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.

Call Box

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

Perhaps it was only intended for one-time use?

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From Soundscape to Score in Andor

And "the bell guy"

I was really struck, so to speak, by the anvil carillon atop a tower toward the start of the second episode of Andor, playing now on Disney+. So too, apparently, was James Whitbrook, deputy editor at i09, who wrote a lengthy appreciation of “the Andor Bell Guy” the day after the show’s first three episodes debuted. “There’s people here and there,” he writes, “lurking out there in the early dawn, but it’s when the bell guy that’s not really a bell guy — he’s the bell, I guess, spiritually speaking — rings his hammers that life starts on Ferrix, the bustle of the town below beginning to blossom as his hammers ring out, over and over. The sound fades, the day begins, and bell guy presumably goes on with his life, his job done until the morrow.” Pretty much the only thing I’d add is that the sound doesn’t entirely fade. As I hear it, the bells fade, but they are then not just subsumed but emulated by the score (composed by Nicholas Britell, best known for his work on Succession). This series has some of the most memorable music in any of the Star Wars TV series so far, in part because it doesn’t sound particularly like the John Williams music that has long defined the Star Wars universe. ➔ gizmodo.com.

Originally published in a special, experimental September 23, 2022, “TWiS x 3” edition of the This Week in Sound email newsletter. Get it in your inbox via tinyletter.com/disquiet.

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The Rhythms of Primes

And the sonification of decreasing density

A 10-minute video exploring the rhythms inherent in prime numbers. For me, what was most remarkable was experiencing, through sonification, the decreasing density of primes as the numbers get higher. For context, check out its preceding video (below), which breaks down the correlation between the math and the sound. (Thanks, Adam Boyd, for the tip.)

Originally published in a special, experimental September 23, 2022, “TWiS x 3” edition of the This Week in Sound email newsletter. Get it in your inbox via tinyletter.com/disquiet.

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twitter.com/disquiet: Reverbs No Hollowness

From the past week

I do this manually each Saturday, usually in the morning over coffee: collating most of the tweets I made the past week at twitter.com/disquiet, which I think of as my public notebook. Some tweets pop up sooner in expanded form or otherwise on Disquiet.com. I’ve found it personally informative to revisit the previous week of thinking out loud. This isn’t a full accounting. Often there are, for example, conversations on Twitter that don’t really make as much sense out of the context of Twitter itself. And sometimes I tweak them a bit, given the additional space. And sometimes I re-order them just a bit.

▰ In that odd situation where I have four completed pieces (three on music, one about television) due for publication before the end of the year. When they surface it’ll be like, “Oh yeah that.”

▰ Nice. At Hardly Strictly Bluegrass this year, the Jerry Harrison / Adrian Belew Remain in Light set immediately follows Elvis Costello’s (two different stages), so I can just leave the latter a little early. That’s Saturday, and on Sunday the Dave Alvin / Jimmie Dale Gilmore set is right before Galactic (featuring Anjelika “Jelly” Joseph), also on different stages. Those are the four sets I’m most interested in. If I’m missing anything else in particular, lemme know. And if you’re reading this but won’t be in San Francisco, all of the above (excepting Galactic/Joseph) will be live-streamed!

▰ The 21st novel I finished reading in 2022: Summerland by Hannu Rajaniemi. An alternate-history late-1930s spy story in which life after death necessitates a new branch of the British intelligence services — i.e., “What if Johanna Constantine was the protagonist of a John le Carré novel?” Very enjoyable.

▰ If you switch regularly between full screen and windowed, this can save you some actual headaches and seasickness:

▰ I fully support this vision.

▰ Current status

▰ Encountered during lunchtime walk and upon returning home:

“Nor are those empty-hearted whose low sound Reverbs no hollowness” Stoked to see this Shakespeare production this coming weekend: Lear, with music by Marcus Shelby (calshakes.org/lear). Side note: we need to bring back “reverb” as a verb.

▰ The 22nd novel I finished reading in 2022: The Future of Another Timeline by Annalee Newitz. I definitely enjoyed it, but it’s way too heavy to simply be “enjoyed.” Even with its fairly positive ending, you’re left rattled. It’s a time-travel novel in which history is battled over via “edits” that are like real-life Wikipedia edit wars — imagine Neal Stephenson and Galland’s The Rise and Fall of D.O.D.O. but with gravitas and punk rock, or if Octavia Butler had been hired to rewrite Back to the Future.

▰ I wonder the same:

▰ Actually, no, I did mean “excising.” Sorry, Algorithm, but I feel like these little blue lines are getting out of control.

▰ When you’re working from a photocopy of a photocopy of a photocopy (repeat at will) and only fairly late into the process realize that what looked like an eighth note has, in fact, been a sixteenth note all along.

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A Virtual Stroll Through Mexico City’s Sounds

Listen to the "informal economy" of street life

Take a virtual/interactive browser-based stroll through the sounds of Mexico City, aka Ciudad de México, aka CDMX), and learn about the sonic aspects of the “informal economy” that is street vending. “The soundscape of the city is not fixed,” the narration goes. “It changes as the city does. As services become outdated — needs and preferences evolve, residents are displaced by new waves of gentrification and development, regulations shift — sounds inevitably disappear. … Similarly, the music of organ grinders (once an iconic sound of CDMX) may soon fade from the streets, despite its promotion by local government. Organ music simply isn’t as appealing to younger generations.” Check it out ➔ pudding.cool

Originally published in a special, experimental September 23, 2022, “TWiS x 3” edition of the This Week in Sound email newsletter. Get it in your inbox via tinyletter.com/disquiet.

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