Marc Weidenbaum's Blog, page 464
February 2, 2013
Layering Reality (MP3)
From the excellent TouchRadio podcast series comes an array of field recordings by Jez Riley French. Much of the TouchRadio series includes field recordings, some raw (as in the work of Chris Watson) and some cooked (wherein real world sounds are transformed into raw material for a composition). In the case of this piece by French, the approach is somewhere in between, a layering and sequencing of documentary audio (MP3).
Download audio file (Radio90.mp3)
He explains the contents of his mix, a little over 12 and a half minutes in length and titled “instamatic: blue mountains, new south wales, australia”:
One of a bower floor, with contact microphones and geophone (nb. some of these low frequencies will not be audible via computer speakers) alongside a dawn chorus amidst light rain – drops falling centimetres from a conventional stereo microphone. Towards the middle of the piece, a further contact microphone recording enters, revealing one of the most bizarre fence wire sounds i’ve yet managed to gather.
The above photo accompanied the track when it was first posted at touchradio.org.uk. More from French at jezrileyfrench.co.uk.
Past Week at Twitter.com/Disquiet
Man, already over 20 tracks in the 56th weekly @djunto: https://t.co/fI78AZcM. Music from the tick of a clock. ->
Psyched about this new @MexWithGuns + @D1egoBernal cut: http://t.co/iN9hMRwQ. And I finally got to make my "Beats with the Councilman" joke. ->
Excited for this Thursday's @djunto project. The project was proposed by Michel Banabila (@banabila). It involves human speech. ->
RIP, jazz figure Butch Morris (b. 1947): http://t.co/z0EHttvM ->
Today's was 1st Tuesday noon siren after re-reading Delisle's Pyongyang, which includes phrase "Municipal loudspeakers intone their litany." ->
Hitchcock poster or lost Peter Gabriel album cover? http://t.co/XuFCyDGN ->
Looking forward to the opening of the Silence exhibit tonight at the Berkeley Art Museum. ->
Today's unintentional remix provided by earbud cord rubbing against jacket zipper while waking. ->
RIP, Steven Deal, aka Stevo, of Bleached Black. Very sad. Via @audiation ->
New semester of course I teach on sound in the media landscape starts a week from today. Very excited to meet the new students and dive in. ->
New @djunto project today developed by Rotterdam-based Michel Banabila, who's collaborated with Czukay, Machinefabriek, Zenial, among others ->
Silence. Massive exhibit currently at the Berkeley Art Museum. http://t.co/4WTK3ozz ->
Please join the 57th @djunto project. Explore UCLA's Phonetics Lab Archive for its emotive content http://t.co/XdREURGZ http://t.co/spRx6AYA ->
The 57th project is in 8 (!) languages: Afrikaans, Croatian, Dutch, English, French, Japanese, Polish, and Turkish: http://t.co/spRx6AYA ->
Weird WordPress/markdown issue in the current @djunto instructions. Markdown is removing an underscore in text target URLs. #hassle #major ->
Any experts in Markdown wanna remind me how to get around two underscores in a URL mistakenly triggering italics? Thanks! ->
Markdown support. Thanks! RT @inky: @disquiet ah! escaping them like this might work: \_ (not sure if that works universally in markdown) ->
Man, I wish I were in Rome for this: http://t.co/Vmv3ruQB. Exhibit on intersection of sound and design. ->
RIP, Nagra creator and audio-engineering legend Stefan Kudelski (b. 1929) http://t.co/mQVuTjRa ->
February 1, 2013
Aeolian MP3
The aeolian harp is among the earliest generative instruments. It consists of a series of strings set out and left for nothing but the wind to engage with them. This is a recording of one such instrument developed by Rick Tarquinio. The above photo is from the post of the track on Tarquinio’s BandCamp page, and there’s another at his soundingplace.com site. The sound is less a matter of chords than of slowly alternating swells of deep, sonorous tones. According to Tarquinio, this recording was made in “a chilly breeze,” but there is nothing brittle about the excited strings, which throb with their inherent, insistent hum. In practice, the harp is as much a composition as it is an instrument: it’s a system set out for a series of random actions, in the form of wind, to put into play. As such, it is a distant ancestor of the modern-day generative music app, such as Brian Eno and Peter Chilvers’ Bloom, in which chance incidents trigger a sequence of harmonically structured possibilities.
windharp 130107 by Rick Tarquinio
Track originally posted at a “name your price” rate at ricktarquinio.bandcamp.com. More from Tarquinio at soundingplace.com.
January 31, 2013
Disquiet Junto Project 0057: Phoneme Transmit
There was an initial error in the target URLs for the source MP3s but it has been sorted out. The links were corrected within an hour and a half of the project’s initial publication online, and the issue only affected this page, not the links on the SoundCloud page or in the TinyLetter email. If any of the links don’t work, please let me know at marc@disquiet.com. Thanks.
. . .
Each Thursday at the Disquiet Junto group on Soundcloud.com 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.
