Marc Weidenbaum's Blog, page 183

Colin Joyce on the Junto at Hii-mag.com

Major thanks to Colin Joyce, who wrote an article for hii-mag.com about music communities that are built around shared composition prompts. The piece is titled “Prescriptive Art Practice in Sound,” and it features two primary examples. One is Audio Playground (audioplayground.xyz), a project run monthly since last year by Sarah Geis, former artistic director of the excellent Third Coast International Audio Festival. The other is the Disquiet Junto. Joyce approaches the topic through the lens of the classic Oblique Strategies cards of Brian Eno and his late collaborator, the artist Peter Schmidt.

Here’s an excerpt:

Part of the long-running success of the project seems to come from the attention and care that Weidenbaum has applied to the prompts themselves. There are never too many in a row with the same style or bent. Some are more conceptual, like #392 “Compose the national anthem for a fictional country,” while others are more practical, like #336 “Share a piece of music you’re working on in the interest of getting feedback.” Changing up the approach no doubt helps the musicians stay engaged, but it also allows everyone involved to flex different creative muscles, to push themselves in different ways, to always be trying something new. But for Weidenbaum, what’s most important is that people are spurred to action. Whether a prompt deeply resonates with a person or not, the hope is that work gets made in response.

“I think inspiration is overrated,” he says. “I think work is what is important. You can only make music if you make music. You can only paint if you paint. You can only write if you write. In general, you won’t get better at it, or at anything else, unless you do it. And so you do it. I think being inspired really happens in the midst of work, not before the work.”

Weidenbaum’s years of shepherding the project have resulted in a robust and engaged community. The group stays in touch through a Slack channel and a message board, encouraging one another and explaining the processes behind their pieces. It’s heartwarming in a way that feels rare in the currently decentralized state of the internet. So often making music and art can be an isolated process, especially for people who work in forms that might be deemed experimental, but projects like this allow people to connect. They’re able to push themselves but also to get in touch with others who are interested in doing the same. “The single best part of it is the people,” Weidenbaum explains. “I have become aware of so many creative individuals, and had remarkable conversations with so many of them.”

Read (or listen to)the full piece at hii-mag.com.

Disquiet Junto Project 0499: Out of the Landscape

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 the end of the day Monday, July 26, 2021, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, July 22, 2021.

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

Disquiet Junto Project 0499: Out of the LandscapeThe Assignment: Record a piece of music in which a sound emerges from a field recording.

This project might prove among the more complicated ones, or I may be mistaken. I’ve written a short version of it, and I’ve written it as a longer, step-by-step procedure.

This is the project in one sentence: Add a subtle sound to a preexisting field recording of a soundscape, have that sound slowly gain prominence, and then let it disappear, leaving nothing but the original field recording behind at the end.

And here is the project as a series of nine steps:

Step 1: The goal is to record a piece of music in which a sound emerges from a field recording of of a soundscape. Please read these instructions through closely before proceeding with the project.

Step 2: Locate a field recording of an environment. It could be urban, rural, industrial, domestic, whatever you might choose. A recording with slight variations over time would be beneficial but isn’t necessary. You should, again, read through the instructions in full before determining what field recording you want to work with. You might use a preexisting one, or record a new one.

Step 3: Select a roughly five-minute, continuous segment of the field recording from Step 2. Set it to fade in at the start and out at the end for about 5 seconds each, so it neither starts nor ends abruptly.

Step 4: Listen closely to the field recording. Play it on repeat a few times and think about its tonality, its component parts.

Step 5: The goal for this project is to now introduce a sound at the very start of the field recording that is imperceptible as being an addition. It should fit in so well that the field recording still sounds like a field recording. Plan for this addition to play for roughly 15 seconds before doing anything further with that sound.

Step 6: Now, around the 15-second mark, have that additional sound very slowly make itself more apparent. By 30 seconds, it should have risen in prominence and stand out and somewhat apart from the original field recording.

Step 7: For almost the entire remainder of the piece, have that additional sound do more. Have it morph and vary, and continue to stand out and apart from the field recording, though make sure the field recording is still audible.

Step 8: Around 45 seconds before the end of the piece, have the additional sound slowly return to its original state, as it was at the opening, when it was indistinguishable from the field recording. By the time the piece is about 30 seconds from the end, it should sound as it did when the piece started.

Step 9: When the piece is 25 or so seconds from the end, suddenly mute the additional sound. It should disappear entirely, so that for those final 25 seconds (well, 20, and then the piece will fade out for the final 5 seconds), we hear the unadorned original field recording for the first time.

