naviarhaiku378 – snowflakes gently fall

snowflakes gently fall
cold winter’s pale sakura
I envy the birds

This beautiful haiku was written by Scott.

Sakura (naviarhaiku378)

naviarhaiku379 – rain rituals

rain rituals
in the light of torches –
mountain peaks at night

Rain rituals (naviarhaiku379)

Many solemn nights
Blond moon, we stand and marvel…
Sleeping our noons away.

Matsunaga Teitoku (1571-1654) was an early haikai poet and founder of the Teimon school of poetry, which aimed to make haikai accessible to a wide audience while striving to make it a respectable literary form. A task ultimately accomplished by Bashō.

Zoe, we stand and marvel (naviarhaiku397)

Play that spooky music.

There is just one step for this project. It is Halloween. Make some holiday-specific background music.

After sitting with my head in my hands for two days and nothing to show I thought I would go and do some field recordings around the house of somethings that might sound scary. Broke some glass, sharpened the axe and scraped some metal.
We have a rooster who lives in a tree on our road (people dump them) and everyday like clockwork he comes up for a feed and a bit of a chat.
So I got him involved.
The rest of the track was made on the Grandmother sequenced by the Deluge
and treated to make the drums and stuff.
I added some extra Massive keys and some Reaktor.

Or the rooster gets it - disquiet0513

naviarhaiku422 – the edge of the world

the edge of the world
– the road vanishes into
a curtain of mist

Raymond Cobley is an experimental composer and regular participant in our Haiku challenge. Now retired, Raymond aims to explore the possibilities afforded by open-source software, which he uses exclusively for creating and editing both sounds & images. All his works are published ​under a Creative Commons licence, and free for anybody to download or remix.

Into a curtain of mist (naviarhaiku422)

A Donkey Collab...my first.
I raise my hoof in salute to Xian3.


The verses are quoted from „Blade Runner“ (1982), which in turn quotes them slightly modified from a novel of the same title by Philip K Dick (1968).

Voight-Kampff-Test

1.
„You’re in a desert walking along in the sand
When all of the sudden you look down,
And you see a tortoise, it’s crawling toward you.
You reach down, you flip the tortoise over on its back.
The tortoise lays on its back, its belly baking in the hot sun,
Beating its legs trying to turn itself over, but it can’t,
Not without your help. But you’re not helping.
Why is that?“

ref
Blood pressure and breathing rates are rising,
The eyes are moving rapidly and the face is blushing

2.
„You’re watching television.
Suddenly you realize there’s a wasp crawling on your arm…
You're watching a stage play - a banquet is in progress.
The guests are enjoying an appetizer of raw oysters.
The entree consists of boiled dog.“

ref
Blood pressure and breathing rates are rising,
The eyes are moving rapidly and the face is blushing,
There’s tension upon the skin,
A shudder from within…

3.
„You’ve got a little boy. He shows you his butterfly
collection plus the killing jar.
Describe in single words, only the good things
That come into your mind about your mother.“
(Tell about your mother… tell in single words…)

ref
Blood pressure and breathing rates are drastically rising,
The eyes are moving so rapidly and the face is blushing,
There’s tension upon all skins,
A shudder from deep within..

out:
Can you please tell me, am I… ?
Can you please, can you please
Can you please tell me, am i… ?
Would you say, would you say
Would you say that i am…? (al fine)

Voight Kampff Test ( Ft. Xian3 )

Xian had the great idea to use " The Electoral Asses"
by Heinrich Heine as the basis for our next collaboration.
Perfect timing.
Best known outside Germany for his early lyric poetry, which was set to music in the form of lieder (art songs) by composers such as Robert Schumann and Franz Schubert. Heine's later verse and prose are distinguished by their satirical wit and irony. He is considered a member of the Young Germany movement. His radical political views led to many of his works being banned by German authorities—which, however, only added to his fame. He spent the last 25 years of his life as an expatriate in Paris.

Here are the full words of his 1855 prose.

They'd had enough of freedom now,
The republic of animals clamored
For one single regent with absolute rule,
Of this they were enamored.

Every species assembled itself,
Proceeded with fevered devotion,
Parties were organized, ballots drawn up,
Intrigues were set into motion.

The steering committee for asses was
By the Old-Long-Ears directed,
They had upon each of their heads a cockade,
The Schwarz-Rot-Gold, affected.

