New Disquietude podcast episode: music by Lesley Flanigan, Dave Seidel, KMRU, Celia Hollander, and John Hooper; interview with Flanigan; commentary; short essay on reading waveforms. • Disquiet.com F.A.Q.Key Tags: #saw2for33third, #field-recording, #classical, #juntoElsewhere: Twitter, SoundCloud, Instagram

Listening to art. Playing with audio. Sounding out technology. Composing in code. Rewinding the soundscape.

tag: sound-art

The Art of Drones

A document of three Takeyuki Hakozaki installations

What Comes After is the perfect title for a collection of tracks that are, themselves, the sonic byproduct of art installations. The installation was the thing; the audio is a memory. A set of those memories is what came after. Each of the three tracks is a recording of roughly seven minutes taken from one of three different set-ups that artist Takeyuki Hakozaki had at the HAKO Gallery in Chiba, Japan, earlier this year, back in mid-February. (I’ve been to Chiba several times to attend the annual Shonen Jump festival, but I’ve never been to an art gallery in the city, which is outside Tokyo.) One of Hakozaki’s pieces involves several electric guitars resonating thanks to electric fans. Another involves audio tape rubbing against guitar strings. The third use a synthesizer to process tape loops. Each recording takes the form of a drone. Each is marked by different elements, and throughout you can hear voices here and there (if you speak Japanese, which I can’t, you might be able to make out some of what is spoken). “Air” is symphonic in scope, the overtones so rich I’d swear I can hear a choir chanting amid the resonances. Magnetic” is rough and raucous, albeit in slow motion. “Complex” is like a shoegazer track, subtler than “Air,” less frictive than “Magnetic.”

If you scroll back through the gallery’s instagram.com/hako_chiba account, you can find documentation of the first (circulator, “Air”), shown above, second (loops, “Magnetic”), and third (synthesizer, “Complex”) projects.

More on HAKO at h-a-k-o.com. More from Takeyuki Hakozaki at signflax.com and instagram.com/t.hakozaki. The audio was mastered by Taylor Deupree (of 12k Records).

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Reviewed “Seeing Sound” @ Kadist SF

For The Wire

Ah, it’s that font I love to be published in. I have a new article in the latest issue of The Wire. It’s a review of a group show at the Kadist gallery in San Francisco. The show, titled Seeing Sound, featured work by the artists Marina Rosenfeld, Aura Satz, and Samson Young, and was curated by Barbara London. (This is the new issue with Grouper on the cover.) I posted a bit about the exhibit here previously.

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twitter.com/disquiet: Cables, Triads, Surrealism

From the past week

I do this manually each Saturday, collating recent tweets I made at twitter.com/disquiet, which I think of as my public notebook. Some tweets pop up (in expanded form or otherwise) on Disquiet.com sooner. It’s personally informative to revisit the previous week of thinking out loud.

▰ Been re-watching Downton Abbey and thinking about the way it maps the adoption of technology as time passes (electric lights, cars, a blender, a radio), and was about to tweet a quote (“Mrs. Patmore is not what you’d call a futurist”), only to find when I searched Google that I had done so when it first aired. Later: “Why is it called a wireless when there are so many wires?” This is something said by Daisy when a radio is brought into the house for the first time, thanks to the king being due to make a broadcast announcement.

▰ Guitar class update: I haven’t been this into triads since I was addicted to Hong Kong crime movies.

▰ “Your gift is quite destructive but look at the music you can make.” (Been re-watching Marvel’s Agents of S.H.I.E.L.D.)

▰ I think there is an insect crawling slowly across my phone’s upturned face. It is the reflection a bird hovering outside the window.

▰ The term “Surrealism Tycoon” is certainly my kinda headline clickbait. And this is totally the raw material for a sequel to China Miéville’s The Last Days of New Paris: “Arturo Schwarz, Refugee Who Became a Surrealism Tycoon, Dies at 97,” via nytimes.com.

▰ Guessing this bypassed Discogs.com: “United States Sells Unique Wu-Tang Clan Album Forfeited by Convicted Hedge Fund Manager Martin Shkreli”

▰ My favorite pithy summary of the Disquiet Junto music community is Ethan Hein’s. He said in effect that I write record reviews of music that doesn’t exist yet and then internet strangers make it real. I’m not sure I could improve on that. The 500th weekly project begins July 29.

▰ “I blink with fatigue, and my eyelashes make an infinitesimal, inaudible sound against the felt whiteness of the pillows slope.” Been thinking about @espejoacustico‘s suggestion we finally get around to a proper Pessoa-themed Junto project. It is the Disquiet Junto, after all.

▰ I highly recommend the Take5 email from the Japan Times (japantimes.co.jp): a free (English) daily newsletter of five top stories, a glimpse into what’s happening. I wish more newspapers from countries where I don’t read the language did it. Maybe they do. Any recommendations?