Seven More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0499” (no spaces or quotation marks) in the name of your tracks.

Step 2: If your audio-hosting platform allows for tags, be sure to also include the project tag “disquiet0499” (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 tracks. It is helpful but not essential that you use SoundCloud to host your tracks.

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

https://llllllll.co/t/disquiet-junto-project-0499-out-of-a-landscape/

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.

Note: Please only post one track per project. If you choose to post more than one, and do so on SoundCloud, please let me know which you’d like added to the playlist. Thanks.

Additional Details:

Deadline: This project’s deadline is the end of the day Monday, July 26, 2021, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, July 22, 2021.

Length: The length of your finished track is up to you. Around five minutes is recommended.

Title/Tag: When posting your tracks, please include “disquiet0499” in the title of the tracks, and where applicable (on SoundCloud, for example) as a tag.

Upload: When participating in this project, 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: It is always best to set 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 499th weekly Disquiet Junto project — Out of the Landscape (The Assignment: Record a piece of music in which a sound emerges from a field recording) — at: https://disquiet.com/0499/

More on the Disquiet Junto at: https://disquiet.com/junto/

Subscribe to project announcements here: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0499-out-of-a-landscape/

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

Orchestra Room

Exterior entrance

Duets with the Golden Gate Bridge

Perhaps you’ve heard the news about the how the Golden Gate Bridge here in San Francisco, where I live, has taken to singing. Repairs to the bridge led to a unique teachable moment about the physics of sound: high winds cause it to drone mellifluously (or annoyingly, according to some locals, though not me) all around the city. The drone is hard to capture because, by definition, it happens when the winds are themselves making noise. The bridge also sounds different depending on where you are. I’ve posted footage from my backyard, not that my cellphone captured anything remotely like what it is like to stand there. It is truly alien, the thermin of the gods.

Much as nature abhors a vacuum, alien music abhors isolation. And thus the Golden Gate Bridge has drawn to it some local musicians. This isn’t the first track I’ve heard in which someone tries to play along with the bridge, but it’s certainly among the most beautiful. Nate Mercereau, as I learned in a news story in yesterday’s issue of the San Francisco Chronicle, has recorded a four-song EP, Duets, on which he plays live along with the bridge. There’s also a video, shown up above, in which he sits perched in the Marin Headlands with the bridge in the background. As Mercereau told the Chronicle’s Aidin Vaziri, “It’s the largest wind instrument in the world right now.”

The video opens with an extended sequence of the bridge on its own. Nearly a minute passes before Mercereau, eventually seated on a stool behind a battery of pedals, begins to intone slow, aching tones that meld beautifully with the bridge itself. He is careful to keep the playing subtle, quiet. It never threatens to overcome the bridge. Instead, it flows in and out of the underlying hum.

The playing on the Duets EP pushes a little further. On “Duet 1,” the guitar sounds at times almost like a flute. On “Duet 2,” a more full-bodied part suggests some hybrid of violin and saxophone. On “Duet 4,” Mercereau posits drones that sit in contrast with the main source audio. Throughout, the bridge just sings on. Perhaps when Mercereau is done, another musician will take his seat on that stool.

Duets | Golden Gate Bridge by Nate Mercereau

This is the latest video I’ve added to my ongoing YouTube playlist of fine live performance of ambient music. Video originally posted at youtube.com. More from Mercereau at howsorecords.com, instagram.com/natemercereau, and twitter.com/natemercereau.

Ants

The worst pArt is less the sheer Number Than how Silently they amass

The Comics of Noise Pollution, Circa 1930

I’ve been rereading Emily Thompson’s The Soundscape of Modernity for the first time since it was published, nearly 20 years ago, back in 2002. Each page is a trove of historical detail, such as the above 1930 Robert Day editorial cartoon. The next year The New Yorker would start publishing Day, and it would do so through 1976.

For all the advancement of our comprehension culturally of sound, it’s not like the early 1900s were the stone age. As Thompson tells us, the New York Times noted in 1926 that volume wasn’t the issue; “the nature of the [specific] sounds were.” That’s a distinction many today, in our over-quantified era, still find to be a revelation. Around that same time, for example, it was shown that “horse-drawn traffic was actually louder than automobiles or trucks,” even though modern vehicles were generally the source of citizen complaints (per Edward Elway Free, using a “Western Electric audiometer”).

At the turn of the century, back in 1905, Julia Barnett Rice “counted almost 3,000 whistles [of tugboats] in just one night,” leading two years later to the Bennett Act. Of course, once noise laws were set, matters of race and class came into play as to what was and wasn’t criminal. Thompson lays this all out in her excellent book.

