Marc Weidenbaum's Blog, page 466

The Dark Lull

Mark Ward does his best to underplay his track, but it’s a wonderfully glitchy bit of atmospheric play, and shouldn’t be missed. In his post, he mentions trimming it down (but it’s still over five minutes long), and he limits his description to the following: “Electronic babble, guitar drones and stretched voices.” That doesn’t get to the way the pitter patter, pixel-thin, razor-sharp beats prick at the light, ethereal drone of haze that he’s created. Nor does it begin to touch on the track’s structure, the way a deep lull intrudes midway through, tricking the listener into a dark space by suggesting the newfound quiet initially as a luxurious pause, when in fact it’s a tonal shift that flirts with willful, if artful, discomfort.

Track originally posted for free download at soundcloud.com/mark-ward. More from Ward at mark-ward.org.

6 Videos from the NYC Disquiet Junto Concert (Nov. 2012)

This past November, on the first Tuesday after Thanksgiving, the fourth Disquiet Junto concert of 2012 was held at the gallery apexart in Manhattan. (The previous three were in Chicago in April, Denver in August, and then San Francisco the week after the apexart show.) Six musicians each performed two works. They did a piece they wanted to share with the audience and each other, and they did a piece that correlated with the apexart exhibit “As Real As It Gets,” which was organized by Rob Walker. Walker had invited the Disquiet Junto to provide the installation score to the exhibit, a vast expanse of sound that came about over the course of several Junto projects.

The musicians at the apexart event were Arcka (Shawn Kelly), Brian Biggs, Ethan Hein, Kenneth Kirschner, Tom Moody, and Roddy Schrock (Schrock was joined for his non-Junto piece by Joon Oluchi Lee). Videos of the five of the six performances, as well as of my rambling introductory comments (I was in town from San Francisco), are streaming and downloadable at apexart.org. Moody, whose video isn’t available, has posted at tommoody.us audio that was featured in his set.

The project for the evening involved making music made from the sound of field recordings of large-scale retail spaces, and that music was intended to approximate the mechanistic fury inherent in Zola’s novel Au Bonheur des Dames (1883), which was a touchstone for the overall exhibit. More on the exhibit and event at Walker’s designobserver.com column
and here, and at apexart.org. Over at bldgblog.blogspot.com, Geoff Manaugh wrote some kind words in advance of the concert.

Stems: ~50Hz Forensics, Italian Horror, url2.la

◼ Power Station: Fascinating piece at bbc.co.uk on how forensic police detection can use the ~50Hz hum of the power grid as a date/time-stamp for confirming legitimacy of audio evidence:

This buzz is an annoyance for sound engineers trying to make the highest quality recordings. But for forensic experts, it has turned out to be an invaluable tool in the fight against crime.

While the frequency of the electricity supplied by the national grid is about 50Hz, if you look at it over time, you can see minute fluctuations in the order of a few thousandths of a hertz.

◼ Italo Horror: Trailer for Berberian Sound Studio, directed by Peter Strickland, about a sound engineer employed by an Italian horror-film studio (thanks for the tip, apeshot.tumblr.com). The score is by Broadcast (guardian.co.uk):

◼ Scanner Patrol: Nice to see Eric Eberhardt‘s youarelisteningtolosangeles.com (and other cities, including New York, Chicago, Montréal, San Francisco, Boston, San Diego, Philadelphia, Atlanta, Detroit, Houston, Minneapolis, Portland, Austin, Baltimore, Denver, and Phoenix), which layers streaming music with police scanners, getting some coverage: latimes.com rightly brings Michael Mann’s films into play, while nsfwcorp.com does some dream analysis. The site also goes by url2.la.

◼ Junto Records: A lot of Disquiet Junto folks involved in the weekly creative-restraint music projects have made sets on SoundCloud of their efforts, such as Carlos Russell (carlosrussell.bandcamp.com), but Grzegorz Bojanek, with Constraints, goes the step further with a physical release. Here’s a shot of the cover being printed:

Order Constraints in digital and/or physical form here: bojanek.bandcamp.com.

◼ Tome Report: Make note of nochpublishing.com: “a publisher for expanded listening”; edited by Daniela Cascella (whose En abîme: Listening, Reading, Writing. An Archival Fiction was published by Zer0 Books last September) and Paolo Inverni. Also: twitter.com/nochpublishing.

◼ Turntable Manipulations: Odd New York Times correction to story about turntables: nytimes.com (via twitter.com/GlennF).