▰ There are days when using the browser interface for the New York Times crossword is like pushing back on a ouija board against a particularly strident spirit.

▰ Cool. There’s a new entry, all about the Disquiet Junto, on the ever-growing Music Games Wiki: musicgames.wikidot.com.

▰ Yes, but when do we get the 5-CD expanded box set of George Harrison’s Electric Sound album?

▰ Tinyletter has become a drag, which is part of why I haven’t published a This Week in Sound email in quite a while. I’m looking to switch to Buttondown or an alternative. Trying out some options. So far, Buttondown seems pretty cool.

▰ It was a week:

🗹 buncha work
🗹 longform writing
🗹 cheating on longform writing
🗹 Disquiet daily
🗹 Junto 500
🗹 guitar study
🗹 exercise
🗹 gallery review filed
☐ email catch-up
🗹 home office remedies (standing)
🗹 digital tool revisions (newsletter)
🗹 sign off til Monday

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The Cables of Marina Rosenfeld

Currently at Kadist in San Francisco

Four details from Marina Rosenfeld’s installation Music Stands (2019), which just finished its run at the Kadist gallery in San Francisco (kadist.org). There’s a lot more to the piece, and to the exhibit, “Seeing Sound,” curated by Barbara London, which featured two additional artists, Aura Satz and Samson Young. I was just particularly taken with the sinuous cable flow:

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twitter.com/disquiet: Dalton, Kadist, Oblique

From the past week

I do this manually each Saturday, collating recent tweets I made at twitter.com/disquiet, which I think of as my public notebook. Some tweets pop up (in expanded form or otherwise) on Disquiet.com sooner. It’s personally informative to revisit the previous week of thinking out loud.

Gunpowder Milkshake uses the same Karen Dalton song, “Something on Your Mind,” that Mayans MC did this past season, number three. It’s a beautiful track, how her voice always sounds like it’s going to break, and I’ll now always associate it with cinematic ultraviolence. And oh that violin that emerges. It’s by Bobby Notkoff, who played on Joni Mitchell’s For the Roses, and several Crazy Horse records (with and without Neil Young).

▰ Last month, members of the Disquiet Junto music community recorded sounds of fictional insects they had imagined. This past weekend, participants created hybrids by blending the sounds of pairs of those imaginary insects. The playlist menagerie is here: soundcloud.com/disquiet.

▰ Some coordinates:

disquiet.com
soundcloud.com/disquiet
youtube.com/disquiet
instagram.com/dsqt
flickr.com/disquietpxl
tinyletter.com/disquiet
tinyletter.com/disquiet-junto

▰ First burrito at Cancun on Mission in forever

▰ Weighing in at 1,055 pages. See you later.

▰ When I bought the URL and started disquiet.com in 1996, it was named for Pessoa’s Book of Disquiet. More broadly, it was because, unless I’m mistaken, the copyright had run out on the book, so translations could more easily be published. I had several recent ones. Oh yeah, disquiet.com turns 25 in December. The Junto turns 10 in January. Next Thursday is the 500th consecutive weekly Disquiet Junto project. But first I need to post the 499th today. (And in 6 years, it’ll be the 300th anniversary of Ben Franklin’s original Junto.)

▰ The Dune trailer looks epic. It should look epic. It’s Dune. The most promising thing may be that it appears to have a sense of humor. Alternately, the most promising thing is they seem to have ditched the Pink Floyd song.

▰ If you zoom (not Zoom) in and dial the number, you can hear a conversation between Laurie Spiegel and the late Pauline Oliveros. Or you can visit the Kadist (kadist.org) gallery in San Francisco, where the installation (Dial Tone Drone by Aura Satz) is part of the Seeing Sound exhibit. The traveling exhibition is curated by Barbara London, who in 2013 assembled MoMA’s Soundings: A Contemporary Score. Two other artists are featured at Kadist in San Francisco: Marina Rosenfeld and Samson Young. Perhaps to their credit, not one of them is on Twitter, but three of the four are on Instagram, if that’s of interest. The number is 1 (833) 764-1221.

▰ Hit pause and accidentally stumbled on Downton Abbey and Zombies:

▰ Oh, wow. When I posted to Facebook, it triggered the facial recognition, so now it looks like a first person shooter based on the Downton Abbey and Zombies movie:

▰ Really appreciate the Disquiet Junto being featured in this piece at hii-mag.com about internet communities for musicians built around compositional prompts. As one of the Oblique Strategies cards reads: “Define an area as ‘safe’ and use it as an anchor.”

▰ Checklist:

🗹 499th Junto
🗹 ton of work
🗹 long-form writing
🗹 writing that’s me cheating on long-form writing
🗹 gallery review draft
🗹 lunch with friend
☐ email catch-up
🗹 guitar practice
🗹 home cooking
🗹 some exercise
🗹 go offline until Monday

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