Robot Beacon

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

Toward the southern tip of Manhattan stands an antiquated beacon of security. In ramrod posture and bright red coloration, not to mention old-fashioned charm, it brings to mind one of the Queen’s Guard: stoic, efficient, resolute in its dedication to duty. There are identical models across the city. This location, near Battery Park, is walking distance from Ground Zero of the 9/11 attacks.

The device is an alert system for the twinned fire and police departments of New York City. The two departments are represented with red and blue buttons, though the light shade of the police one, combined with the fact almost the entire thing is otherwise red, tells you this is first and foremost Fire Department property. That’s even before you might notice the vertical FDNY initials toward its base — and, in a more subtle treatment, horizontally just below what might be characterized as the device’s head.

That slight bulge at the top, an anthropomorphic gesture, seems like a premonition of robot beacons from the future. Should the streets of New York be served and protected by the city’s bravest androids decades from now, the automatons might bear some distant resemblance to this ancestral stationary signal box. The result would be a Buckingham Palace guard through the lens of an Osamu Tezuka manga.

Today, beneath the brim of what would be the beacon’s hat, there sits a puncture grid: seven stark horizontal rows of eleven holes each. Across town in some file cabinet there’s likely a rejected design in which the Fire/Police buttons sit like eyes above the grid. The grid, here a combination of eyes, nose, and mouth, signals the presence of an audio system — a hybrid speaker/microphone, allowing the bystander to “report an emergency,” as the beacon’s limited textual information instructs.

There are two other puncture grids on the Battery Park beacon, one midway down its torso, and the other at its very base (presumably for someone who hits the pavement after triggering one of the communication channels). Both are in the unmistakable shape of the classic sheriff badge. While the beacon is the figure of law-enforcement authority, the badges are likely both microphone and speaker. The message seems to be that once you engage with the beacon to send an alert, you have yourself, in effect, been deputized.

Concerts in the Time of COVID-19

The cultural and financial ramifications of social distance

City governments and health departments are calling for the postponement of “non-essential” public gatherings. Festivals are being cancelled left and right. Even if the current COVID-19 health alerts come to an end along one of the less dire projected timelines, the toll has already begun to hit numerous musicians. And not just musicians, but those who work in their proximity — promoters, publicists, roadies, techs, vendors, venue employees, and on and on. To discuss the arts isn’t to look askance at the death, grief, and discomfort of those directly affected by this year’s coronavirus. It’s simply to consider and brace for broader consequences.

Buying an album here and there will be a nice gesture, but even if you spend the equivalent of a festival pass on Bandcamp or Bleep, you won’t — short of some unprecedented groundswell of mass communal action — begin to have the same economic impact you’d have had were the cancelled events to occur. Festivals and concerts are scaled in a way that digital media, online merchandise, and, of course, streaming can’t begin to compare with financially. This is a calamity a decade or more in the making; as the perceived monetary value of recorded music has dropped, the importance of live performances has become all the more central not just to musicians’ income but to their promotional efforts. There is, it’s worth noting, a particular irony here for electronic music, which was born of the idea of the studio as a musical instrument — for as deep and rewarding as that may be as an artistic pursuit, you generally have to leave the studio these days to afford it in the first place.

All of which is to say, this is a good time to pay attention to the musicians whose work you admire and want to support. Check out the Patreon and equivalent of the ones who have such accounts, and keep an eye out for what others do to try to fill the void left by diminishing concert performance opportunities. I’m hopeful that the moment’s necessity will mother innovative alternatives. A suite of pay-per-view variants feels more than a little dystopian, so if you do come across creative means by which musicians reach across enforced “social distance,” please do let me know.

Time Is Passing

A reminder from València, Spain–based Warmth, aka Agustín Mena

“Life” is a track off *Essay*, a new full-length album from Warmth, aka Agustín Mena, who’s based in València, Spain. It’s thick with heavenly striations — the white-noise wash of waves, whether imaginary or recorded in the field; distant drones, like broken horns echoing down caverns; a lush vocal, evaporating in real time — and all the while a slow pulse trickles by, less a beat than a reminder that time is passing.

Track originally posted at [soundcloud.com/w\_a\_r\_m\_t\_h](https://soundcloud.com/w_a_r_m_t_h/warmth-life). Get the full album at [archivesdubmusic.bandcamp.com](https://archivesdubmusic.bandcamp.com/album/essay).

Disquiet Junto Project 0427: Music 4 Airplanes

The Assignment: Make music that blends in with the industrial drone of modern air flight.

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 Monday, March 9, 2020, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, March 5, 2020.

Tracks will be added to [the playlist](https://soundcloud.com/disquiet/sets/disquiet-junto-project-0427) for the duration of the project.

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

**Disquiet Junto Project 0427: Music 4 Airplanes**

The Assignment: Make music that blends in with the industrial drone of modern air flight.

Step 1: Airplanes are noisy places, especially when at 35,000 feet. Consider the noise, especially the dense white noise, experienced by an airline passenger.

Step 2: Record a short piece of music that is intended to blend in with the industrial drone of modern air flight.

**Seven More Important Steps When Your Track Is Done:**

Step 1: Include “disquiet0427” (no spaces or quotation marks) in the name of your track.

Step 2: If your audio-hosting platform allows for tags, be sure to also include the project tag “disquiet0427” (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 track. It is helpful but not essential that you use SoundCloud to host your track.

Step 4: Post your track in the following discussion thread at llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0427-music-4-airplanes/

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.

**Additional Details:**

Deadline: This project’s deadline is Monday, March 9, 2020, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, March 5, 2020.

Length: The length is up to you. Shorter is often better, but then again, flights are long. Perhaps make something that readily loops.

Title/Tag: When posting your track, please include “disquiet0427” in the title of the track, and where applicable (on SoundCloud, for example) as a tag.

Upload: When participating in this project, post one finished track with the project tag, and 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: Consider setting 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 427th weekly Disquiet Junto project — Music 4 Airplanes / The Assignment: Make music that blends in with the industrial drone of modern air flight — at:

https://disquiet.com/0427/

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0427-music-4-airplanes/

There’s also a Disquiet Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.