◼ Ava Moderne: Great interview with guitarist Ava Mendoza (by Michael Ross) at guitarmoderne.com. The Nels in this quote from her is Nels Cline:

Nels’ playing when I was a teenager sort of helped me understand that classical-esque guitar playing, shreddy solos, and walls of noise were not necessarily unrelated and could actually be good friends

◼ Sound URL: Visit artsy.net, which recently switched URLs from art.sy, the .sy suffix originating in Syria and reportedly causing some issues (techcrunch.com). The site’s “sound” coverage has slowly expanded, though it still has only two artists listed under “sound art.”

◼ De-Coding: SoundCloud’s API is among those now part of Codecademy’s lesson plans (fastcompany.com and codecademy.com, via dianakimball.com).

◼ Cloud Stream: Dropbox has purchased Audiogalaxy, which some (theverge.com, gigaom.com) quite reasonably suspect means a cloud-listening service.

◼ Sonic Weapons: The sound of war, as described by the BBC’s Vanessa Barford:

“A major sound of war is the sound of white noise. If you are a commando, it’s always in your ear, and every base location or operations room has that crackle of radios,” says Godfrey.

[Patrick] Hennessey cites the “whirl of generators” as another constant at modern patrol bases, while in a “surreal juxtaposition”, whatever is playing on MTV can become a soundtrack to a war.

Presumably that bit about MTV is meant in anecdotal or associative terms, since what’s playing on MTV these days, and for some time, has been anything but music. (Godfrey is Amyas Godfrey, “an associate fellow at the Royal United Services Institute.” Hennessey is described as “an author and former captain in the Grenadier Guards.”) The article as it appears online is packed with example audio-video recordings.

One particularly memorable detail opens the article:

In Gaza, correspondents have described the whine of Israeli drones overhead. In Arabic they’re known as “Zananna”, literally “whining child”.

Full piece at bbc.co.uk.

◼ Listen, NASA: There’s a proposal by Damara Arrowood as part of NASA’s open-call idea-generation project:

“Provide open source archival data+live feeds to new media artists to create aesthetically rendered data visualizations (data as both source and artistic medium) Artists and scientists working together unique method to explore and showcase new discoveries. Artist residencies?”

It’s received just one comment: “With this you run the loss of science data in the images. That is not what the NASA website is about.” That person should read “Shhhh. Listen to the Data” in the May 2012 physicstoday.org, about Wanda Díaz-Merced’s xSonify:

“When I get the data, I convert it to sounds. I can listen for harmonics, melodies, relative high- and low-frequency ranges,” she says. With NASA’s Swift satellite, for example, Díaz-Merced “was able to hear [previously overlooked] very low frequencies from gamma-ray bursts. I had been listening to the time series and said to the physicists in charge, ‘Let’s listen to the power spectra.’”

(The xSonify project was covered here back in May of last year.)

◼ Art Worlds: My friend Raman Frey has started a new blog. In a recent post, he pondered where art is headed in our brave, still new-ish world of networked, geographically disperse, lightly overlapping micro-communities. I weighed in with a comment about how the art world is different from, for example, the music industry and the journalism trade: ramanfrey.com. In part:

One key difference is that music and journalism, again just to take two examples, didn’t really court digital media as a subject to anything remotely resembling the extent that the art world did. In a way this helps, because the art world has a library of jargon and learning at hand about understanding digital media. In another way, it makes the transition all the more difficult, because after how many years — what, it’s been 40-plus since Jasia Reichardt’s The Computer in Art, just to suggest one milestone — the art world less than other worlds can’t claim ignorance to the generational forces at work. It can’t, like the flailing business known as publishing, just say, “Well, this is how we’ve been doing things for so long,” because part of what the art world has been doing for so long is embracing, exploring, and promoting digital media.