A little horse's-party there was,
Yet they did not dare be voting,
They feared the cry of the Old-Long-Ears,
The thought filled them all with foreboding.

As one, however, the candidacy
Of the horses put forth, a bit later,
An Old-Long-Ears in a fury broke in
And cried: Sir, you are a traitor!

You are a traitor! There's not one drop
Of donkey-blood in you, really,
You are no donkey, I almost believe
You were foaled by a Latin filly.

You come from a strain of zebra, perhaps,
Your skin is striped zebräic,
And also the nasal tone of your voice
Sounds somewhat Egyptic-Hebräic.

And were you no foreigner, you would be just
A secular donkey, a cold one,
You don't know the depths of the donkey mystique,
How the tones of its psalter enfold one.

But I have immersed my soul in that
Sweet mystery that surpasses,
I am an ass, and upon my tail
Is every hair an ass's.

I 'm no little Roman, I am no Slav,
I'm a German ass forever,
Just like my fathers, they were so upright,
So unassuming, so clever.

They did not play with gallantry,
They sought no vice nor thriller,
They trotted each day, frisky, faithful and free,
Bearing their sacks to the miller.

The fathers are not dead! The grave
Can only hold the carcass.
They look down upon us from heaven above,
It gives them pleasure to mark us.

Transfigured asses in heavenly light!
We'll follow you forever.
And not a single finger-breadth
From duty's path shall we waver.

And oh, what rapture, to be an ass!
To be born to the Long-Ear classes!
From every rooftop I want to cry:
I come from a line of asses.

The mighty donkey that sired me
Was German, and no other,
And I was suckled on ass's milk
By my German ass of a mother.

I am an ass, and will faithfully
Adhere, like my fathers before me,
To the dear, old asininity,
To the fabled donkey glory.

And as I'm an ass, I advise you to choose
An ass as the king of the land here;
We're founding the mighty donkey-realm,
Where only the asses command here.

We all are asses! Hee-haw, hee-haw!
We'll never be horse's flunkies.
Down with the stallions! Long live, hurrah!
The king from the race of the donkeys!

So spake the patriot. In the hall
Applause rang to the ceiling.
The asses were all nationalists
And stamped their hooves with feeling.

They placed upon the speaker's head
A wreath of oak so timely.
He mutely beamed his gratitude
And wagged his tail sublimely.

Die Wahl - Esel (Heine, 1855) Ft. Xian3

This project is to remix one of the trios. You might simply choose a trio, download it, and rework it.
https://soundcloud.com/wasabicube
https://soundcloud.com/half-unusual
https://soundcloud.com/insomnia

3 feet High ft wasabicube, Insomnia & halF unusuaL - disquiet0533

naviarhaiku428 – end of rains

end of rains
sunny deep blue sky-
winter is yet away

Aju Mukhopadhyay is a bilingual poet, author and critic who regularly contributes to International Journals and Websites on varied subjects. Besides many poetry and other awards, he has received Albert Camus Centenary Writing Award, Laureate Award in Best Author category (Non-Fiction) and Glory of India Award (Indian Achievers’ Forum).

End of rains ( naviarhaiku428 )

naviarhaiku431 – going in circles

going in circles
a promising journey
without end

Charlie Lawler is a 70-year-old grandfather and recent retiree living in Minnesota, USA. He took up learning more about, and writing, poetry–mostly haiku–in January 2022. His last career work was in strategic planning and continuous improvement deployment in a public healthcare organization.

A promising journey (naviarhaiku431)

naviarhaiku436 – lightning thunder

lightning thunder
and rain
all speaking at once

Elancharan Gunasekaran is inspired by Dadaist movements, butoh and anarchism. He believes that humans are capable of governing themselves without the need of political systems. His art often involves experimenting with visual and literary forms on the raw aspects of the human condition, climate change and man-made/ natural phenomena.

Speaking at once (naviarhaiku436)

Disquiet Junto Project 0562: Sheep Music

The Assignment: Record something to help someone fall asleep.

There is just one step: Record something to help someone fall asleep.