This week’s project is especially exciting because it is the first Disquiet Junto project whose proposal originated from outside the Junto group. Almost every project from the first through last week’s, the 56th, was devised by me with occasional assistance by participants. This week’s was proposed by Rotterdam-based musician Michel Banabila. We’ll see more such guest proposals in the future, some fully proposed by other individuals and some done in coordination, such as a collaboration at the invitation of Geoff Manaugh as part of a course he is teaching this semester at Columbia University about the San Andreas Fault.
This assignment was made in the early afternoon, California time, on Thursday, January 31, 2013, with 11:59pm on the following Monday, February 4, as the deadline. Below are translations into seven languages in addition to English: Afrikaans, Croatian, Dutch, French, Japanese, Polish, and Turkish, courtesy respectively of Kurt Human, Darko Macan, Michel Banabila, Éric Legendre, Naoyuki Sasanami and Yukiko Yamasaki, Grzegorz Bojanek, and M. Emre Meydan.
Here’s a little background on Banabila, pictured below, more from whom at banabila.com:
Michel Banabila (born 1961 in Amsterdam) is a sound artist, composer, and producer. Since his 1983 he has released over 30 albums and collaborated with, among others, Holger Czukay, Machinefabriek, Robin Rimbaud, and Zenial. He has produced musical scores for numerous films, documentaries, theatrical plays, and choreographers, and has worked on various projects with video artists such as Geert Mul, Olga Mink, and Monoscope, and with photographer Gerco de Ruijter.
Image up top via Flickr and Creative Commons: flickr.com.
These are the instructions that went out to the group’s email list (at tinyletter.com/disquiet-junto).
. . .
Disquiet Junto Project 0057: Phoneme Transmit
This is a shared-sample project. It focuses on language and emotion.
You are being provided with three audio recordings from the Phonetics Lab Archive at UCLA. As the lab’s webpage (at archive.phonetics.ucla.edu) explains, “The materials on this site comprise audio recordings illustrating phonetic structures from over 200 languages.”
You will use these three MP3s as source material for the project. They are from the languages Buryat, Navajo, and Zulu.
http://archive.phonetics.ucla.edu/Lan...
http://archive.phonetics.ucla.edu/Lan...
http://archive.phonetics.ucla.edu/Lan...
From each of these three language-specific MP3s you will select four words. (Don’t use the voice of the technician, who is occasionally heard.) From this total of 12 words you will, through cut and paste, construct new sentences. These nonsense sentences will serve as the a cappella vocal of a new song. All literal meaning is lost in the process; all that is left are emotions.
Your piece should consist of three parts, each of equal length. The first part should sound “angry.” The second part should sound “very silent, vulnerable.” The third part should sound “happy, exultant.”
No other sounds or instruments should be used. You can pitch, stretch, or process the source audio as you please, but it should always sound like someone trying to say something.
Deadline: Monday, February 4, 2013, at 11:59pm wherever you are.
Length: Your finished work should be between 2 and 4 minutes in length.
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 “disquiet0057-phonemetransmit” in the title of your track, and as a tag for your track.
Download: It is necessary, due to the source material, that your track is set as downloadable, and that it allows for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution).
Linking: When posting the track, be sure to include this information:
This project was developed for the Disquiet Junto by Michel Banabila (banabila.com).
The source audio is from the UCLA Phonetics Lab Archive http://archive.phonetics.ucla.edu.
More on this #57th Disquiet Junto project at:
http://disquiet.com/2013/01/31/disqui...
More details on the Disquiet Junto at:
http://soundcloud.com/groups/disquiet...
. . .
Project in Afrikaans:
Disquiet Junto 0057 – Foneem Transit
Hierdie projek is a sample-deel projek. Dit fokus op taal en emosie.
Jy word drie klankopname gegee van die Phonetics Lab by die UCLA. Wie die Lab se webwerf ( archive.phonetics.ucla.edu ) verduidelik,
Die materiaal op hierdie webwerf bestaan uit klankopname die die fonetise struktuur van meer as 200 tale illustreer.
Jy moet hierdie 3 MP3s gebruik as bron-materiaal vir hierdie projek. Die opname kom uit die tale Buryat, Navajo en Zulu.
http://archive.phonetics.ucla.edu/Lan...
http://archive.phonetics.ucla.edu/Lan...
http://archive.phonetics.ucla.edu/Lan...
Uit elkeen van hierdie taal-spesifieke opname, moet jy vier woorde kies. (Die stem van die tegnikus moet jy nie gebruik nie, alhoewel hy af en toe te hoor is). Uit hierdie totaal van 12 woorde moet jy sny en plak om nuwe sinne te skep. Hierde nonsens sinne sal dan as a capella stemband van ‘n nuwe lied dien. Die letterlike bedoeling word verlore in die proses, alles wat oor bly is emosies.
Jou stuk moet uit drie gelyke dele bestaan. Die eerste deel sal moet ‘kwaad” klink. Die twede “baie stil, kwesbaar” en die derde “gelukkig, jubelend”
Jy durf geen ander klanke of instrumente gebruik nie. Jy kan die opname se toonhoogte verander, dit strek of wie ookal proseseer, maar dit moet nog altyd klink as of iemand praat.