◼ App Yap: This is a bit of a tangent, but I have a new phone, as of one month ago. It’s my third Android phone in a row. I spent about two years with the G1, then about two years with the Samsung Galaxy S (aka the Vibrant), and now I begin life with the Nexus 4. So far, my one-word review is: Wow. My main disappointment is the report that Jelly Bean, the 4.2.1 version of which resides on my phone, has given up on USB On-The-Go, which allowed Android devices to connect with USB devices like keyboards, mice, and thumb drives. As for apps, my main task-oriented software is: the stock email (K9, an alternate, for the moment seems unnecessary), HootSuite (for Twitter and Facebook posts, and potentially Google+ if I can get the time to set up a proper page), OfficeSuite (for formal document writing) and Epistle (for .txt, which is my primary medium for writing), FBReader (for DRM-free ePubs — plus OverDrive for library ebooks, and the Kindle and Google Play Books apps; I wish they’d all adopt the “scroll” reading mode recently introduced in Apple’s iBooks app), Dropbox and (Google) Drive (for storage), and Google Reader. And I’ve begun fiddling with iDisplay, which like AirDisplay lets you use your phone (or tablet) as a second screen to your laptop/desktop — and, better than AirDisplay, it works via USB in addition to wifi. (By “task-oriented” software, I mean that I am not counting things like the dedicated reader for theverge.com, or the Instagram app, or games and music/sound-making software.) One reason I stick with Android over iOS for my phone is the widgets — I have an iPad and an iPod Touch, and there’s something disorienting about the expansive grid of app icons that makes me feel like a hungry person walking into a supermarket: “Er, which first?” As for me, I prefer how Android lets me view information, and to update information, front and center. I rely on the stock calendar widget, on a “sticky notes” variant called seNotes Plus (which combined with the Jelly Bean voice-to-text software is pretty killer), and on the stock Reader widget (to keep me up to date on a handful of priority RSS feeds). Other widget favorites: Easy Voice Recorder, Extended Controls (which lets me set up one-touch things like screen dimming, screen always-on, screen lock, battery level, and so forth). Also: Ultimate Rotation Control, which among other things lets you set the homescreen/desktop of your phone to landscape mode. That about covers it. My needs are fairly minimal. If you use Android and have any favorite apps or gear, let me know.

Björk Beat Battle in Damp Sacramento Alley (MP3)

You never know what will come of a field recording, but less than a week on, one that I’d made in a Sacramento alley last Sunday has been listened to over 300 times, and has spawned at least one reworking.

This is the original track, recorded in downtown Sacramento, off 15th Street. It’s half a minute of the drip of a drainpipe at the corner where the alley meets a heavily trafficked street. Such things tend to waver, the pace and volume of the drip varying due to numerous variables. In the case of this pipe on this morning, though, the sound was consistent, even mechanical. It was also quite quiet. The drain wasn’t what had drawn my attention in the first place. I’d ventured into the alley to photograph an array of wires that looked like something out of a Predator film (see up top, and at instagram.com/dsqt, and larger still at flickr.com/photos/disquietpxl). From the street, the drain pipe had been inaudible, but after breaking from the stare of the wire creature, I noticed that the relative silence of the alley drew my attention to the drainpipe beat:

Ethan Hein has now made the beat the foundation of a mashup, which he identifies in the associated text as follows: “Björk vs Marc Weidenbaum vs Glen Velez vs Thelonious Monk vs Cannonball Adderley vs Miles Davis vs Oscar Peterson. The basis for this track is the ‘Mecha-Organic Drum Machine,’ a field recording Marc made of water dripping from a drainpipe.”:

Hein mentioned the track on his twitter.com/ethanhein account. Track originally posted for free download at soundcloud.com/ethanhein. More from Hein at ethanhein.com.

Past Week at Twitter.com/Disquiet

My favorite sign in the Haight. http://t.co/ZwT2U63Z ->



Afternoon score: sleeping toddler's breathing, light rain hitting car, nearby traffic, passing plane. ->



Woke to 19 tracks, 4 from 1st-timers, in @djunto 53 (ice music). Nice to think it's part of folks' 2013 resolutions: https://t.co/cT1yi384 ->



Waking in Sacramento: hotel HVAC drone, housekeeping politely tapping on doors, the zing of card-key fails. ->



Indeed. She went to town on it. RT @_muncky: My other @djunto standout from this week's work: http://t.co/ml0Mlicw ->



Recorded this morning: "Mecha-Organic Drum Machine": http://t.co/HPR4qdoA ->



We'll see. Often difficult to isolate the sound. Hear a tree, record a forest. RT @jaybuls: @disquiet Are you going to do more like that? ->



If you use SoundCloud, this is where you can set your default license http://t.co/GCu7uY2b — say, to allow for derivative works. ->



The 54th @djunto project will be #audiotextual. It just went to the translators. If you wanna help out, lemme know. ->



At Chinese restaurant for lunch you discover your favorite new music. Except it's a Hong Kong soap-opera score playing on a glitchy TV. ->



Imbue. That's the word. ->



Yesterday you stopped in an alley to take a photo & record sound. The next day it's been listened to almost 100 times. https://t.co/4I9xQTST ->



6 hours left in 1st @djunto project of new year: music from sound of ice in glass. Already 1.5 hours from 32 musicians https://t.co/cT1yi384 ->



Been digging Instagram but the anthropomorphic ferocity of this alley wiring is best served by Flickr: http://t.co/f37xgVgA ->



One fewer hassles: If scheduled posts on your WordPress(.org) site delete SoundCloud/YouTube embed players, use plugin or URL ->



Cinnamon and cayenne go together so well, you have to wonder if they were once a single thing and it's our job, eons later, to reunite them. ->