For context, when posting the track online, please be sure to include this following information:

More on this 562nd weekly Disquiet Junto project – Sheep Music (The Assignment: Record something to help someone fall asleep) – at: https://disquiet.com/0562/

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-0562-sheep-music/

Out Cold ( Station to Station Remix ) - disquiet0562

xian3 introduced me to Antonin Artaud (1896-1948) a French writer, poet, draughtsman, actor, dramaturge and theatre theorist.
On completion of his track he shared some of the stems so I could create this.
Let's call this an answer-song.
The wonderful flugelhorn is by joerxworx. Check him and xian3 out here.
@xian3 @joerxworx

So a big thank you to xian3. Always a  pleasure!

The following text is the last entry in his final notebook:

so, the same figure
returns every
morning (he is an other)
in order to accomplish his
revolting, criminal
and murderous, sinister
mission which is to
maintain
the state of bewitchment cast upon
me (2)

and continue to
make of me
this eternally
bewitched man
etc etc (2)

"A Sinister Assassin" was published recently. It provides translations of Antonin Artaud's last writings (September 1947 - March 1948) from which these lyrics are taken.

The Last Note Of Antonin Artaud (Collab with xian3 & joerxworx)

Early morning,
One star remaining,
It’s a good day too.

A wandering poet and ascetic Zen priest, Santōka was a disciple of Ogiwara Seisensui, one of the first poets to discard the traditional use of the 5-7-5 structure in haiku.

Santōka’s poetry emphasizes the necessity of sabi (solitude) in order to achieve spiritual enlightenment and serenity.

One star remaining (naviarhaiku492)

afternoon heat
the heavenly dance of
cumulus clouds

Hege A. Jakobsen Lepri is a Norwegian-Canadian translator, walker, coffee addict, haikuist, and short-story writer. She currently divides her time between Norway, Italy and Canada. She started writing haiku to get past writer’s block but got hooked on the daily practice.

Her haiku, senryu, and haibun have since been featured in Frogpond Journal, Under the Basho, Best Haiku Anthology, Poetry Pea, Haiku Blossoms, Quatrain.Fish, Autumn Moon, Prune Juice, Songs of the Pandemic, Haiku Journal, Dadakuku, Heron’s Nest, Hedgerow, Open: Journal of Arts and Letters. Her prose is widely published, most recently in Best Small Fictions 2023.

The heavenly dance of cumulus clouds (naviarhaiku499)

Disquiet Junto Project 0608: Nature-to-Text
The Assignment: Using a speech-to-text tool, turn a field recording into instructions for a composition.

This project is perhaps more experimental than ordinary, simply because it may not work for everyone. Apologies in advance. As someone, I think Brian Eno, once said, “It’s only experimental music if there’s a chance it can fail.”

Step 1: When one uses speech-to-text tools, such as those now commonly included in word processing software, often those tools will mistakenly interpret ordinary, non-verbal sound as garbled words, or otherwise try to characterize the sound, such as with bracketed phrases like “[deep breath]” or “[background chatter].” One potential way to achieve the result is to upload the audio to YouTube and then apply automated captions. Check out your options. There is likely to be discussion of this topic on places where the Junto occurs, such as the llllllll.co 2 BBS and the Junto Slack.

Step 2: Record some non-verbal audio, perhaps a field recording of the sound on the street, or down a hallway. It’s recommended to do the recording somewhere where there is likely to be variation.

Step 3: Submit a segment of the audio to a speech-to-text tool. Or perhaps multiple tools, to see the results.

Step 4: Assuming Step 3 yields a series of descriptions, then compose a piece of music that treats that sequence as a kind of score. That is, make music that achieves the result described by the speech-to-text tool’s results. Perhaps you could use someone else’s. Here, for example, is a sequence that I ended up with recently: “[ambient noise] [ambient noise] [indistinct chatter] [indistinct chatter] [background noise] [indistinct chatter] [ambient noise].”

Eight Important Steps When Your Track Is Done:

Step 1: Include “disquiet0608” (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 “disquiet0608” (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 2:

https://llllllll.co/t/disquiet-junto-project-0608-nature-to-text/

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.

Step 8: Also join in the discussion on the Disquiet Junto Slack. Send your email address to marc@disquiet.com for Slack inclusion.

Note: Please post one track for this weekly Junto 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.

Hot Dogs At Bunnings - disquiet0608

Step 1: Pick a single percussion instrument.