Sperdatum: Maandag, 4. Februarie 2013 11:59 NM waarokal jy is.
Lengte: Jou werk moet tussen 2 en 4 minute lang wees
Inligting: Wanneer jy jou track op SoundCloud plaas, sluit ook asb. in ‘n beskrywing van jou proses van beplanning, samestelling en opname van jou stuk. Hierdie beskrywing is ‘n belangrike deel van die inherente kommunikawie proses wat by Disquiet Junto plaasvind.
Titel/Tag: Wanneer jy jou track by die Disquiet Junto groep byvoeg op SoundCloud, sluit asb. die begrip ‘disquiet0057-phonemetransmit’ in die titel in, en ook as ‘n tag
Download:
Dit is verkiesbaar dat jou jy track as ‘downloadable’ gestel is en dat jy die moonltikheid biet vir ‘n toegeskryfde remix (bv. ‘n Creative Commons lisensie dat nie-kommersiële deel met toeskrywing toelaat).
Skakeling:
Wanneer jy jou track plaas, maak seker dat jy die volgende inligting ook insluit
This project was developed for the Disquiet Junto by Michel Banabila (banabila.com).
The source audio is from the UCLA Phonetics Lab Archive:
http://archive.phonetics.ucla.edu.
More on this #57th Disquiet Junto project at:
http://disquiet.com/2013/01/31/disqui...
More details on the Disquiet Junto at:
http://soundcloud.com/groups/disquiet...
. . .
Project in Croatian:
Disquiet Junto Projekt 0057: Transmisija fonema
Ovaj projekt kreće od zajedničkoga uzorka, a fokus mu je na jeziku i emociji.
Ponuđena su vam tri zapisa iz Arhiva Laboratorija fonetike na UCLA. Kako tumači njihova web stranica (archive.phonetics.ucla.edu): “Materijali na ovoj stranci sastoje se od audio zapisa što ilustriraju fonetske strukture više od 200 jezika.”
Za projekt ćete kao polazišni materijal iskoristiti ove tri MP3ice. Pripadaju burjatskom, navajo i zulu jeziku.
http://archive.phonetics.ucla.edu/Lan...
http://archive.phonetics.ucla.edu/Lan...
http://archive.phonetics.ucla.edu/Lan...
Iz svake od ove tri jezične MP3ice vi ćete izabrati četiri riječi. (nemojte rabiti snimateljeve riječi, koje se povremeno čuju). Od tih ćete 12 riječi, režući i lijepeći, konstruirati nove rečenice. Te će vam besmislene rečenice poslužiti kao a capella vokal za novu pjesmu. Svako konkretno značenje izgubit će se u procesu i ostat će samo emocije.
Vaša se skladba treba sastojati od tri dijela, sva tri jednake dužine. Prvi dio treba zvučati “gnjevno”. Drugi dio treba zvučati “vrlo tiho, ranjivo”. Treći dio treba zvučati “sretno, razdragano”.
Ne smije se koristiti nikakav drugi zvuk ili instrument. Polazišnom audiju možete mijenjati frekvenciju, trajanje ili ga kako drukčije procesirati, ali uvijek mora zvučati kao da nam netko pokušava nešto reći.
Rok: Ponedjeljak, 4. veljače 2013., minutu do ponoći po lokalnom vremenu.
Trajanje: Neka vam snimci traju između 2 i 4 minute.
Informacije: Kad stavljate svoj snimak na SoundCloud, molim vas dodajte i opis procesa planiranja, komponiranja i snimanja. Taj opis je ključan element komunikacijskog procesa koji je u srži Disquiet Junta.
Naslov/Tag: Kad stavljate svoj snimak na Disquiet Junto grupu na Soundcloud.com, molim vas da uključite “disquiet0057-phonemetransmit” u naslov snimka te u njegov tag.
Downloadiranje: Draže mi je ako omogućite download svoga snimka te ako je omogućen remiks uz citiranje izvornika (n.pr. licenca Creative Commonsa koja dopušta nekomercijalno dijeljenje uz navođenje izvornika).
Linkanje: Kad stavljate snimak, molim vas da dodate sljedeću obavijest:
This project was developed for the Disquiet Junto by Michel Banabila (banabila.com).
The source audio is from the UCLA Phonetics Lab Archive:
http://archive.phonetics.ucla.edu.
Više o 57. Disquiet Junto projektu na:
http://disquiet.com/2013/01/31/disqui...
More details on the Disquiet Junto at/Više o Disquiet Juntu na:
http://soundcloud.com/groups/disquiet...
. . .
Project in Dutch:
Disquiet Junto Project 0057: Phoneme Transmit.
Dit is een gedeeld sample-project.
Je krijgt drie opnames verstrekt van het UCLA Phonetics Lab Archive. Zoals de webpagina (archive.phonetics.ucla.edu) van het lab uitlegt ; “Het materiaal op deze site omvat audio opnames met voorbeelden van fonetische structuren uit 200 talen.”
