
This is one of my favorite photographs I have [ever taken](https://www.instagram.com/p/Cj7HIyvuRAn/). San Francisco was looking especially San Franciscan after dinner on Wednesday.

This is one of my favorite photographs I have [ever taken](https://www.instagram.com/p/Cj7HIyvuRAn/). San Francisco was looking especially San Franciscan after dinner on Wednesday.

I enjoyed a visit on Thursday afternoon with the legendary V. Vale of RE/Search Publications (*Incredibly Strange Music*, *Modern Primitives*, *Angry Women*) at their longtime North Beach headquarters here in San Francisco. Marian Wallace, his RE/Search co-conspirator and wife, was in New York, but I did get to meet Yoshi Yubai, whose beautiful *San Francisco*, a photography collection, was published by RE/Search, and who did illustrations for *Robert Anton Wilson: Beyond Conspiracy Theory*. I first visited Vale in the early 1990s, when I helped him alphabetize a sliver of his sizable library. On the way out, I had to document his intercom — just imagining the host of individuals who rang that buzzer over the decades.
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](https://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.
▰ Elrond, early Disquiet Junto proponent and admin on our Middle Earth server

▰ And another note while reading what (I think) is my first British crime novel: when the characters size up each other based on their accents, I still have to look up online what that accent might actually signify.
▰ Tired: text-to-image
Wired: (image-alt-text)-to-image
▰ Deutsche Grammophon is having a lot of fun with Hildur Guðnadóttir’s *Tár* score

▰ *The Hope That Kills* by Ed James: I watch a lot of British crime TV series. Figured I’d try a novel. I could never have watched this as a TV series, but the novel kept me at a good distance from the truly surprisingly gruesome subject. The 23rd novel I’ve finished reading this year.
▰ Looking forward to catching up on *Andor* tonight. Much as I enjoy John Williams’ music, I really appreciate that *Andor* doesn’t sound like John Williams. Nicholas Britell’s score is perfect for a show where violence often occurs at the edge of the screen and subterfuge is job one.
▰ Had to fill out a form. Helpful that “today” was an option.

▰ I trust the Tate Modern will soon be bringing back Alison Knowles for a revival of her 2008 performance of her great Fluxus work, Make a Salad.
▰ I sure don’t know enough music theory to meaningfully participate in #MusicTheoryTwitter, but [tweeting about octave leaps](https://twitter.com/disquiet/status/1583242834114510848) has been super fun
▰ That thing where at 10 of the hour, while on a Zoom call, everyone looks up because their calendars have pinged them about what happens on the hour
▰ I’m still digging using Mastodon ([email protected]) but I don’t think it’s ready for a Twitter exodus. I don’t think it’s intended or designed for a Twitter exodus. It’s complex to use — not overly, but over what would be enjoyable for a large, broad post-Twitter cohort.

Maybe it’s just me, but I find that the meaning of the phrase “ᴀᴄᴄᴇssɪʙʟᴇ ᴍᴇssᴀɢᴇ ᴏɴʟʏ” in this context is, for lack of a better word, inaccessible. Well, not fully inaccessible. I was able to access some information by looking it up. What it means is that you don’t need to press the button to safely cross. Instead, the button is simply to provide a sonic alert — which makes me wonder why there’s a button in the first place. And if there is to be a button, why have it point across the street like other crossing signals, instead of displaying a symbol that means, you know, “press this to hear something”?
This device must be fairly new. The reason I say so is that at the moment a Google search (with quotation marks) for the phrase “ᴀᴄᴄᴇssɪʙʟᴇ ᴍᴇssᴀɢᴇ ᴏɴʟʏ” yields a mere 10 results — 11 as of when I post this to my disquiet.com website — and only 6 of which even apply. (The others include one that relates to wireless routers, another two about the programming language C++, and one to a [photo on Reddit](https://www.reddit.com/r/NotMyJob/comments/oy3wmh/its_not_my_job_to_move_the_pylons/) that happens to show one of these buttons but is actually about something else entirely — something quite funny — which means that Google’s algorithmic robots read and indexed the text shown within the photo).
Of those meager search results, one that lends some useful context for the phrase is a [master-plan document](https://montgomeryplanning.org/wp-content/uploads/2022/07/Pedestrian-Master-Plan-Draft-Recommendations_2022.pdf) from the Montgomery County Planning Department in Maryland, which is citing San Francisco as an example of the device’s utility. It reads:
>Precedent(s): In San Francisco, APS at locations where there is always a pedestrian signal read “Accessible Message Only” so people know they do not need to press to safely cross.
APS stands for “Accessible Pedestrian Signals.” I learned that and a lot of other things during this deep dive — which is what should happen if you look, and listen, closely — none of which convinced me this crossing signal is well-designed. Sounds are an essential part of public safety. Sounds are often all the more effective in coordination with other senses (here: touch and sight). This signal, however, is not an example of effective sensory coordination.
And speaking of looking closely: if you do so, you may notice some Braille on the sign.