Step 2: Record between 4 and 12 different short examples (roughly 20 to 60 seconds each) of playing that instrument. Imagine that each recording is by a different musician exercising a different aspect of the instrument. Make no deliberate attempt to match key or tempo or sonic quality between them.

Step 3: Imagine moving through space over the course of time, and encountering the sounds — overlapping somewhat — as you proceed. Arrange the recordings over the course of a track so that at least one and at most five of the examples are audible at any one time. To further the spatial movement, each could fade in at the beginning and fade out. They might, as well, move from position to position within the stereo field.

Step 4: If you wish, consider adding a noise bed underneath the entire piece to sew all of the pieces together, to provide a sense of the space one is moving through.

Eight Important Steps When Your Track Is Done:

Step 1: Include “disquiet0612” (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 “disquiet0612” (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-0612-drum-vector/

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.

Step 8: Also join in the discussion on the Disquiet Junto Slack. Send your email address to marc@disquiet.com for Slack inclusion.

Note: Please post one track for this weekly Junto 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:

Length: The length is up to you. How long a walk do you want to take the listener on?

Deadline: This project’s deadline is the end of the day Monday, September 25, 2023, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, September 21, 2023.

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 612th weekly Disquiet Junto project, Drum Vector (The Assignment: Walk the listener through variations on the same percussive instrument), at: https://disquiet.com/0612/

Thanks to Mahlen Morris for having proposed this project.

About the Disquiet Junto: https://disquiet.com/junto/ 1

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

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0612-drum-vector/

Tin drum ( DIY drum sample maker ) - disquiet0612

Disquiet Junto Project 0615: Introspective Failure
The Assignment: Fall short again, this time on purpose.

Thanks to Junto member XHG (aka Alex) for having proposed this week’s project.

The goal of this project is to purposefully produce an unsatisfactory piece of music in a systematic way, in the hope of potentially learning from the experience. Your approach should be introspective and technical but also lighthearted and humorous.

Step 1: Think about a piece of music you have produced that you were not satisfied with.

Step 2: Try to analyze why this was the case. Is it possible to identify a main reason — like the concept, the process, the instrumentation, or simply the outcome?

Step 3: Take a break and let these thoughts simmer for a while.

Step 4: Try to produce a different unsatisfactory piece of music than you analyzed in Step 2, purposefully replicating the failure. (It might be sensible to keep it short so as to torment yourself not too much.)

Note: Before you start the process, plan something fun and gratifying to do after you finish your piece of music, in case the process lowers your mood.

Eight Important Steps When Your Track Is Done:

Step 1: Include “disquiet0615” (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 “disquiet0615” (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-0615-introspective-failure/

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.

Step 8: Also join in the discussion on the Disquiet Junto Slack. Send your email address to marc@disquiet.com for Slack inclusion.

Note: Please post one track for this weekly Junto 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:

Length: The length is up to you.

Deadline: This project’s deadline is the end of the day Monday, October 12, 2023, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, October 16, 2023.

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:

Thanks to Junto member XHG (aka Alex) for having proposed this week’s project.

Just another introspective failure - disquiet0615

Disquiet Junto Project 0618: Burying the Lede
The Assignment: Turn old news into new music.

Step 1: Locate an old news article, the less dramatic perhaps the better, from roughly 50 years ago. Try to find something local to where you live now or have lived.

Step 2: Use a text-to-speech tool to convert the article to audio. There are numerous such software applications, and no doubt discussion in the Junto thread on llllllll.co 1 will yield suggestions should you require one.

Step 3: Set to music the voice recording that resulted from Step 2. A length of two and a half to five minutes is recommended. Use an article sufficient to that length — you may end up not using the entire text. As the piece goes on, have the voice slowly get subsumed by the music, until by the end the voice is no longer intelligible — perhaps not even audible.

Note: In case the word isn’t familiar, a “lede” is “the opening sentence or paragraph of a news article, summarizing the most important aspects of the story.”

Seven Important Steps When Your Track Is Done:

Step 1: Include “disquiet0618” (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 “disquiet0618” (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 1:

https://llllllll.co/t/disquiet-junto-project-0618-burying-the-lede/

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 post one track for this weekly Junto 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:

Length: The length is up to you. It will largely be determined by the length of the text you select.

Deadline: This project’s deadline is the end of the day Monday, November 6, 2023, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, November 2, 2023.