Je gebruikt deze MP3s als bron materiaal voor het project, ze zijn van de talen Buryat, Navajo, and Zulu ;
http://archive.phonetics.ucla.edu/Lan...
http://archive.phonetics.ucla.edu/Lan...
http://archive.phonetics.ucla.edu/Lan...
Van elk van deze drie taal-specifieke MP3s selecteer je vier woorden. (Gebruik niet de stem van de opname-technicus die je af en toe hoort) Van dit totaal van 12 woorden, ga je, middels cut & paste, nieuwe zinnen maken. Deze onzin zinnen zullen dienen als de ‘a cappella stem’ van een nieuw lied. Alle letterlijke betekenis gaat verloren in het process, alles wat overblijft is emotie.
Je stuk moet tussen de twee en vier minuten qua lengte zijn. Het moet bestaan uit drie gedeeltes, elk even lang. Het eerste gedeelte moet boos klinken, het tweede gedeelte verstilt en kwetsbaar, het derde gedeelte blij en opgetogen. Geen andere instrumenten of geluiden dienen te worden gebruikt.
Je kan pitchen, stretchen, of op wat voor manier dan ook het bron materiaal bewerken zoals je wil, als het maar kinkt als ‘een wezen dat iets zeggen wil’.
Deadline : Maandag 4 Februari 2013, om 23:59 uur, waar je ook bent.
Informatie ; Wanneer je je track upload op soundcloud, voeg er dan een beschrijving van het process van je planning, componeren en opnemen van je track bij. Deze omschrijving is een essentieel element van het communicatieve proces, dat inherent is aan Disquiet Junto.
Titel/Tag :Wanneer je je track aan de Disquiet Junto groep toevoegd, zet er dan svp de term “disquiet0057-phonemetransmit” bij, in de titel van je track, en als tag voor je track.
Download : het is te prefereren dat je je track zet op ‘downloadable’, en dat het remixen toestaat. (dwz een Creative Commons licensie die niet-commercieel delen met remix mogelijkheid toestaat)
Koppelen ; Zorg ervoor dat wanneer je een track in de groep plaatst, er de volgende informatie is bijgesloten :
Dit project was ontwikkeld voor de Disquiet Junto door Michel Banabila (banabila.com)
Het audio bronmateriaal komt van het UCLA Phonetics Lab Archief http://archive.phonetics.ucla.edu.
Meer over dit #57th Disquiet Junto project ;
http://disquiet.com/2013/01/31/disqui...
Meer details over Disquiet Junto ;
http://soundcloud.com/groups/disquiet...
. . .
Project in French:
Projet Disquiet Junto 0057 : Émettre Phonème
Il s’agit d’un projet lié à un partage d’échantillons. L’accent est mis sur le langage et l’émotion.
Vous sont fournis trois enregistrements audio du UCLA Phonetics Lab Archive. Comme la page web du laboratoire l’indique (à archive.phonetics.ucla.edu) : « Les documents de ce site comprennent des enregistrements audio illustrant les structures phonétiques de plus de 200 langues. »
Vous utiliserez ces trois fichiers MP3 comme sources pour le projet. Ils proviennent des langues Bouriate, Navajo et Zoulou.
http://archive.phonetics.ucla.edu/Lan...
http://archive.phonetics.ucla.edu/Lan...
http://archive.phonetics.ucla.edu/Lan...
De chacun de ces trois MP3 spécifiques à une langue, vous sélectionnerez quatre mots (ne pas utiliser la voix du technicien, qui parfois est entendue). À partir de cette banque de 12 mots, grâce à la fonction couper-coller, vous construirez de nouvelles phrases. Ces phrases absurdes serviront de chant a cappella d’une nouvelle chanson. Tout sens littéral est perdu dans ce processus; ne demeure que les émotions.
Votre pièce doit comprendre trois parties, chacune d’égale longueur. La première partie doit sonner « en colère ». La deuxième partie doit sonner « très silencieux, vulnérable ». La troisième partie doit sonner « heureux, exultant ».
Aucun autres sons ou instruments ne doivent être utilisés. Vous pouvez modifier la hauteur, étirer, ou traiter la source audio comme il vous plaît, mais elle doit toujours ressembler à quelqu’un qui essaie de dire quelque chose.
Date limite : Lundi 4 février 2013, à 23 h 59 où que vous soyez.
Durée : Votre pièce complétée doit avoir une durée entre 2 et 4 minutes.
Information : S’il vous plait, lors du téléversement de votre piste sur SoundCloud, veillez à inclure une description de votre processus lié à la conception, la composition et l’enregistrement. Cette description est un élément essentiel du processus de communication inhérente au Junto de Disquiet.
Titre/mot-clé : Lorsque vous ajoutez votre pièce au groupe Disquiet Junto sur Soundcloud.com, veillez à y inclure l’expression « disquiet0057-phonemetransmit » dans le titre de votre pièce, mais également comme mot-clé.