Even more pissed off at Daniel Asia for his attack on wind chimes than for his attack on John Cage. ->



Tuesday noon siren in San Francisco while selecting image of human ear to accompany set I made of field recordings: https://t.co/rYserU42 ->



OK audio of San Francisco at noon on a Tuesday: https://t.co/78s1F1IZ RT @GuyBirkin: @disquiet I'd love to hear the sound of that noon siren ->



Any Firefly über-fans out there? When they filmed "Objects in Space," did they know it'd be the final episode? ->



Welcome to San Francisco. RT @iamseams: Look what I found @disquiet! http://t.co/MY6hYmys ->



Dear iCloud: Yes my storage is almost full. No you aren't making cleaning it out simple let alone magical. You don't complete me. Love, Marc ->



Dear little Sacramento drainpipe, over 200 listens so far to your industrial/hip-hop beat-craft: https://t.co/4I9xQTST ->



Croatian, German, Japanese, and Turkish translations are in for the 54th weekly @djunto project. The theme: #audiotextual. ->



The street construction in front of the house is insane. I'd record the sound but the sound is a small part. It's the full-on vibration. ->



"Average mileage based on Wolfram Alpha data." Just saw this in a TV commercial for a car. ->



Very cool. Thanks. MT @christianbok: a search engine for sounds—(RT @kg_ubu, @inciteout, @noisehelp)—(for @disquiet): http://t.co/O5B0GwoA ->



And after more than four years with the microwave, I discover it has a mute button. ->



The @333books site moved. Here's the interview with me talking about early-stage work on Aphex Twin book I'm writing: http://t.co/CySiMWgb ->



An "LEDscape" of 1,200 bulbs in Lisbon: http://t.co/TUJDzYRK Would love to know what such a concentration sounds like. ->



Excited to announce that Michel Banabila (@banabila) developed a @djunto project that will begin on January 31. ->



The 54th @djunto project will be in 8 languages: English + Afrikaans, Croatian, German, Japanese, Polish, Spanish, Turkish. ->



I signed up for a @bandcamp "fans" page. I'm at /disquiet there — that is, http://t.co/EmJS4lPM. ->



54th @djunto project, making a score for the news, has gone to the email list and is at http://t.co/XdREURGZ + http://t.co/JuLaNRdG ->



Fan pages on @bandcamp don't show albums for which one gets a promo code or bought by other means, like at concert or through other retailer ->



Just added the French version of the instructions to the current @djunto project. That makes 9 languages total: http://t.co/JuLaNRdG ->



I wrote about a Bandcamp release for first time on Feb 16, 2009: http://t.co/z4A9bxnf. The musician is now on the San Antonio City Council. ->



A song by the Who played at the end of Person of Interest tonight. It made it feel like a CSI crossover episode. ->



The iOS app Samplr now has background audio support. The better to read to. ->



The new Destiny's Child even more of a disappointment than recent Missy Elliott. I expected more of the backing track: http://t.co/N4bpt43z ->



Top 10 countries listening to my SoundCloud account: U.S. Germany. U.K. Canada. France. Romania. Italy. Netherlands. Belgium. Japan. ->



"Witty Independent Buddy Comedies," "Exciting Family Feature Animation," "Sports Movies" — Netflix, I thought you grokked me. ->



Back in summer camp a kid wrote a great short story titled "Death by Carbonation." If I have one more glass of seltzer, I may experience it. ->

Pop Hook Theory (MP3)

There aren’t many podcast series that inspect the post-country pop of mall diva Taylor Swift while touching on dubstep, word painting, reversed piano, early-17th century composer Thomas Weelkes, and synthetic instruments, but Esbie‘s (aka San Francisco–based Sarah Brown) sure does. The latest from her “Pop Hook Theory” spends 20-plus minutes investigating Swift’s “I Knew You Were Trouble,” emphasizing music theory over tabloid speculation (though some enters in toward the end), which given the subject matter puts Brown in rare company. She investigates the song note by note, delineating its chord structure, rhythmic play, and instrumentation, narrating the progress and occasionally dropping in related audio reference material, or playing sequences on keyboard herself. There’s a remarkable attention to detail in an area where details are rarely attended to (her previous entry looked at Maroon 5′s “One More Night”).

Track originally posted for free download at soundcloud.com/esbie. More from Esbie/Brown at twitter.com/esbie. Previous Esbie coverage here has included a “pseudo song” drawn from subterranean documentary footage, San Francisco cable car tropes, and “the sound of an empty Petron bottle, pitch shifted over 3 octaves.”