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 618th weekly Disquiet Junto project, Burying the Lede (The Assignment: Turn old news into new music), at: Disquiet Junto Project 0618: Burying the Lede – Disquiet

About the Disquiet Junto: Disquiet Junto F.A.Q. – Disquiet 1

Subscribe to project announcements: Disquiet Junto by Marc Weidenbaum (Disquiet.com)

Project discussion takes place on llllllll.co 1: https://llllllll.co/t/disquiet-junto-project-0618-burying-the-

Xwords - disquiet0618

Disquiet Junto Project 0639: Path Ways (4 of 3)
The Assignment: Rework musical trios using the constituent parts — one of two ways.

These instructions are fairly lengthy. Please read carefully. Originally this trios sequence of projects would have ended with the completion of the trios after three consecutive weeks. However, those went particularly well, so let’s see if we can push it a little further.

Please note: You needn’t have participated in any of the prior Junto projects to participate in this one.

Step 1: In the previous project, we completed musical trios. Project 0638 was the third of three consecutive projects. In the first one, 0636, musicians recorded solos. In the second, 0637, musicians took those 0636 tracks, nudged them to the left side of the stereo spectrum, and then added their own music to the right, forming duets with a hole in the middle. In project 0638, other musicians introduced a third track down the center of the 0637 recordings, completing the trios. You can revisit the music via the blog posts disquiet.com/0636 1, disquiet.com/0637 2, and disquiet.com/0638 2, and you can follow the forking paths through the related Google Drive spreadsheet 9.

Step 2: The goal of this project is to rework the material that accumulated over the course of the previous three projects. There are two main ways to go about this. One is to simply choose one or more tracks and remix, combine, mash-up, or otherwise transform them. The other is to move on to Step 3.

Step 3: Choose one 0636 track, a solo, that yielded more than one 0638 trio. (These are highlighted in light blue, or maybe it’s teal, in the leftmost column of the spreadsheet 9.) Trace the various routes that 0636 track took. Perhaps it also led to some 0637 tracks that never went any further. Perhaps there are various 0638 versions based on varied 0637 versions. In any case, record a piece of music that lets the listener experience the branching paths that the original 0636 track took over the course of the three phases of the trios project sequence. Clearly you will be using a linear form to represent variations, so how to achieve that will require some compositional ingenuity. But you’re up to the task.

Tasks Upon Completion:

Label: Include either “disquiet0639remix” (if you follow the loose rules of Step 2) or “disquiet0639paths” (if you follow the more specific rules of Step 3) in the name of your track.

Upload: Post your track to a public account (SoundCloud preferred but by no means required). It’s best to focus on one track (but if you post more than one, clarify which is the “main” rendition).

Share: Post your track and a description explanation at https://llllllll.co/t/disquiet-junto-project-0639-path-ways-4-of-3/

Discuss: Listen to and comment on the other tracks.

Full circle (ft @Raincat, @tristan_louth_robins, @xhg, @krakenkraft, @SinnySounds) disquiet0639paths

Disquiet Junto Project 0648: Shadow Boxing
The Assignment: Employ shadow boxing as a musical metaphor.

Step 1: Familiarize yourself with the concept of shadow boxing, in which one exercises as if there were an opponent.

Step 2: Record a piece of music that explores the idea of shadow boxing — of acting out an interaction, violent or otherwise, in which the opponent is imaginary.

Tasks Upon Completion:

Label: Include “disquiet0648” (no spaces/quotes) in the name of your track.

Upload: Post your track to a public account (SoundCloud preferred but by no means required). It’s best to focus on one track, but if you post more than one, clarify which is the “main” rendition.

Share: Post your track and a description/explanation at https://llllllll.co/t/disquiet-junto-project-0648-shadow-boxing/

Discuss: Listen to and comment on the other tracks.

Additional Details:

Length: The length is up to you. How many rounds can you go?

Deadline: Monday, June 3, 2024, 11:59pm (that is: just before midnight) wherever you are.

About: https://disquiet.com/junto/ 2

Newsletter: https://juntoletter.disquiet.com/

License: It’s preferred (but not required) to set your track as downloadable and allowing for attributed remixing (i.e., an attribution Creative Commons license).