Téléchargement : Il est préférable que votre piste soit définie comme téléchargeable, et permettant de la remixer avec attribution (soit une licence Creative Commons permettant une diffusion à des fins non commerciales avec attribution).
Lien : lorsque vous publiez votre pièce, S.V.P. inclure ces informations :
Ce projet a été développé pour le Junto de Disquiet par Michel Banabila:
La source audio provient du UCLA Phonetics Lab Archive:
http://archive.phonetics.ucla.edu
Plus de détails à propos de ce 57e projet Junto de Disquiet :
http://disquiet.com/2013/01/31/disqui...
Plus de détails à propos du projet Junto de Disquiet :
http://soundcloud.com/groups/disquiet...
. . .
Project in Japanese:
Disquiet Junto Project 0057: 音素による伝達
今週のお題は、制作者全員があるサンプル音源を共有し、言語と感性に重点的に取り組みます。
カリフォルニア大学ロサンゼルス校(UCLA)の音声学研究所公文書館が所蔵する３つの録音音源をサンプル音源として併用します。
研究所のホームページ（archive.phonetics.ucla.edu）には、「本サイトには２００を超える言語の音素配列構造を示す録音資料があります」との説明があります。
今回のプロジェクトでは、以下三つのmp3 フォーマットに収められた音源を活用します。音源ファイルは各々、ブリヤート語（Buryat）、 ナバホ語（Navajo）、そしてズールー語(Zulu)のデータ表現となります。
http://archive.phonetics.ucla.edu/Lan...
http://archive.phonetics.ucla.edu/Lan...
http://archive.phonetics.ucla.edu/Lan...
言語に焦点を当てた以上の三つのmp3 フォーマットに収められた音源から、それぞれ四つの単語を選択してください。（尚、時折聞こえてくる技士の声は省くものとします）。選んだ計１２単語を切り貼りし、新しい文章を構成します。このようにして仕上がった意味をなさない文章が、新曲のアカペラ・ヴォーカルになります。文字通りの意味はアレンジを経て失われ、残るは感性のみとなります。
楽曲は三部構成とし、それぞれの段落の長さは等しいものとします。第一部では「怒り」、第二部では「静寂さ、脆弱さ」、第三部では「快活さ、歓喜」を表現します。
他の音声や楽器は使用しないものとします。音源のピッチ変更、サンプルの引き延ばし、及び、加工は自由におこなっていただけます。但、いつ何時も、誰かが何かを言おうとしているのが聞こえる必要性があります。
〆切：2013年2月4日月曜日11:59pm 何処に住んでいるに関わらず
長さ：２〜４分の長さに留めて下さい。
情報：作品をサウンドクラウドのグループに投稿する際には、あなたの採用した構想、作曲、録音の過程についての説明をつけてください。このような記述が、このグループの本来の目的であるコミュニケーションに不可欠なものとなります。
タイトル／タグ：Disquiet Juntoグループに作品を投稿する際には”disquiet0057-phonemetransmit”という言葉をタグとしてタイトルに追加してください。
ダウンロード：通常通り、必ずしもダウンロード可能にする必要はありませんが、クリエイティブ・コモンズ・ライセンスのもとにリミックスを許可することが望ましいとされます。
リンク：投稿する際には以下の情報を追加してください。
This project was developed for the Disquiet Junto by Michel Banabila (banabila.com).
The source audio is from the UCLA Phonetics Lab Archive http://archive.phonetics.ucla.edu.
More on this #57th Disquiet Junto project at:
http://disquiet.com/2013/01/31/disqui...
More details on the Disquiet Junto at:
http://soundcloud.com/groups/disquiet...
. . .
Project in Polish:
Disquiet Junto Project 0057: Phoneme Transmit
Jest to projekt opierający się na idei dzielenia się samplami. Koncentruje się w pełni na języku i na emocjach.
Otrzymujecie trzy nagrania audio z Phonetics Lab Archive w UCLA. Według strony tej instytucji (archive.phonetics.ucla.edu), “Materiały z tej strony zawierają nagrania audio ilustrujące struktury fonetyczne z ponad 200 języków.:
Użyjecie podanych niżej trzech plików mp3 jako materiału źródłowego do projektu. Pochodzą z języków: Buryat, Navajo oraz Zulu.
http://archive.phonetics.ucla.edu/Lan...
http://archive.phonetics.ucla.edu/Lan...
http://archive.phonetics.ucla.edu/Lan...
Z każdego z tych trzech plików mp3 wybierzecie cztery słowa. (Proszę nie korzystać z głosu technika nagrań, który można usłyszeć co jakiś czas.) Z tych 12 słów utworzycie nowe zdania korzystając z techniki “kopiuj / wklej”. Te zdania, które nie będą miały sensu posłużą jako nagranie wokalne do nowej piosenki. Wszystkie dokładne znaczenia słów zostanie zatracone w czasie procesu; a wszystko to co pozostanie to emocje.