I couldn’t sort out the meaning of the Braille with any of the character charts I found online, so I asked around (which is to say I posted a request on Twitter, Mastodon, and Facebook), and the super-helpful [@buttcliff](https://twitter.com/buttcliff) on Twitter pitched in, big time. I learned that this isn’t just Braille, but “contracted Grade 2 Braille,” which is like Braille shorthand. (Using contracted Grade 2 Braille can, for example, make Braille books a lot thinner.) Those first two visible dots confused me because I didn’t even see them on any Braille charts online, and now I understand that they mean that everything following them is a word. In this case, the Braille reads: “C A L I,” then a contraction for “FOR,” then “N,” and then something obscured by apparent damage to the sign, presumably “I A” — which makes sense, because I was standing at an intersection on California Street here in San Francisco when I took the photo.
Braille isn’t inherently a part of sound studies. However, much as sound studies can do a lot to inform UX design, so too can the closely related lived experiences of the hearing impaired. It’s a problem if a safety sign is confusing. It’s a problem if a button intended to make a sound looks like a standard button required to provide physical access to a public space. It’s a problem if a sign (seemingly a new one, at that) designed to assist the visually impaired is so susceptible to damage that it can obscure one of the ways it is intended to communicate to that constituency.
I’m guessing that someone dependent on Braille could make sense of this without the “I A,” but it says something that I started sorting out what this sign meant because it’s confusing, and it turned out it had an additional level of illegibility I wasn’t even initially aware of. Now that’s a sign.

Each Thursday in the Disquiet Junto group, 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 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.
Deadline: This project’s deadline is the end of the day Monday, October 24, 2022, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, October 20, 2022.
Tracks are added to the SoundCloud playlist for the duration of the project. Additional (non-SoundCloud) tracks appear in the [llllllll.co discussion thread](https://llllllll.co/t/disquiet-junto-project-0564-octave-lept/).
These are the instructions that went out to the group’s email list (at tinyletter.com/disquiet-junto):
Disquiet Junto Project 0564: Octave Lept
The Assignment: Work an octave leap — or more than one — into a piece of music.
This project has just one step: Work an octave leap — or more than one — into a piece of music.
The cover image for this project is from DALL·E 2. The prompt: “octave leap.”
Eight Important Steps When Your Track Is Done:
Step 1: Include “disquiet0564” (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 “disquiet0564” (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-0564-octave-lept/](https://llllllll.co/t/disquiet-junto-project-0564-octave-lept/)
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.
Step 8: Also join in the discussion on the Disquiet Junto Slack. Send your email address to [email protected] for Slack inclusion.
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:
Deadline: This project’s deadline is the end of the day Monday, October 24, 2022, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, October 20, 2022.
Length: The length is up to you.
Title/Tag: When posting your tracks, please include “disquiet0564” in the title of the tracks, and where applicable (on SoundCloud, for example) as a tag.
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 564th weekly Disquiet Junto project — Octave Lept (The Assignment: Work an octave leap — or more than one — into a piece of music) — at: https://disquiet.com/0564/
More on the Disquiet Junto at: https://disquiet.com/junto/
Subscribe to project announcements here: https://tinyletter.com/disquiet-junto/
Project discussion takes place on llllllll.co: [https://llllllll.co/t/disquiet-junto-project-0564-octave-lept/](https://llllllll.co/t/disquiet-junto-project-0564-octave-lept/)
The cover image for this project is from DALL·E 2. The prompt: “octave leap.”