Here’s another editorial cartoon reproduced in The Soundscape of Modernity. It’s from the same year, 1930:

The New Yorker published the piece by Otto Soglow: waterway gondolas replacing elevated trains, a louder firework to punish someone setting off a firework, a jack-in-the-box replacing a car horn. I immediately got the silent newspaper hawkers in the Soglow. Unclear to me was the garbage truck joke, which friends later helped me understand: gymnasts making quick, quiet work of the pails.

The silent picture joke still confuses me, all the more so because being the final panel, it serves as the punch line of a series of punch lines. This is the joke he chose to end on, and I understand it the least. Silent movies weren’t really silent. We just call them that. They had scores. Projectors were loud. They were often raucously attended. Perhaps the appearance in Soglow’s strip was a matter of instant nostalgia. Perhaps three years after The Jazz Singer, people were already regretting the talkie. Or perhaps the point is the lonely theater employee below the marquee: you could happily attend a silent movie in 1930 because the crowds were elsewhere.

twitter.com/disquiet: Armonica, GIF(t)s, Bosch

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.

▰ I love when members of the Disquiet Junto post images of their works-in-progress. These are photos by participants’ set-ups from doing the latest project, which explores the glass armonica of Benjamin Franklin, whose original Junto society inspired our own.

The top one is by sixolet/Naomi from the San Francisco Bay Area. The bottom one is by RabMusicLab of Heidelberg, Germany.

▰ Oh, some Moog-stuff in that new Hulu documentary about Paul McCartney (featuring Rick Rubin on mixer and cross-talk interview chatter), via Rob Sheffield at rollingstone.com. (“Day or night he’ll be there any time at all, Doctor Robert”).

▰ Diced carrots are the Legos of the kitchen (unless, of course, there’s already Lego on your kitchen floor).

▰ I’ve wondered why I say GIF as in “gift” (not as in a kind of peanut butter). Today I recalled: I learned the word in the early 1990s from a graphic designer who traded “gift images”* he made with other designers. Time passed before I learned “gift” was in fact “GIF.”

*obscene 😳

▰ Just loved how just before his final confrontation in the final season of Bosch, the title character went ahead and quoted the show’s long-running theme song (that he “can’t let go”). Not quite breaking the fourth wall, but sure as heck knocking on it.

▰ Wax Trax!, ECM, Warp, Leaving

▰ OK, on that note, have a great weekend. Between notes-tidying and bike riding and longform writing and recipe-trying-out and an inevitable nap … well, we’ll see what there is time for. See you Monday, or maybe Tuesday.

The Rain Is Its Own Sort of Pixel

Speaking of the cultural territory around deepfakes: this video of a walk around Manhattan in the rain is so high-resolution, its stabilization so strong, that it is as if we are ourselves playing, or at least watching, a video game of New York. We are reminded constantly that we are looking at pixels of reality. And of course, the world of this Manhattan is largely digital to begin with, what with all the massive video billboards defining the circumspect horizons of Time Square and its adjoining blocks. Throughout, there is sound, as high-resolution as the footage, the stereo spectrum rich with activity. There may be hybrids and electrics among the passing vehicles, but in the rain it doesn’t matter. The whir is a memory of catalytic masses. The rain is its own sort of pixel.

Video by Nomadic Ambience originally posted to YouTube.

This Week (or So) in Vocal Deepfakes:

The director of a documentary film uses an AI engine so that his celebrated, deceased subject can speak from beyond the grave: theverge.com.

A musician creates a business built around deepfake technology, letting other musicians engage with her voice: rollingstone.com.

Bedroom producers make “fan fiction” songs featuring the AI-engineered voices of actual stars: billboard.com.

Synthetic voices belatedly catch up with CGI, and all-digital animation may be in our near future: technologyreview.com.

Initial vaguely related thoughts:

All bands start as cover bands.

There’s a whole culture of nightclub performers, cover bands, and actors having careers (or partial careers) being other people.

There’s an uncanny valley between John Fogerty being sued for sounding like himself and the verdict against Robin Thicke and Pharrell Williams in the “Blurred Lines” case.

A lot of the voices of fictional robots and androids in film and television are the voices of humans (see: 2001: A Space Odyssey, WarGames, Max Headroom, Colossus: The Forbin Project, and so on).

The future is especially meaningful when viewed through the lens of the past.

Disquiet Junto Project 0498: Sonic Entomologist

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 the end of the day Monday, July 19, 2021, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, June 15, 2021.

Tracks will be added to the playlist for the duration of the project.