Utwór, który stworzycie powinien składać się z trzech części, każda takiej samej długości. Część pierwsza powinna być pełna “złości”. Część druga powinna brzmieć “bardzo cicho, delikatnie, krucho”. Część trzecia powinna wyrażać “szczęście, radość”.
Nie powinno korzystać się z żadnych innych dźwięków czy instrumentów. Można zmieniać wysokość dźwięków, rozciągać je lub przerabiać źródłowe dźwięki wedle życzenia, jednak zawsze powinno brzmieć to tak, jakby ktoś próbować coś powiedzieć.
Deadline: Poniedziałek, 4 lutego 2013, do godziny 23:59, gdziekolwiek mieszkacie.
Długość: Ukończony utwór powinien trwać mieć długość od 2 do 4 minut.
Informacja: Proszę podać opis procesu twórczego, czyli planowania, komponowania i nagrywania. Opis ten jest podstawowym i nieodłącznym elementem projektów Disquiet Junto.
Tytuł/Tag: Przy dodawaniu utworu do grupy Disquiet Junto, proszę dodać informację “disquiet0057-phonemetransmit” w tytule utworu i także na liście tagów.
Download: Byłoby dobrze, gdyby utwór można było pobrać, tak by można było wykonać remiksy (dlatego proszę o ustawienie licencji Creative Commons, które pozwalają na wykonaywanie prac pochodnych)
Linki: Po załadowniu, proszę o załączenie następującej informacji pod “chmurą”:
This project was developed for the Disquiet Junto by Michel Banabila (banabila.com).
The source audio is from the UCLA Phonetics Lab Archive:
http://archive.phonetics.ucla.edu.
More on this #57th Disquiet Junto project at:
http://disquiet.com/2013/01/31/disqui...
More details on the Disquiet Junto at:
http://soundcloud.com/groups/disquiet...
. . .
Project in Turkish:
Disquiet Junto Projesi 0057: Phoneme Transmit (Ses Birimi İletimi)
Bu bir ortak-ses projesi. Dil ve duyguya odaklanıyor.
Size UCLA’daki Phonetics Lab arşivinden 3 ses kaydı sağlanıyor. Laboratuvarın sitesinde (http://archive.phonetics.ucla.edu) de açıklandığı gibi, “Bu sitedeki malzeme, 200′den fazla dile ait fonetik yapıları örnekleyen ses kayıtlarından oluşuyor.”
Projede kaynak malzeme olarak bu üç MP3 dosyasını kullanacaksınız. Bunlar Buryat, Navajo ve Zulu dillerinden örnekler.
http://archive.phonetics.ucla.edu/Lan...
http://archive.phonetics.ucla.edu/Lan...
http://archive.phonetics.ucla.edu/Lan...
Dile-özel bu üç MP3′ün her birinden dört kelime seçeceksiniz (arada bir duyulan teknisyenin sesini kullanmayın). Bu şekilde elde ettiğiniz toplam 12 kelimeyi kesip yapıştırarak yeni cümleler oluşturacaksınız. Bu anlamsız cümleler yeni bir şarkının “a capella” (enstrüman eşliği olmadan, sadece insan seslerinden oluşan müzik) vokallerini oluşturacak. Bu süreçte kelimelere dair tüm anlam kaybolacak, geriye kalan ise duygular olacak.
Yapacağınız parça aynı uzunlukta üç bölümden oluşmalı. İlk bölüm “kızgın” tınlamalı. İkinci bölüm “çok sessiz, savunmasız” duyulmalı. Üçüncü bölüm ise “mutlu, sevinçli” olmalı.
Başka sesler veya enstrümanlar kullanılmamalı. Seslerin nota ve uzunluk değerleriyle istediğiniz gibi oynayabilir, onları özgürce işleyebilirsiniz, ama sonuçta elde ettiğiniz sesler sanki birisi bir şey söylemeye çalışıyormuş gibi duyulmalı.
Son Teslim Tarihi: 4 Şubat 2013 Pazartesi, 23:59 (yerel saatinize göre)
Uzunluk: Çalışmanızın uzunluğu yaklaşık 2 ila 4 dakika arasında olmalı.
Bilgi: Yaptığınız parçayı paylaşırken, lütfen bu parçanın planlama, besteleme ve kayıt süreciyle ilgili bilgi de verin. Bu açıklama, Disquiet Junto’ya içkin iletişim sürecinin önemli bir parçasıdır.
İsim/Etiket: Parçanızı Soundcloud.com’daki Disquiet Junto grubuna eklerken, lütfen “disquiet0057-phonemetransmit” kelimesini hem parçanın isminde, hem de etiket (tag) olarak kullanın.
Download: Kullanılan kaynak sesler sebebiyle, parçanızın indirilebilir olması ve “atfedilmiş (attributed) remix”e izin vermesi gerekiyor (orijinal sahibine atıf yapılarak ticari olmayan şekilde paylaşmaya izin veren bir Creative Commons lisansı gibi).
