Looking Ahead to 2024

Or: plans about plans

The main place I hang out online is the llllllll.co, which is a message board mostly for people who work in music and sound. At the end of each year, artist and musician Marcus Fischer starts a new thread for people to discuss their goals for the coming year. The following is what I wrote on Lines, as the message board is called, ahead of 2024:

-How was 2023 for you?

Ups and downs. Net up by the end.

-What concepts/principals are you thinking about for the new year? How do they relate to the world around you (locally and globally)?

I think it’s pretty simple: focus, do more but selectively, take more breaks intentionally.

Staying focused — I got a new pair of glasses last month, and even though my prescription has barely changed, the simple fact of them being new (unscratched, un-smudged, slightly adjusted) means everything looks noticeably sharper. I’m taking this observation as a sign to strive to look at things more sharply and concertedly in the coming year. Pretty much by definition, to focus on one thing means to let other things recede.

Keeping my head down — Related to the above: You don’t need to be a time traveler from the future to identify 2024 as a divisive year, at least here in the U.S. I, for one, can easily get caught up in the anticipation of game-changing moments that never come.

Winnowing and organizing — In a novel I just finished reading, Sean Michaels’ Us Conductors, based on the life of Leon Theremin, the inventor suddenly is told he needs to, within 24 hours, return to Russia from the U.S. permanently after many years stateside. Asked by the movers what he’s taking with him, Theremin replies something along the lines of “The oldest, the newest, and the best.” There’s a lesson in that. There’s a term along these lines that has been making the rounds: Swedish death cleaning. I’m not entirely sure how much it even exists, as I’ve had some Swedish students who haven’t known what I’m talking about when I’ve brought it up, but in any case: the idea of trimming back so things are more manageable for others after you’re gone. (That sounds a bit morbid, so to be clear: I just wanna streamline a bit.)

-What old things do you want to shed and what new things would you like to cultivate?

Taking the word “things” literally first, I have a heap of old vinyl and CDs I don’t listen to much, so I’ll be ripping much of it and making physical space by getting rid of it. I’ve long joked that if I sold all my vinyl I could easily put an upright piano where the records are, and while I mean it more metaphorically than literally, I think the metaphor is a valuable one.

I recently stepped back from administering a Slack I’d moderated since 2016 and doing so has been a freeing experience. I’m thinking about what else I can step back from. There isn’t much, but I’m thinking about it.

Transition time — bus rides, long lunches, and liminality in general have long since declined in my life, and I need to bring back that attenuated interstitial aspect of existence. Midday walks are an attempt — a step forward, as it were. As is not keeping email open all the time during daylight hours.

Time zones — I am generally more productive in the morning, so I’m trying to schedule stuff involving other people later in the day, to the extent that I can.

Plex time — I recently set up Plex as a means to collate my vast and ever-growing collection of digital audio. Doing so has been centering, though the whole thing may turn out to be a fool’s errand — or in this case, a fool’s chore.

-What would you like to accomplish? Do you have a plan for making it happen?

Finish writing a book. Maybe two.

Send some short stories to magazines.

Write more in general.

Put together some standalone recording projects, adjacent to the Disquiet Junto, along the lines of the commission projects I did before forming the Junto, like Our Lives in the Bush of DisquietInstagr/am/bient, and LX(RMX) / Lisbon Remixed, among others.

Put my podcast back together. That appeals to a whole different constituency than reads what I write. (I say this every year, but maybe this year I’ll do it.)

As for the plan, the plan is what I wrote at the top: focus, as well as giving myself meaningful breaks. Also, do more project proposal outreach — I tend to do things I’m invited to do, rather than inquire about collaborations and opportunities.

Disquiet Junto Project 0627: Just Ice Society

The Assignment: Record the sound of ice in a glass and make something with it.

Each Thursday in the Disquiet Junto music community, a new compositional challenge is set before the group’s members, who then have just under five 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, January 8, 2024, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, January 4, 2024.

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). Note that this service will change shortly, likely to Buttondown, due to Tinyletter shutting down.

Disquiet Junto Project 0627: Just Ice Society
The Assignment: Record the sound of ice in a glass and make something with it.

Welcome to a new year of Disquiet Junto communal music projects. This week’s project is as follows. It’s the same project we’ve begun each year with since the very first Junto project, way back in January 2012. The project is, per tradition, just this one step:

Step 1: Please record the sound of an ice cube rattling in a glass, and make something of it.

It’s great if you can record your own ice sounds, but if you want some help, the always awesome Jason (Bassling) Richardson has provided some source audio:

WAV:
https://www.mediafire.com/file/e8qpnf0i1r2xhw1/bassling_-_pindari_glasses.wav/file

MOV:
https://www.mediafire.com/file/swq09kq409qhecg/bassling_-_pindari_glasses.mov/file

Background: Longtime participants in, and observers of, the Disquiet Junto series will recognize this single-sentence assignment — “Please record the sound of an ice cube rattling in a glass, and make something of it” — as the very first Disquiet Junto project, the same one that launched the series back on the first Thursday of January 2012. Revisiting it at the start of each January ever since has provided a fitting way to begin the new year. By now, it qualifies as a tradition. A weekly project series can come to overemphasize novelty, and it’s helpful to revisit old projects as much as it is to engage with new ones. Also, by its very nature, the Disquiet Junto suggests itself as a fast pace: a four-day production window, a regular if not weekly habit. It can be beneficial to step back and see things from a longer perspective.

Seven Important Steps When Your Track Is Done:

Step 1: Include “disquiet0627” (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 “disquiet0627” (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-0627-just-ice-society/

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.

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. 

Deadline: This project’s deadline is the end of the day Monday, January 8, 2024, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, January 4, 2024.

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 627th weekly Disquiet Junto project, Just Ice Society — The Assignment: Record the sound of ice in a glass and make something with it — at: https://disquiet.com/0627/

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-0627-just-ice-society/

Inbound: Celtic Frost

Comin' up soon

A fun multi-author series of mini-essays has begun at Hilobrow on “metal records from the Eighties.” My piece on Celtic Frost will be up later in the series. I’m stoked to see my old friends Dean Haspiel and Erik Davis are part of it. You can read the introduction by Heather Quinlan, the series’ editor, now, as well as the first entry, on Metallica, by Crockett Doob.

Roy’s Radio

And a related question

I always love coming upon this three-dimensional piece by Roy Lichtenstein at the San Francisco Museum of Modern Art. Painted in 1962, it’s a great example of how the artist, best known for his oversized appropriations of comic book illustrations, found beauty in the geometries, textures, and purpose of everyday commercial objects. The dots that depict this radio’s speaker here bring to mind the signature dots of Lichtenstein’s famous paintings, dots that were themselves investigations of the patterns inherent in the printing process. He blew up what was previously invisible, ignored, taken for granted, or merely a subset of a larger story in a different context, and drew attention to details in a manner that made them alternately abstract or hyperreal — sometimes both simultaneously. For the first time, I found myself focusing on the radio station to which this imaginary device is tuned, just above 94 on the clearly selected FM dial. I wonder what station that was at the time, presumably in New York City. (If it’s of interest, I’ve written previously about Lichtenstein’s famed Blam, a painting that also dates from 1962.)