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

Disquiet Junto Project 0498: Sonic Entomologist
The Assignment: Create a new hybrid insect from the sound of two different insects.

This project is the second of three that are being done over the course of as many months in collaboration with the 2021 Musikfestival Bern, which will be held in Switzerland from September 1 through 5 under the motto “schwärme” (“swarms”). For this reason, a German translation is provided below. We are working at the invitation of Tobias Reber, an early Junto participant, who is in charge of the educational activities of the festival. This is the third year in a row that the Junto has collaborated with Musikfestival Bern. Select recordings resulting from these three Disquiet Junto projects will be played and displayed throughout the festival.

Step 1: You will be playing mad scientist this week, or at least sonic scientist. Put that hat on.

Step 2: A large number of insects were invented for the previous project in this series. Many of them were made available for download and subsequent remixing. Check them out here:

https://we.tl/t-dWFMGwmyad

Step 3: Choose two insects from the ones available in Step 2. Imagine a hybrid of the two insects, created in a laboratory.

Step 4: By combining the sounds of the two insects selected in Step 3, record the sound of that hybrid you imagined. What does it sound like? Is it a refined creation, or a Frankenstein nightmare? Is it better, stronger, faster, or prone to mutation and ill health?

Background: There will be public display cases at the festival, and we will set up motion triggers that cause an insect sound to occur when people pass by. We will do so with signage explaining that it documents experimental insect life. The participants whose work is included will be listed by name.

Seven More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0498” (no spaces or quotation marks) in the name of your tracks.

Step 2: If your audio-hosting platform allows for tags, be sure to also include the project tag “disquiet0498” (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 tracks. It is helpful but not essential that you use SoundCloud to host your tracks.

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

https://llllllll.co/t/disquiet-junto-project-0498-sonic-entomologist/

Step 5: Annotate your tracks with a brief explanation of your approach and process.

Step 6: If posting on social media, please consider using the hashtag #disquietjunto and #musikfestivalbern 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 the end of the day Monday, July 19, 2021, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, July 15, 2021.

Length: The length of your finished track should be 20 seconds.

Title/Tag: When posting your tracks, please include “disquiet0498” in the title of the tracks, and where applicable (on SoundCloud, for example) as a tag.

Upload: When participating in this project, 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: It is always best to set 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 498th weekly Disquiet Junto project — Sonic Entomologist (The Assignment: Create a new hybrid insect from the sound of two different insects) — at: https://disquiet.com/0498/

Thanks to Tobias Reber and Musikfestival Bern for collaboration on this project. More on the festival at:

https://www.musikfestivalbern.ch/
https://www.instagram.com/musikfestival_bern
https://www.facebook.com/musikfestivalbern

More on the Disquiet Junto at: https://disquiet.com/junto/

Subscribe to project announcements here: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0498-sonic-entomologist/

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 by Nick Southall, and used thanks to Flickr and a Creative Commons license allowing editing (cropped with text added) for non-commercial purposes:

https://flic.kr/p/7Syf86

https://creativecommons.org/licenses/by-nc/2.0/

. . .

Disquiet Junto Projekt 0498: Sonic Entomologist
Die Aufgabe: Erschaffe ein Hybrid-Insekt aus den Klängen zweier Insekten.

Dieses Projekt ist das zweite von drei, die im Laufe von ebenso vielen Monaten in Zusammenarbeit mit dem Musikfestival Bern 2021 durchgeführt werden, welches vom 1. bis 5. September in der Schweiz unter dem Motto “schwärme” stattfinden wird. Wir arbeiten auf Einladung von Tobias Reber, einem frühen Junto-Teilnehmer, der für die pädagogischen Aktivitäten des Festivals verantwortlich ist. Dies ist das dritte Jahr in Folge, in dem die Junto mit dem Musikfestival Bern zusammenarbeitet. Ausgewählte Aufnahmen, die aus diesen drei Disquiet Junto-Projekten entstehen, werden im Rahmen des Festivals gespielt und ausgestellt.

Schritt 1: Du übernimmst diese Woche die Rolle eines verrückten Wissenschaftlers, oder zumindest eines Klangwissenschaftlers. Setz dir diesen Hut auf.

Schritt 2: Eine grosse Anzahl Insekten sind für das vorangehende Projekt in dieser Reihe erschaffen worden. Viele davon sind zum Download und fürs Remixing zur Verfügung gestellt worden. Du findest sie hier zum Download:

https://we.tl/t-dWFMGwmyad

Schritt 3: Wähle zwei Insekten von jenen in Schritt zwei aus. Erschaffe ein Hybrid der zwei Insekten, erschaffen in einem Labor.