Disquiet Junto Project 0054: Audio-Textual

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 assignment was made in the early evening, California time, on Thursday, January 10, 2013, with 11:59pm on the following Monday, January 14, as the deadline. Below are translations into eight languages in addition to English: Afrikaans, Croatian, French, German, Japanese, Polish, Spanish, and Turkish, respectively by Kurt Human, Darko Macan, Éric Legendre, Tobias Reber, Naoyuki Sasanami, Grzegorz Bojanek, Norma Listman, and M. Emre Meydan.

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

Disquiet Junto Project 0054: Audio-Textual

This week’s project is to produce an original score. The score will not be for a video; it will be for a piece of text. Instead of an audio-visual project, it is an audio-textual one.

These are the four steps:

Step 1. Select a short news article from a prominent, local-to-you news website. It should originate from the day when you begin this project. The article should be approximately 700 words in length. (You can employ a portion of a longer article if you so choose.)

Step 2. Time how long it takes to read the article aloud at a reasonable, everyday pace.

Step 3. Create an original score to accompany the reading of the article. (To be clear: don’t include the sound of the article being read.)

Step 4. Post the track, along with a link to the article. Or, if you’re comfortable doing so, include the original text in the post, along with your track.

Deadline: Monday, January 14, 2013, at 11:59pm wherever you are.

Length: Your finished work should be between around 3 or 4 minutes long, though the length ultimately will be determined by step 2 of this project.

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 “disquiet0054-audiotextual” in the title of your track, and as a tag for your track.

Download: It is preferable 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:

More on this 54th Disquiet Junto project at:

http://disquiet.com/2013/01/10/disqui...

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet...

. . .

Project in Afrikaans:

Disquiet Junto Projek 0054: Audio-Tekstuel

Hierdie week se opdrag is om ‘n oorspronklike klankbaan te vervaardig, nie vir ‘n video nie, maar vir ‘n ‘n stuk teks. In plaas daarvan dat dit ‘n audio-visuele projek is, sal dit ‘audio-tekstuele’ projek wees.

Stap 1.
Kies ‘n kort nuusbrokkie vanuit ‘n plaaslike nuus webwerf of koerant. Die artikel moet op die dag dat jy die projek begin geopenbaar gewees het. ( Jy kan ook ‘n gedeelte van ‘n langer artikel gebruik, as jy wil)

Stap 2.
Bepaal hoe lang dit vat om hierdie artikel teen ‘n rëelmatige pas te lees.

Stap 3.
Skep ‘n oorspronklike klankbaan om die artikel te begely. (Om klaar te wees: ‘n klank opname van die artikel moet jy nie insluit nie)

Stap 4.
Laai jou klankbaan op, met ‘n skakel tot jou uitgesoekte artikel. Of, as jy daarmee gemaklik is, kan jy ook die oorspronklike teks in jou plasing met jou klankbaan insluit.

Sperdatum: Maandag 14 Januarie om 11:59 NM, waarokal jy is.

Lengte: Die lengte van jou klankbaan word deur die lengte van jou artikel bepaal, maar dit sal tussen 3 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 ‘disquiet0054-audiotextual’ 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:

More on this 54th Disquiet Junto project at:

http://disquiet.com/2013/01/10/disqui...

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet...

. . .

Project in Croatian:

Disquiet Junto Projekt 0054: Audio-tekstualno

Ovotjedna nam je zadaća komponirati izvornu glazbenu pratnju. Pratnja, međutim, neće biti za video već za tekst. Projekt stoga nije audio-vizualan, već audio-tekstualan.
Četiri su koraka:

Korak 1: izaberite kratak članak sa značajnoga vebsajta s vijestima iz vašega kraja. Mora biti objavljen onoga dana kad započinjete ovaj projekt i biti otprilike 700 riječi dug. (Ako želite, možete upotrijebiti samo dio dužega članka.)

Korak 2: izmjerite koliko vam vremena treba da razumnim, svakodnevnim ritmom taj članak naglas pročitate.

Korak 3: Komponirajte izvornu glazbenu pratnju koja prati čitanje toga članka. (Pojasnimo: nemojte uključiti zvučni zapis čitanja članka.)

Korak 4: Postavite snimak, zajedno s linkom na članak. Ili, ako to ne predstavlja problem, umetnite izvorni tekst u post, uz vaš snimak.

Rok: Ponedjeljak, 14. siječnja 2013., minutu do ponoći po lokalnom vremenu.

Trajanje: Neka vam snimci traju između 3 i 4 minute iako će konačnu dužinu zapravo odrediti drugi korak ovoga projekta.

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 “disquiet0054-audiotextual” 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:

Više o 54. Disquiet Junto projektu na:

http://disquiet.com/2013/01/10/disqui...