Please Include When Posting Your Track:

More on the 648th weekly Disquiet Junto project, Shadow Boxing — The Assignment: Employ shadow boxing as a musical metaphor — at https://disquiet.com/0648/

Always shadow boxing - disquiet648

The huge setting sun -
little remains of
its power

Takahama Kyoshi was a Japanese poet active during the Shōwa period of Japan. He was the editor of the haiku magazine Hototogisu (previously edited by Shiki), where he promoted a more traditional style of haiku, as opposed to other popular schools which did not follow the pattern of seventeen syllables at that time.

Kyoshi also highlighted the symbolic function of the kigo (the seasonal reference), even though the more modern trends were already tending towards seasonless haiku.

Little remains (naviarhaiku550)

Through a world of sound
the only filter I have
my discerning ear
 

Jason Richardson is a Leeton based musician and poet who’s collaborated with Naviar many times over the last few years: in 2014 his music was part of the sound installation we made for the State of Origin exhibition in London. In 2017, Jason and I curated together the exhibition Crossing Streams in Narrandera. In 2021, I interviewed Jason as part of our series of online events, Naviar Virtual. You can listen to our interview on Naviar’s YouTube channel.

Haiku by Jason Richardson

Only (naviarhaiku562)

Disquiet Junto Project 0668: All Right Then, Keep Your Secrets
The Assignment: Bury a secret sound until it is no longer identifiable.

This project was proposed by Mahlen Morris.

Step 1: Record a 30-second chunk of sound from a single source. This may or may not involve a microphone. This recording shall be referred to as The Sound.

Step 2: Manipulate the Sound extensively. Stretch, break, torture, soothe, remove, heighten The Sound. Reveal subtleties of The Sound you didn’t notice when you recorded it.

Step 3: Layer the results of Step 2 in a way that pleases you. Revel in it.

Step 4: Reveal to no one the original source of The Sound. Ever. In the description when posting your finished track, you can say what you did to The Sound, but do not even hint at the source.

Step 5: Keep and carry that secret. Not all must be revealed.

Tasks Upon Completion:

Label: Include “disquiet0668” (no spaces/quotes) in the name of your track.

Upload: Post your track to a public account (SoundCloud preferred but by no means required). It’s best to focus on one track, but if you post more than one, clarify which is the “main” rendition.

Promise - disquiet0668

Video here https://youtu.be/0akHuIXUIgk?si=ggg7av6axK7fU7xX
Disquiet Junto Project 0669: Phonosynthesis
The Assignment: Make music to help a forest regenerate.

A scientific research paper this month documented evidence that sound can help fungus grow. The conclusion: “Demonstrating a tangible impact on fungal activity, our findings suggest that carefully tuned acoustic parameters might be able to enhance ecological processes.”

Record music to help a forest grow. Imagine an array of solar-powered speakers is spread through a forest-in-need. Or come up with another deployment scenario of your own imagining. What sort of music would you play for the forest to encourage its regeneration?

The research paper: https://royalsocietypublishing.org/doi/10.1098/rsbl.2024.0295.

Coverage in the New York Times: https://www.nytimes.com/2024/10/04/science/fungus-sounds-growth.html

The paper is the work of four people from the College of Science and Engineering, Flinders University, in Australia.

Thanks to Michael Rhode for having shared with me the research coverage.

Phonosynthesis  - disquiet0669

Fog clears away:
the waterfall shows up
bit by bit.
 

Undoubtedly one of the most important Japanese novelists in modern history, Natsume Sōseki began his career publishing haiku and renku poems in a number of newspapers and periodicals. Early in his career he met Masaoka Shiki, who encouraged him to become a writer and tutored him in the art of composing haiku.

Between 1900 and 1903 he studied at the UCL in London, but this proved to be quite a dramatic experience for the young Soseki. Despite this, when Soseki returned to Japan, he exploded into prolific writing activity.

Haiku by Natsume Soseki



Waterfall (naviarhaiku564)

Disquiet Junto Project 0670: Right of Way
The Assignment: Music for turn signals.

Step 1: Record the sound of a car’s turn signal (or, alternately, use a prerecorded one, for example at freesound.org 7).

Step 2: Improvise on top of the recording of the turn signal with as many or few layers of additional sound as you like, emphasizing rhythm (versus melody or harmony), and retain the original turn signal sound, so it is still audible for most if not all of your finished track

Left turn - disquiet0670

telegraph pole
toppled down by
the tempest

Regarded as the father of contemporary haiku, Masaoka Shiki was a poet and literary critic during the Meiji period Japan.