Linkler: Yaptığınız parçayı paylaşırken, şu satırları eklemeyi unutmayın:
Bu proje, Disquiet Junto için Michel Banabila tarafından geliştirildi. (banabila.com)
Kaynak sesler UCLA Phonetics Lab Arşivinden: http://archive.phonetics.ucla.edu/
57. Disquiet Junto projesi hakkında daha fazlası için:
http://disquiet.com/2013/01/31/disqui...
Disquiet Junto hakkında daha fazla detay için:
http://soundcloud.com/groups/disquiet...
January 30, 2013
API Music
They key word is “may.” The sentence is “The following sounds from freesound.org may appear in this piece.” The sentence was written by Evan X. Merz by way of explaining his recent work “The End of My Career.” The “end” part of that sentence likely has to do with the automation inherent in the piece’s composition, and the projected, if still quite fantastical, image of “composer” as a role lost to semi-intelligent robots, as in the production of cars or the wrangling of in-bound phone calls. This projection relates to the algorithmic approach that is the basis of the writing of “The End of My Career,” in which an API — “application programming interface,” or perhaps more colloquially the means by which a piece of software can access and act on data from another software service — scours a source of audio for related material and than works with them.
Merz write a bit more on the project in these notes associated with the track:
The End of My Career is an algorithmic piece generated by using the freesound.org API to search for and download sounds uploaded by freesound users. Using the FreeSound audio search capabilities, along with the Wordnik API to find related words, a graph of sounds related to the word ‘orchestra’ was assembled by custom software of my own design. Then, this graph was traversed by swarm-intelligent agents. Their movements over the graph dictated how the sounds were collaged in time and space.
The result is an enticing if semi-chaotic phalanx of fast-shifting quotes of pre-existing sound, many of them explicitly musical, like snatches of instrumentation. The “may” in the sentence seems to suggest that even after being provided an automated list of the material accessed by his project’s API endeavor, Merz can’t be quite sure what made the final cut.
Track originally posted at soundcloud.com/evanxmerz for free download. More from Merz at computermusicblog.com.
January 28, 2013
Beats with the Councilman
There’s a good joke somewhere in this, all about politics being bad for music. But the basic facts of it are that Diego Bernal initiated an extended break from his exemplary beatcraft when he ran for and then won the City Council seat for San Antonio District 1. Every once in awhile, an email announcement pops up with Bernal’s name on it, but it’s always a politics-related project, some election information or the announcement of one of his regular “Coffee with the Councilman” opportunities to get to spend time with his constituents.
So, it was all the more spectacular when the most recent such email, originating from his longtime musical colleague Ernest Gonzales (aka Mexicans with Guns), turned out to be a double pleasure. First, there’s the track itself: yes, the email announced not a new city development project but a tasty bit of music, titled “Somber Arrows.” It’s a deeply downtempo slurring of lounge-ready motifs straight out of an Ennio Morricone after-hours outtakes film festival. Second, there’s the news that “Somber Arrows” is a teaser of a full, proper EP that’s forthcoming.
But get it fast, because according to Gonzales’ email, it’s limited to 100 free downloads.
Track originally posted for free download at soundcloud.com/ernestgonzales.
January 27, 2013
Requiem for Lost Cosmonauts (MP3)
Isn’t This Dangerous? by Lefolk is a collection of rhythmic drones that lean heavily to the minimal side of minimal techno. The beats, such as they are, are more a matter of gentle pulses than overt metrics. If the highs and lows of a sine wave can be appreciated as a rhythmic contour, then at its best that is about as far as Isn’t This Dangerous? gets. A key track is the one that closes the album. Titled “Alexis” (all the titles reportedly correlate with “lost cosmonauts”), it is a slowly proceeding series of waves, afflicted with occasionally more brittle elements (MP3). There are eight tracks on the album in total. In addition to Alexis there are tributes to Gennady, Mirya, Aleksei, Piotr, Serenti, Ludmila, and Ivan.
Download audio file (08-alexis.mp3)
Album originally posted for free download at restingbell.net. Lefolk is Leif Folkvord of Ann Arbor, Michigan, more from whom at lefolk.com. The Resting Bell netlabel is based out of Berlin, Germany.
January 26, 2013
iOS Dub
What really makes the melody that floats atop the Casio-inspired beat of “Float On By” by Mike 88 is how it avoids melody-ness. Sure, it is more varied, more melodic, than is often heard in beat-driven, dub-oriented, iOS-generated electronic music, but it is also willfully absent of the key things that make melody melody, which is inward consistency, such matters as cycles of repetition and incremental development. Instead the melody veers between brief riffs and droning mantras, and often ventures into rangy soloing, more like an extended solo by a jazz musician than a verse by a songwriter. It’s heady stuff. Mike 88 states in a brief accompanying note that the whole thing was put together in a series of iOS music tools: DM1, NodeBeat, iKaosilator, and Orphion.
Track originally posted at soundcloud.com/mike-88. More from Mike 88, aka Mike Dayton, at twitter.com/dayton_mike.