Schritt 4. Zeichne den Klang dieses Hybridinsekts auf, indem du die Klänge der zwei Insekten aus Schritt 3 kombinierst. Wie klingt das? Ist es eine raffinierte Schöpfung oder ein Frankenstein’scher Albtraum? Ist es besser, stärker, schneller, oder anfällig für Mutationen und schlechte Gesundheit?

Zum Hintergrund des Projekts: Im Rahmen des Festivals wird es öffentliche Schaukästen geben, und wir werden Bewegungsmelder aufstellen, die ein Insektengeräusch auslösen, wenn Leute vorbeigehen. Wir werden dies mit einer Beschilderung tun, die erklärt, dass hier experimentelles Insektenleben dokumentiert wird. Die Teilnehmer, deren Arbeit aufgenommen wird, werden namentlich aufgeführt.

Sieben weitere wichtige Schritte wenn deine Komposition fertig ist:

Schritt 1: Verwende „disquiet0498“ (ohne Leerschläge und Anführungszeichen) im Namen deines Tracks.

Schritt 2: Falls deine Audio-Plattform Tags zulässt: stelle sicher dass du den Projekt-Tag „disquiet0498“ (ohne Leerschläge und Anführungszeichen) verwendest. Vor allem auf SoundCloud ist dies hilfreich um anschliessend eine Projekt-Playlist erstellen zu können.

Schritt 3: Lade deinen Track hoch. Es ist hilfreich, aber nicht zwingend, wenn du dazu SoundCloud verwendest.

Schritt 4: Poste deinen Track im folgenden Diskussions-Thread auf llllllll.co:

https://llllllll.co/t/disquiet-junto-...

Schritt 5: Füge deinem Track eine kurze Erklärung zu deiner Herangehensweise bei.

Schritt 6: Falls du den Track auf den sozialen Medien erwähnst, verwende gerne die Hashtags #disquietjunto #musikfestivalbern so dass andere Teilnehmer deinen Hinweis besser finden können.

Schritt 7: Höre und kommentiere die Stücke deiner Junto-Kolleg*innen.

Weitere Details:

Deadline: Die Abgabefrist für dieses Projekt ist der Montag, 19. Juli 2021 um 23.59 Uhr wo immer du bist. Das Projekt wurde am Donnerstag, 15. Juli 2021 gepostet.

Dauer: Die Dauer des Stückes sollte ca. 20 Sekunden sein.

Titel/Tag: Wenn du das Stück postest, verwende bitte „disquiet0498“ im Titel des Tracks und, wo möglich (beispielsweise auf SoundCloud) als Tag.

Upload: Wenn du bei diesem Projekt mitmachst, dann füge deinem Post eine Beschreibung deiner Vorgehensweise bei – Planung, Komposition und Aufnahme. Diese Beschreibung ist ein zentrales Element im Kommunikationsprozess der Disquiet Junto. Fotos, Video und eine Auflistung der verwendeten Instrumente und Werkzeuge sind immer willkommen.

Download: Ermögliche gerne das Herunterladen deiner Komposition und erlaube attribuiertes Remixing (z.B. eine Creative Commons-Lizenz welche nicht-kommerzielles Teilen mit Attribution erlaubt und Remixes zulässt).

Wenn du den Track online postest, füge ihm als Kontext die folgende Information bei:

Mehr über dieses 498. wöchentliche Disquiet Junto-Projekt – Sonic Entomologist (Die Aufgabe: Erschaffe ein Hybrid-Insekt aus den Klängen zweier Insekten.) unter:

https://disquiet.com/0498/

Dies ist das zweite von drei Projekten in Zusammenarbeit mit dem Musikfestival Bern 2021, welches vom 1.-5. September stattfindet. Weitere Informationen unter:

https://www.musikfestivalbern.ch/
https://www.instagram.com/musikfestiv...
https://www.facebook.com/musikfestiva...

Mehr zur Disquiet Junto unter:https://disquiet.com/junto/

Abonniere die wöchentlichen Projekt-Ankündigungen hier:http://tinyletter.com/disquiet-junto/

Die Diskussion des Projekts findet statt auf llllllll.co unter:

https://llllllll.co/t/disquiet-junto-...

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

Das mit dem Projekt assoziierte Bild ist von Nick Southall, und wird dank Flickr und einer Creative Commons-Lizenz (zugeschnitten und mit hinzugefügtem Text) für nichtkommerzielle Zwecke:

https://flic.kr/p/7Syf86

https://creativecommons.org/licenses/...