He advocated realistic observation by “sketching” (shasei) poems and going out into nature with notebooks, thus abandoning the traditional subjects of haiku of the time. His advice for an aspiring poet was, “Use both imaginary pictures and real ones, but prefer the real ones.”

Haiku by Masaoka Shiki



Toppled (naviarhaiku566)

Disquiet Junto Project 0672: Day Break
The Assignment: Make a handful of sonic alerts for various purposes.

Step 1: You’re going to make alarm sounds. Think about the alarms and alerts — phone, egg timer, microwave, neighborhood church bells, etc. — that currently go off regularly in your life.

Step 2: Make a list of a handful of instances you want to create an alert for, like something urgent and something that’s a gentle reminder, and so forth. Maybe you have a different tone for each morning of the week?

Step 3: Record roughly five (more or less) sonic alerts for the purposes you decided upon in Step 2.

Step 4: Make one track with each of the alerts separated briefly by some silence. When posting the track online, be sure to list the intention behind each alert.



Assorted alarms - disquiet0672

Above my head -
The burning summer sky,
Begging and walking.
 

Haiku featured in the collection "Fire on the Mountain: the Selected Haiku of a Wandering Zen Monk Taneda Santôka". Japanese, and English translated by Hisashi Miura and James Green.

A wandering poet and ascetic Zen priest, Santōka was a disciple of Ogiwara Seisensui, one of the first poets to discard the traditional use of the 5-7-5 structure in haiku.

Santōka’s poetry emphasizes the necessity of sabi (solitude) in order to achieve spiritual enlightenment and serenity.

Burning (naviarhaiku567)

Disquiet Junto Project 0673: Switch Back
The Assignment: Make the quiet part loud, and vice-versa.

Just one step this week: Record a piece of music in which you make loud that which is usually quiet and quiet that which is usually loud.

Tasks Upon Completion:

Label: Include “disquiet0673” (no spaces/quotes) in the name of your track.

Upload: Post your track to a public account (SoundCloud preferred but by no means required). It’s best to focus on one track, but if you post more than one, clarify which is the “main” rendition.

Share: Post your track and a description/explanation at https://llllllll.co/t/disquiet-junto-project-0673-switch-back/

Discuss: Listen to and comment on the other tracks.

Additional Details:

Length: The length is up to you.

Deadline: Monday, November 25, 2024, 11:59pm (that is: just before midnight) wherever you are.

About: https://disquiet.com/junto/

Newsletter: https://juntoletter.disquiet.com/



The quiet part - disquiet0673

Disquiet Junto Project 0674: Cerberus Sample
The Assignment: Make a song not just with but from just one sample.

Step 1: You’re going to make a song with just one short sample as its entire sonic source material. Select your sample wisely.

Step 2: Make a song in which the sample you selected in Step 1 serves as the raw resource for all the different parts of the song. Use nothing but that solitary sample. Here is one example of a song with four parts: melody, backing chordal material, bass, and beat. Three parts may be best, but make as complex and busy a piece of music as you desire, certainly.

Tasks Upon Completion:

Label: Include “disquiet0674” (no spaces/quotes) in the name of your track.

Upload: Post your track to a public account (SoundCloud preferred but by no means required). It’s best to focus on one track, but if you post more than one, clarify which is the “main” rendition.

Share: Post your track and a description/explanation at https://llllllll.co/t/disquiet-junto-project-0674-cerberus-sample/

Lunero y yo - disquiet0674

Disquiet Junto Project 0676: Sub Melody
The Assignment: Bury a slow melody deep inside a drone.

Step 1: We did a drone project last week and it went well, so let’s do another one. You needn’t have done last week’s to do this week, as is always the case. Again, you may, yourself, be experienced recording drone music, or you may never have recorded any. You may not even be sure what drone music is, in which case read up a bit. Not matter your experience and familiarity, please give some thought as to what constitutes drone music.

Step 2: Think about what makes a melody, even a very slow and simple melody, different from a drone.

Step 3: Now record a piece of music that is, objectively, a deep drone, but somehow within it, somewhere well below the surface, include a slow-moving melody.

33per

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