How We Listen

And the failed promise of files

How we listen to music in 2020 differs significantly from how it was 10, 20, 30 years ago. And it differs from how we’ll listen in the future, doubtlessly. Over at an online, public discussion board where I regularly participate, someone introduced a conversation about how we listen right now. My initial sense was I listen on varied services today, whereas during the distant past of relative youth my listening was more unified. Then I began to do some forensics — that is, I thought before I typed my contribution to the discussion — and what I found differed from what I expected:

The Past: When I was growing up, I listened through four main ways: (1) the AM/FM radio in my bedroom, (2) the boombox cassette player (later with an LP player hooked into it) in my bedroom, (3) my parents’ LP/cassette player in the living room, and (4) MTV on the living room television. (Eventually a cassette Walkman and a CD player joined the mix. And later on: a CD Walkman.)

The Present: I set down that list to contrast it with the present. By definition, the present is more in flux than the past. These days, I note, it’s easier to categorize my listening habit by technology than by location. Someone [replied](https://llllllll.co/t/how-to-listen-to-music-in-2020/29496/89) in that same discussion that the transition “from place-based listening to product-based listening” is worth reflecting on. I agreed: I think the phone and the laptop are my main sources of distancing from music listening in this regard. Locations have disappeared because there is no spatial distinction. Sitting in the living room without either my phone or my laptop is a luxury I rarely take up — outside the house, even less so. By way of example, I typed my part of that chat on my phone as I walked to the barbershop. (For further example, three people at the barbershop were playing some racing game together on their own phones, as if the barbershop were their living room.) In any case, what follows is where my listening habit stands in mid-February 2020. It may change. It will. And I do need to treat my living room more like a cultural Faraday cage.

Laptop: Browser (SoundCloud, Bandcamp, YouTube, etc.), plus a desktop Google Play Music (GPM gets me ad-free YouTube) application, plus an endless array of files that I have long since failed to keep organized. I play the files in VLC. (I would like something less clunky looking than VLC.) And there’s a CD player hooked up to my laptop, though I use it less to listen directly than to rip files (FLAC, thanks for asking) that I then listen to.

Phone: Same as laptop, minus the files (and less frequent SoundCloud).

iPad: Same as phone. (I have also gotten into setting up wholly unoriginal, very simple generative stuff that I think of as the semi-intentional releases of the software developers, but that’s a side topic.)

Other: Stereo in living room (LP, CD, cassette — though the cassette player is unplugged at the moment due to spatial constraints).

Notable Absence: I don’t really listen to podcasts. This may or may not relate to the fact that I don’t really listen to much music with words/voices in it. I do listen to a lot of audiobooks.

The Future: I am fine listening in lots of different places and formats. To be clear: I’m not really in any major way disappointed in my listening habits. The primary corrective fixation I have is the failed promise of digital files. I have a ton, and do not revisit them the way I do other formats. I want to have a better handle on my file-based listening. I’ve been on the hunt for a good cross-platform (iOS, Android, Windows in my current case, though it’ll inevitably change) options. I sometimes think a standalone portable device is a good idea for me. The MP3 player, once ubiquitous, is now such an antiquated concept that when I ponder it, my brain translates it into “a Kindle for music.” (I don’t have a Kindle. I’m waiting for when the Paperwhite gets the inevitable upgrade to adjustable warm light.) That said, I don’t really want to carry one more thing.

Graphic Notation x Visual Code

Software-based music from Fahmi Mursyid, who is based in Indonesia

There is a tradition of graphic notation, in which images are read as musical scores, whether or not that’s actually the intended case of the original source — contrast, for example, the beautiful designs of an Iannis Xenakis’ orchestration (below) with the found scores of Christian Marclay (further below).

There is, as well, the growing range of software tools that are, in effect, visual programming languages for sound. They allow the user/composer/coder to create systems — virtual instruments — that then emit audio both planned and discovered, intended and by chance.

In turn, when an implementation of a visual programming language reaches a certain synchrony with the music it produces, the visual can be said to serve double duty: both as virtual instrument and, in effect, as graphically notated score.

This is certainly the case with the vibrant hodge podge, shown up at the top of this post, that constitutes “Generative Music with Modular Synth in Pure Data,” by musician Fahmi Mursyid. As its title suggests, it’s a generative piece (one that produces music that might differ over time) in Pure Data (a programming language originated by Miller Puckette). Listen and watch here (and if you are a Patreon supporter of Mursyid’s, the original post for the track on [YouTube](https://www.youtube.com/watch?v=vDq3f79Esoc) includes a link to the Pure Data patch, which you can download, listen to in real time, and tweak as you like).

More on Pure Data at [puredata.info](https://puredata.info/). More from Fahmi Mursyid, who is based in Indonesia, at [ideologikal.bandcamp.com](https://ideologikal.bandcamp.com/). (I don’t usually write about the same musician twice in a week, but this piece is quite different from the feedback drone of Mursyid’s I wrote about [on Tuesday](https://disquiet.com/2020/02/18/perpetual-energy/).)

Disquiet Junto Project 0425: Crop Score

The Assignment: Crop circles are musical compositions.

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, February 24, 2020, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, February 20, 2020.

Tracks will be added to [the playlist](https://soundcloud.com/disquiet/sets/disquiet-junto-project-0425) 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 0425: Crop Score**

The Assignment: Crop circles are musical compositions.

Thanks to C. Reider (and the @AutechreComment Twitter account) for helping to instigate this.

Step 1: Consider the idea of a crop circle as a graphically notated musical composition. (This might require doing a little research on crop circles and/or graphic notation.)

Step 2: Interpret the photo associated with this project, from Wikipedia, as a musical score. (You can also use other images, but please keep copyright in mind.)

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

Step 1: Include “disquiet0425” (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 “disquiet0425” (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-0425-crop-score/

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, February 24, 2020, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, February 20, 2020.

Length: The length is up to you. Shorter is often better. Let the crops be your guide.

Title/Tag: When posting your track, please include “disquiet0425” 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 425th weekly Disquiet Junto project — Crop Score / The Assignment: Crop circles are musical compositions — at:

https://disquiet.com/0425/

Thanks to C. Reider (and the @AutechreComment Twitter account) for helping to instigate this.

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-0425-crop-score/

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

The image associated with this project is from Wikipedia:

https://commons.wikimedia.org/wiki/File:CropCircleW.jpg

Municipal Graffiti

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

Municipality infrastructure marker, or graffiti for Missing Foundation solo project? (Or as someone followed up on [Twitter](https://twitter.com/acousticmirror_/status/1230529092287594497): an indicator for missing soundmarks, which in San Francisco means the recent shut down of the Tuesday noon outdoor public warning siren.)

Pierce the Lull

A track by An Imaginal Space

There’s a darkness in the quiet. There’s a rupture in the shadows. “Looping 150220(2)” has a light quality that belies a deeper sense of portent. The surface, like that of a still pond, bears a certain sheen: diaphanous white noise and a soft drone and, in time, a tremulous glisten. But turn it up, and other elements pierce the lull. There is a shudder, some ominous siren, and what seems like voices, trapped behind a stultifying threshold.

Track originally posted to [soundcloud.com/an-imaginal-space](https://soundcloud.com/an-imaginal-space/looping-1502202). More from An Imaginal Space — based in Derby, UK — at [music.animaginalspace.com](https://music.animaginalspace.com/).