More details on the Disquiet Junto at/Više o Disquiet Juntu na:

http://soundcloud.com/groups/disquiet...

. . . .

Project in French:

Projet Disquiet Junto 0054 : Audiotextuel

Le projet de cette semaine consiste à produire une musique originale. Cette musique originale ne sera pas pour une vidéo, ce sera pour un texte. Au lieu d’un projet audiovisuel, il s’agit d’un projet audiotextuel.

Voici les quatre étapes :

Étape 1. Sélectionner un court article de nouvelles, en provenance d’un site d’information reconnu de votre région. L’article devrait provenir du jour où vous commencez le projet. L’article doit être d’environ 700 mots. (Vous pouvez utiliser une partie d’un article plus long si vous le souhaitez.)

Étape 2. Calculer le temps qu’il vous faut pour lire l’article, à voix haute, selon un rythme normal, ordinaire.

Étape 3. Créer une musique originale pour accompagner la lecture de l’article. (Pour être clair : ne pas inclure le son de l’article en cours de lecture.)

Étape 4. Déposer votre pièce, ainsi qu’un lien vers l’article. Ou, si vous êtes à l’aise pour le faire, intégrer le texte de l’article dans le billet accompagnant votre piste.

Date limite : Lundi 14 janvier 2013, à 23 h 59 où que vous soyez.

Durée : Votre pièce complétée doit avoir une durée entre 3 et 4 minutes, bien que celle-ci ultimement sera déterminée à l’étape 2.

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 « disquiet0054-audiotextual » 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 :

Plus de détails à propos de ce 54e projet Junto de Disquiet :

http://disquiet.com/2013/01/10/disqui...

Plus de détails à propos du projet Junto de Disquiet :

http://soundcloud.com/groups/disquiet...

. . .

Project in German:

Disquiet Junto Projekt 0054: Audio-Textual

In diesem Projekt geht es darum, eine eigene Partitur zu erstellen. Diese ist nicht für ein Video gedacht, sondern für einen Text: Anstelle eines audio-visuellen geht es also um ein “audiotextuelles” Projekts.

Dies sind die vier Schritte zur Herstellung der Partitur:

Schritt 1: Wähle einen kurzen News-Artikel aus der aktuellen Tagesausgabe einer bekannten Zeitung deiner Region. Der Artikel sollte ungefähr 700 Wörter lang sein (wenn du möchtest, kannst du einen Ausschnitt aus einem längeren Artikel verwenden).

Schritt 2: Miss die Zeit, die du benötigst um den Artikel in einem normalen Tempo laut vorzulesen.

Schritt 3: Gestalte eine Partitur, die das Lesen des Textes begleitet. (Klarstellung: Verwende keine Aufnahme des gelesenen Textes.)

Schritt 4: Lade den Track hoch, gemeinsam mit einem Link zum Artikel. Oder, wenn du willst, kopiere den Text des Artikels in der Beschreibung deines Stücks).

Deadline: Montag, 14. Januar. 2013 um 23.59 deiner Zeit.

Länge: Dein Stück sollte etwa 3-4 Minuten lang sein, aber die Länge ergibt sich durch Schritt 2 von selbst.

Information: Bitte Beschreibe deinen Arbeitsprozess wenn du dein Stück auf SoundCloud postest. Diese Beschreibung ist ein integraler Bestandteil des kommunikativen Prozesses in der Disquiet Junto.

Titel/Tags: Bitte füge deinem Stück-Titel auf SoundCloud die Beschreibung “disquiet0054-audiotextual” bei und verwende diese Information auch als Tag für dein Stück.

Download: Es würde bevorzugt dass du deinen Track downloadbar machst und ihn für attribuiertes Remixing frei gibst (z.B. unter einer Creative Commons-Lizenz, die nichtkommerzielle Verwendung mit Attribution erlaubt).

Links: Füge deiner Track-Beschreibung bitte auch die folgende Information bei:

Weitere Informationen über dieses 54. Disquiet Junto-Projekt (auf Englisch):

http://disquiet.com/2013/01/10/disqui...

Weitere Informationen über die Disquiet Junto (auf Englisch):

http://soundcloud.com/groups/disquiet...

. . .

