Forum Digging and the Fate of Netlabels

I was interviewed for WFMU's Radio Free Culture podcast.

Radio Free Culture WFMU exists to, per its credo, “examine issues at the intersection of digital media and the arts.” I was excited to be interviewed for the podcast by Erik Schoster, aka the musician He Can Jog. We talk about a wide range of subjects, including the role of netlabels in the age of streaming, listening strategies in our age of sonic abundance (forum digging as the new crate digging), the benefits and challenges of platform agnosticism (in light of the Disquiet Junto’s shifting dependence on SoundCloud), the imminent 250th weekly Disquiet Junto project, the imminent 20th anniversary of Disquiet.com (December 13, 2016), and the return to active duty of Aphex Twin.

As of August 30, 2016, I’ve updated this with the audio embedded. You can also listen at [prx.org](https://beta.prx.org/stories/185793).

What Sound Looks Like

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

In contrast with many home-brew domestic doorbell fixes, this one is easily understood. The black void where there was once a button for apartment number four has been addressed, so to speak, with a newer-model plastic standalone item. The photo may not make this clear, but that isn’t duct tape around the newer button. It’s a metal sheath of the same material as the gate. Despite what the varied buttons suggest, someone is in fact concerned with design continuity at this multi-unit building. If the broken button wasn’t easily rewired, the question lingers as to whether up in apartment four this new button is mirrored by a new bell. Perhaps every time it rings, it echoes through the building as a reminder to neighbors of other petty differences.

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

Listening to Yesterday: Conference Call

"You don't have to put on the red light. Those days are over."

1. conference call

2. user interface

Mac_Old_Design_GoToMeeting

The conference call lasted a little over an hour, four people in four different buildings on two different coasts. The discussion was mediated by a software interface. The software allowed for screen-sharing, but especially prominent on the interface, this being a live conversation, were markers for various aspects of the audio. A little microphone symbol was situated next to each speaker’s name — that’s speaker as in human, not as in sound-emitting technology — and a horizontal meter registered how loud someone was talking. Whoever spoke, their name appeared prominently next to the word “talking.” This was an imperfect approach, since had someone been sharing my laptop with me, my name would have appeared when they spoke. On this call we all knew each other well enough that the names were unnecessary.

I’ve seen variations on this speaker-identification model over the years. One that particularly stuck in my memory used a spatial relationship for the voices, so you’d see them on the screen in a manner that suggested they were, in essence, in different seats. It was a bit like an ambisonic Jedi Council: If you listened on headphones, the voices were also situated spatially across the stereo spectrum. You had the option to move them to where you wanted them, so you could group them according to role or organization. It seemed particularly useful as a means to evenly distribute the people who talked too much.

On the conference call tool yesterday, the microphone button was red when someone had muted it, green when they had it live. Color is a whole other ball of wax from sound. There are especially strong cultural associations with color, though the associations also vary widely around the globe. In the west, red is often seen as an admonition (stop, warning), whereas in Asia it can suggest happiness (good luck, joy). On this call, red was intended as neutral, a simple “off” in an on/off binary world, but it seemed to still carry some cultural baggage. I had it on red/mute most of the time so that my typing of notes didn’t fill up the sonic conversation space. I couldn’t help but think, though, that the red next to my name was unintentionally signaling disinterest. I also wondered if any of these whiz-bang digital conference-call tools could just filter out keyboard clatter.

Music for Piano and Cicada

Loops both digital and natural courtesy of Denmark-based Robert Rizzi

The piano is not entirely lost, though per the title of the track it is deconstructed, and muddied by the presence of a field recording. The full track title is “Deconstructed piano improvisation and Field recording etude No.5,” by Robert Rizzi of Kolding, Denmark. The field recording is largely bug noise, “this summer of cicadas on Mallorca, Spain,” according to Rizzi. Amid the high-pitching buzzing, the piano is heard cutting in and out, notes more like shards than notes. They break in the middle or start midway. They repeat like a stutter, like a memory caught on a loop, sometimes so swiftly that the digital processing is self-evident, but often with a whispery, casual quality — almost flute-like at times — that makes this half-real piano sound just as real, just as natural, as nature’s own looping white noise.

Track originally posted at [soundcloud.com/rizzi](https://soundcloud.com/rizzi/deconstructed-piano-improvisation-and-field-recording-etude-no5). More from Rizzi at [twitter.com/RobertColeRizzi](https://twitter.com/RobertColeRizzi).

Listening to Yesterday: Muted Victory

The smile-inducing ditty at the end of a New York Times' online crossword puzzle

1. a sound cue in an online game

2. a phone call interruption

xword

The payoff is a split-second filigree from a what appears to be a jazz piano trio. It sounds like the modest backing band to a quiz show or late-night talk show. The celebratory equivalent of a rim-shot, the sound in question is the little ditty that plays at the end of “The Mini” crossword, a daily feature on the website of the New York Times. I recently started doing the Mini in the morning, usually getting it done in under a minute (:54 today), sometimes a little over two minutes. Yesterday it took over 9 minutes, closer to 10. I might have just stopped trying, but I persevered, winding my way through various unfamiliar words — most sports-derived, if memory serves. If anything is going to flummox me, it’s sports-related information. I did take a short call in the middle of the puzzle, and neglected to hit pause on the Times site, so I can let that interruption account for perhaps two minutes of my extended linguistic struggle, brain slowly coming out of its slumber-fog. In the end the disappointment wasn’t that it had taken so long, but that I’d had the computer on mute, which meant that the jazz trio’s flourish never was heard from my laptop’s speakers. Games are games, so this user-experience ditty isn’t a matter of gamification, per se — of the application of game play to other types of activity. But it is a bit like “video-gamification”: the application of video-game elements to non-video games. Not getting to hear the riff after exerting so much effort provided a classic example of adding insult to injury.