Past Week at Twitter.com/Disquiet
The Generative Rhythms of Domestic White Noise: https://t.co/ZFPX3vYi. AKA, 60 seconds of my dishwasher. ->
Well, fortunately AppleCare is handling my replacement power adapter. ->
Yo, OS X people: Favorite FLAC ripper(s)? ->
Now 29 musicians have reworked solo @nilsfrahm piano pieces in the latest https://t.co/hrpu0A1s project. Cc @djunto ->
Domestic site-specific sound installation. RT @jeffkolar: As the temp drops to 1° in Chicago, the HVAC whistle begins to crescendo. ->
Post audio of your dishwasher -> comments thread about BPM & ventilation: https://t.co/YyD2622n ->
The thief's internalized score, a panel from the third of Darwyn Cooke's Parker adaptations: http://t.co/MKI3ruAb ->
42 musicians have reworked @nilsfrahm solo piano, with quarter of a day until @djunto deadline: https://t.co/hrpu0A1s. Cc: @ErasedTapesPR ->
We just hit 50 tracks by as many musicians in @nilsfrahm remix project, with several hours to go before deadline: https://t.co/hrpu0A1s ->
The not infrequent but always sudden need to listen to Breakbeat Era: http://t.co/uR9cngNh ->
Reading Dr. Seuss to my (nearly) 2.5-year-old finally influenced me. Noticed loose Lorax association in something of mine soon to be printed ->
So, how long before an Android or iOS device can use something like AirDisplay or iDisplay to power its own second screen? ->
External CD ripper is creating magnificent drone-hum on metal desk while FLAC software is in effect. ->
Tuesday noon siren in San Francisco, surrounded by students on lunch break. It's like hall-monitor overkill. ->
This week's @djunto project will require a clock that has a ticking second hand, and if possible a contact microphone. ->
Preparing for wingnut impeachment demands due to Beyoncé lip-synching inauguration scandal. ->
Spending a lot of time reading articles about Upstream Color mostly as a means to get a sense of what it sounds like. #sundance ->
Got @RearthUSA case for my Nexus 4: http://t.co/rgSp2pRb. Was hesitant about a "hard" case but it's thinner than many "gels." Study. Solid. ->
This makes me happy. MT @JaschaHoffman: Shane Carruth's Upstream Color : plot // William Basinski's tape loops : song form (@disquiet) ->
Very cool. Thanks. MT @GuyBirkin: Sound-a-day project involving processed field recordings by Gilles Helsen: http://t.co/YznTXA5m ->
Last week's @djunto involved @nilsfrahm's beautiful piano. This week's, starting tomorrow, will involve a purposefully mundane audio source. ->
The soft breeze of the laptop's fan on overdrive makes the virus scan seem all the more refreshing. ->
3D printing of everyday objects will have arrived when I no longer get press releases about 3D printing of everyday objects. ->
Still thinks an entire Fringe-meets-Homeland TV series could spin off from the "Shock the Monkey" video. ->
A million geek voices crying out at once. Some of them quite happily. ->
The big question for me is what JJ Abrams will do with John Williams. ->
Instructions for the 56th weekly Disquiet Junto (@djunto) project go live shortly: music from the tick of a clock. ->
Plans for new @djunto project went live at https://t.co/omMowbWd + http://t.co/bwbhJoJB & went to the email list (almost 400 members). ->
Discussion about the Star Wars / Star Trek "no-hire agreement" is overshadowing the Apple / Google one. ->
My first Vine post is of a 7" single of lock-groove music. http://t.co/de04fRu5 ->
The new @djunto project is available in 5 languages: Croatian, English, Japanese, Polish, and Turkish: http://t.co/bwbhJoJB ->
Source audio for current @djunto, if you need it. MT @Schemawound: Anyone needing a clock sound, here is my recording: http://t.co/uy6dupTs ->
Officially upgraded to FLAC (from 320kbps MP3s) for my CD rips. Did this at times in the past, but it's now my default. ->
Time for letterpress collectable book: memorable @djunto titles. MT @ethanhein: New track: Steve Reich Checks His Watch… ->
Just added the Afrikaans translation to the current @djunto project. Our translators are amazing. ->
January 25, 2013
A Recently Ticking Clock
Sometimes the Disquiet Junto projects are very new to the participants, and sometimes they’re quite familiar. Just last night the 56th of these weekly endeavors in the realm of creative restraint began, and it took as its subject the sound of a ticking clock, which was intended to be sampled by each participant and spun into something new. As it turns out, at least one Junto regular, Schemawound, had already done such a thing. On his 2010 album Hospital Songs, the track “Datapump” clearly employs the ticking of a clock. One of the interesting things about the use of a second hand as a rhythm is the extent to which the space between the ticks is heard. Here, the level of detail in the tick barely seems to leave space before the next one kicks in. Layered on is a haunting drone that sways back and forth with a woozy malevolence.
Track originally posted at soundcloud.com/schemawound. The full album is available at itunes.apple.com and (name your price, including free) at music.schemawound.com. More from Schemawound, aka Jonathan Siemasko of Naugatuck, Connecticut, at schemawound.com and twitter.com/Schemawound.