Project in Japanese:

Disquiet Junto Project 0054：オーディオ&テキスト

今週のプロジェクトはオリジナル・スコアを作ります。それはビデオではなく、テキストのためのものです。オーディオ＆ビジュアルというよりもオーディオ＆テキストとでもいうものです。

以下は４つのステップです

ステップ１：あなたの地域において有名なニュースサイトから短い記事を選んでください。それはこのプロジェクトにとりかかった日の記事で、だいたい700字の長さにしてください（もっと長い記事の部分を使ってもいいです）。

ステップ２：日々の読み方と同じようにして、その記事を読むのにどれくらいの時間がかかったか計ってください。

ステップ３：記事の読み上げに添えるオリジナル・スコアを作ってください(記事を読み上げるサウンドは含めないでください）。

ステップ４：その記事のリンクをそえて投稿してください。もしよければ、その記事をそのままトラックの注釈にそえて投稿してもかまいません。

〆切：1月14日月曜日11:59pm あなたがどこに住んでいるかかわらず

長さ：作品の長さはステップ２によって決定されますが、おおむね3－４分の長さにしてください。

情報：あなたの作品をサウンドクラウドに投稿する際には、構想、作曲、録音の過程についての説明を加えてください。その説明がこのDisquiet Juntoグループで講評、コミュニケーションするために大事なものとなります

タイトル／タグ：Disquiet Juntoグループに作品を投稿する際には“disquiet0054-audiotextual” という言葉をタイトルとタグに付けてください。

ダウンロード：ダウンロード可能にして、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です（例えば非営利、継承。 http://creativecommons.jp/licenses/）

リンク：投稿する際には以下の情報を追加してください

More on this 54th Disquiet Junto project at:

http://disquiet.com/2013/01/10/disqui...

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet...

. . .

Project in Polish:

Disquiet Junto Project 0054: Audio-Textual

W tym tygodniu projekt polega na stworzeniu oryginalnej ścieżki dźwiękowej. Nie będzie to jednak ścieżka dźwiękowa do filmu; będzie to muzyka do tekstu. Mamy więc projekt audio-tekstowy zamiast audiowizualnego.

Oto cztery kroki:

Krok 1. Proszę wybrać krótki artykuł z wybitnej, lokalnej informacyjnej strony internetowej. Powinien pochodzić z dnia, w którym rozpoczynasz projekt. Artykuł powinien mieć ok. 700 słów długości. (Można użyć też tekstu dłuższego, jeśli tylko chcecie)

Krok 2. Sprawdzić jak długo trwa przeczytanie tekstu na głos, w rozsądnym tempie.

Krok 3. Proszę stworzyć oryginalną ścieżkę dźwiękową, która będzie towarzyszyć czytaniu artykułu. (Aby było jasne: proszę nie dodawać dźwięków [głosu] z czytania artykułu).

Krok 4. Proszę dodać utwór, wraz z linkiem do artykułu. Lub jeśli chcecie, można dodać oryginalny tekst w poście, pod utworem.

Deadline: Poniedziałek, 14 stycznia 2013, do godziny 23:59, gdziekolwiek mieszkacie.

Długość: Ukończony utwór powinien trwać mieć długość od 3 do 4 minut, jednak ostateczna długość zostanie określona przez Krok 2.

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 “disquiet0054-audiotextual” 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”:

More on this 54th Disquiet Junto project at:

http://disquiet.com/2013/01/10/disqui...

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet...

. . .

Project in Spanish:

Disquiet Junto Proyecto 0054 Audio-Textual

El proyecto de esta semana se trata de crear una partitura para un texto. Esta partitura, en lugar de usarse para proyecto audio-visual, sera usada para un audio-texto.

Pasos:
Selecciona una nota pequeña de algún sitio de noticias, del lugar donde vives. La nota debe ser del día en que inicies este proyecto y el texto debe ser de aproximadamente 700 palabras. También puedes usar una partecita, de algún texto mas largo.

Toma el tiempo que tardas en leer el texto en voz alta (a velocidad normal).
Compon una partitura para acompañar la lectura del texto, pero no incluyas el sonido de el texto siendo leído.

Sube el track junto con la nota noticiera, o si quieres también puedes subir el texto original junto con tu track.

Fecha limite: Lunes 13 de Enero, de 2013 a las 11:59pm del lugar donde te encuentres.

Duración: Favor de mantener tu pieza de dos a cuatro minutos, aunque la duración va ser determinada por el paso numero dos.

Información: Incluir una descripción de tu proceso de plantación, composición, y grabacion. Tu información es esencial para la comunicacion en Disquiet Junto.

Titulo: Por favor incluye el termino “disquiet0054-audiotextual” en el titulo de tu track cuando lo subas al grupo Disquiet Junto en Soundcloud.com, también usalo como tu tag cuando lo quieras buscar.

Descarga: Es preferible que tu mezcla se pueda descargar, pero no es necesario ( es tu decisión). Y también que tenga licencia NC de Creative Commons International, en la que el beneficiario de la licencia tiene el derecho de copiar, distribuir, exhibir y representar la obra y hacer obras derivadas para fines no comerciales.

