: