Just back from five days at Big Basin in this.
Cross-posted from instagram.com/dsqt.
Just back from five days at Big Basin in this.
Cross-posted from instagram.com/dsqt.

Each Thursday at [the Disquiet Junto group on SoundCloud.com](soundcloud.com/groups/disquiet-junto/) 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](soundcloud.com/groups/disquiet-junto/).
This assignment was made in the early evening, California time, on Thursday, August 7, with 11:59pm on the following Monday, August 11, 2014, as the deadline.
These are the instructions that went out to the group’s email list (at [tinyletter.com/disquiet-junto](http://tinyletter.com/disquiet-junto)):
Disquiet Junto Project 0136: Thrice Derivative
Recombinate work from the netlabels Nowaki, Phantom Channel, and Rec72.
Create a new piece of music by using nothing but the following segments of the following songs:
Segment 1: The first 30 seconds of “Nunquam Revolvo” from Jared C. Balogh’s album *I Am The Ship // I Am The Shaman*, available from the Nowaki netlabel. This should lead to the MP3:
http://goo.gl/P6D9j6
Segment 2: From 2:10 to 2:40 of “And The Rain Embraced Our Closing Words” by from Chris Tenz and Cory Zaradzur’s album *Language of Landscape*, available from the Phantom Channel netlabel. This should lead to the MP3:
http://goo.gl/Y3TU4o
Segment 3: From 1:40 to 1:50 of “HD Eve” from the Small Radio album *Migre 3*, available from the Rec72 netlabel. This should lead to the MP3:
http://goo.gl/lWMcV1
Background: All of this music is available for free, non-commercial download and creative reuse thanks to a Creative Commons license. This project is part of a series of “netlabel remixes”intended to promote that sort of thoughtful, collaborative sharing.
Deadline: Monday, August 11, 2014, at 11:59pm wherever you are.
Length: Your finished work should be between 2 minute and 4 minutes.
Information: Please when posting your track on SoundCloud, 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.
Title/Tag: When adding your track to the Disquiet Junto group on Soundcloud.com, please include the term “disquiet0136-thricederivative” in the title of your track, and as a tag for your track.
Download: Due to the nature of the source material, your track should be set as downloadable, and with a license that allows for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution).
Linking: When posting the track, please be sure to include this information:
More on this 136th Disquiet Junto project — “Recombinate work from the netlabels Nowaki, Phantom Channel, and Rec72″ — at:
More on the Disquiet Junto at:
https://disquiet.com/junto
Join the Disquiet Junto at:
http://soundcloud.com/groups/disquiet-junto/
Disquiet Junto general discussion takes place at:
https://disquiet.com/forums
This track is made from elements extracted from the track “Nunquam Revolvo” from Jared C. Balogh’s album *I Am The Ship // I Am The Shaman*, available from the Nowaki netlabel; “And The Rain Embraced Our Closing Words” by from Chris Tenz and Cory Zaradzur’s album *Language of Landscape*, available from the Phantom Channel netlabel; and “HD Eve” from the Small Radio album *Migre 3*, available from the Rec72 netlabel.
More on those releases at
http://www.nowaki-music.org/#album197
https://archive.org/details/LanguageOfLandscape-memoriesFadeUnderAShallowAutumnSnowphch014
http://rec72.net/?p=3555
This public speaker grid looks like you can patch in your own personalized emergency sound module.
Cross-posted from instagram.com/dsqt.
No train horn. #ui #ux #transportation
Cross-posted from instagram.com/dsqt.
The solo flute is heard, in this piece by composer Mara Gibson, as a sequence of solitary gestures. A whistling high note succeeds a breathy mid-register tone, the two separated by a sudden sharp sound that reminds the listener that any instrument, including the flute, can play percussion. There are as well desperately tenuous moments where the lips seem to struggle to eke out the quietest sounds possible, and others where a short melodic phrase is given a moment to develop before being cut short. There are extended silences, and near-silences that suggest distant birdsong. At seven and a half minutes in length, it’s an absorbing work that exerts a narrative logic as each segments reflects both backward and forward.
Track originally posted at [soundcloud.com/mara-gibson](https://soundcloud.com/mara-gibson/flone-studio-recording). More from Gibson, a professor at the University of Missouri, Kansas City, at [maragibson.com](http://maragibson.com/) and [twitter.com/GibsonMara](https://twitter.com/GibsonMara).