Enlaces: Cuando subas tu track, por favor incluye la siguiente información:

Mas información en Disquiet Junto:

Mas info acerca del projecto 0054 Audio-Textual aquí:

http://disquiet.com/2013/01/10/disqui...

Mas info sobre Disquiet Junto aquí:

http://soundcloud.com/groups/disquiet...

. . .

Project in Turkish:

Disquiet Junto Projesi 0054: Audio-Textual (işitsel-metinsel)

Bu haftanın projesi orijinal bir soundtrack yaratmayı gerektiriyor. Fakat bir video için değil, bir yazı parçası için. Yani işitsel-görsel bir proje yerine, işitsel-metinsel bir proje.

Adım : Tanınmış ve sizin için yerel bir haber sitesinden kısa bir haber metni seçin. Bu, proje üzerinde çalışmaya başladığınız güne dair bir haber olsun. Metin yaklaşık 700 kelime uzunluğunda olmalı (isterseniz daha uzun bir makaleden bir bölüm de alabilirsiniz).

Adım : Metni sesli ve normal bir hızda okumanın ne kadar zaman aldığını ölçün.

Adım : Metnin okunmasına eşlik edecek bir soundtrack yaratın (ama okunan metnin sesini parçanıza dahil etmeyin).

Adım : Parçanızı paylaşırken haber metnine bir link de verin. Ya da dilerseniz parçayla beraber metnin kendisini de ekleyebilirsiniz.

Son Teslim Tarihi: 14 Ocak 2013 Pazartesi, 23:59 (yerel saatinize göre)

Uzunluk: Çalışmanızın uzunluğu yaklaşık 3 ila 4 dakika arasında olmalı, ama gerçek uzunluk projenin 2. adımı ile belirlenecek.

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 “disquiet0054-audiotextual” kelimesini hem parçanın isminde, hem de etiket (tag) olarak kullanın.

Download: Parçanızın indirilebilir olması ve “atfedilmiş (attributed) remix”e izin vermesi tercih edilir (orijinal sahibine atıf yapılarak ticari olmayan şekilde paylaşmaya izin veren bir Creative Commons lisansı gibi).

Linkler: Yaptığınız parçayı paylaşırken, şu satırları eklemeyi unutmayın:

Disquiet Junto projesi hakkında daha fazlası için:

http://disquiet.com/2013/01/10/disqui...

Disquiet Junto hakkında daha fazla bilgi için:

http://soundcloud.com/groups/disquiet...

Week 2, Beat 2

Continuing what he plans to be a weekly, 52-part series of original beats — “52 weekz, 52 beetz. every wedz” — Philadelphia’s Arckatron laid down the second of them today. It’s a much more placidly paced entry, following last week’s “ks: Oddknox(ious).” This time around Arckatron offers up “7th: human,” the beat playing out at seemingly half the speed of its predecessor. The more sedentary sensibility suits the project well, providing a more widely welcoming introduction. It’s a rate that also lets the idea of a shuffle slip in; “7th: human” is sly where “ks: Oddknox(ious)” was stentorian, compelling where its predecessor was commanding. The word “beat,” of course, is cover for a multitude of beats, beats that in combination form rhythm. Here the beats themselves range widely, from flangy slaps to heart-beat pulses to tonal clusters.

7h: Human by Arcka

Keep up to date with the series at arckatron.us.

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Dub and Its Online Echo

The temporal proximity of live music performances to their release online as audio documents, whether streaming or downloadable, creates a peculiar shift in the relation between audience and performer. For a long time, such a document was just that: a historic record of an event. But when just a few days pass between the live event and the dispersed recording, it feels more like the record is itself part of the event, that it’s less a recording than a distant echo, that it’s less an accounting of the sound and more of an emanation of the sound. To bask in that echo, to listen to it so shortly after the fact of the initial event, is still a form of participation. That image of a digital-media echo is especially appropriate for this set by wndfrm. A dub- and techno-infused performance he did on January 3 in Vancouver, British Columbia, it’s a prime example of grid music, a slight moiré of gently shifting rhythmic figures, barely a handful of beats heard in a slow, relaxed sequence of changes. There is a period, around 45 minutes into the 54-minute performance, when a tiny clank, like the chirp of some small bird, adds a side beat to the underlying lattice. It’s a moment of techno Jenga, as one more element is added to the existing structure. To wndfrm’s credit, the structure holds.

Live recording originally posted for free download at soundcloud.com/wndfrm. More on/from wndfrm, who is Tim Westcott of Portland, Oregon, at twitter.com/wndfrm.

Here, for reference, are the two tracks that wndfrm cites as source material for his set:

Robert Hood’s “Detroit: One Circle”:

Autechre’s “Goz Quarter”: