"The plane had gone to ground near the sound of running water. Turner could hear it, turning in the g-web in his fever or sleep, water down stone, one of the oldest songs." 
 -- William Gibson, Count Zero. 1986.

using http://soundcloud.com/gluid-1/bathwater-field for water down man-made stone -- bedaankt!
and the water pack by plagasul http://www.freesound.org/people/plagasul/packs/8/ -- gracias!

. . . . .

Disquiet Junto Project 0029: Count Zero

This week's project is inspired by an aside that occurs at the opening of chapter 17 of William Gibson's classic cyberpunk novel Count Zero, originally published in 1986. The chapter is titled "The Squirrel Wood." It opens as follows:

"The plane had gone to ground near the sound of running water. Turner could hear it, turning in the g-web in his fever or sleep, water down stone, one of the oldest songs."

This idea of water running down stone, of a gentle but insistent natural stream, being one of the "oldest songs" is explored further in the chapter in various subtle ways. The Disquiet Junto project this week is to explore that idea: that there is music in the natural environment. We'll makes songs from running water.

The instructions are as follows:

Step 1: Locate and make a field recording of source material that involves running water. It can be a stream, as in the Gibson book, but it needn't be natural. The sink, a toilet, a hose in the backyard — any such source material would be fine.

Step 2: Extract a segment of the recording. That segment will serve as the basis for your composition, as its foundation. It will provide both rhythmic and melodic material. You can either use one long piece of the recording, or you can create the foundation of the track by combining and looping one or more brief segments of your original field recording.
 
Step 3: Add elements and treatments to the foundation recording of running water. Do so with the intention of highlighting the water's internal sense of rhythm and melody. Do not embellish so much that the foundation recording becomes unrecognizable.
 
Deadline: Monday, July 23, at 11:59pm wherever you are.

The inspiration for this track came from the opening of chapter 17 of William Gibson's 1986 novel Count Zero.
 
More on the 29th Disquiet Junto project at: http://disquiet.com/2012/07/19/disquiet0029-countzero/

More details on the Disquiet Junto at: http://soundcloud.com/groups/disquiet-junto/info


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pic: http://www.flickr.com/photos/dionnehartnett/7324180278/

The plane had gone to ground near the sound of running water [disquiet0029-countzero]

Photography saved my life.  
Music made life a little more bearable
(it also got helped me graduate college).

There are only two kinds of people in this world. 

Okay, three kinds. 

I don't like any of these: http://en.wikipedia.org/wiki/List_of_electronic_music_genres

My 33 1/3 series book about the Aphex Twin album Selected Ambient Works Volume II was published in 2014. The book was one of the top 5 bestselling titles for the calendar year, and in 2015 was ranked by Pitchfork as one of the "33 best" of the 100-plus books in the 33 1/3 series. It has subsequently been translated into Japanese (2019) and Spanish (2018)

Since 2012 I have moderated the Disquiet Junto group, which began on SoundCloud. More at disquiet.com/junto. 

I've written for Nature, Pitchfork, The Wire, Down Beat, Boing Boing, NewMusicBox, Red Bull Music Academy, Art Practical, the website of The Atlantic, and many other publications. 

I've exhibited sound art at galleries in Los Angeles (Crewest), Manhattan (apex art), and Dubai (DUTAC), and I had a audio-visual installation at the San Jose Museum of Art as part of its 45th anniversary.

And since 1996 I've run the website Disquiet.com about the intersection of sound, art, and technology.

CPH321, musique electronique expérimentale s'inscrit dans la continuité de ma production plastique : décortiquer, déconstruire le réel, en tirer les lettres de mon alphabet, puis construire de nouvelles phrases, qui, peut-être, feront un poème.

i like http://soundcloud.com/groups/word-music and http://soundcloud.com/groups/ill-field recordings
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headphone music alert!
a financial failure to date, i rarely listen to my tracks via normal loudspeakers. Please enjoy them via headphones. (Accounts of pleasant extra-headphone affairs graciously received.)
_________________________________

all is explained:
<a href="http://disquiet.com/2011/04/12/chopped-off-the-think-all-n4tural">The Self-Cutting (Up) MP3</a>
<a href="http://disquiet.com/2011/07/01/all-n4tural-beyond-the-ken">SPLENDIDLY ANEMIC FUNK</a>
<a href="http://disquiet.com/2011/12/15/all-n4tural-helpless">REVEALING THE GLITCH IN VOICE</a>
<a href="http://disquiet.com/2012/06/20/rawore-all-cousmatic">UNDER THE BRIDGE, REVISITED</a>
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51 anonymous downloads &minus; no plays &minus; from Senegal today. Is there a black market for all n4tural tapes?
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newer! 
<a href="http://flamingpines.com/releases.htm">Rivers Home: the final five</a>
a <a href="http://soundcloud.com/flaming-pines">Flaming Pines</a> series

with smashing artwork
worth the price alone.
Support hyper-independent labels!

a taste: 
http://soundcloud.com/flaming-pines/sets/rivers-home-final-five 
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new! <a href="http://flamingpines.com/releases.htm">Burning Palms</a>. a <a href="http://soundcloud.com/flaming-pines">Flaming Pines</a> compilation [confusing, huh!]
Now here, too: <a href="http://flamingpines.bandcamp.com/album/burning-palms">Burning Palms</a>
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&equiv; <a href=https://donate.greenpeace.org/hpp/pay.shtml>https://donate.greenpeace.org</a>
&equiv; http://www.amnesty.org/en/donate 
&equiv; https://supporters.eff.org 
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thanks for the kind comments, kemosabes!
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creative bastard dedicated to abrasive acoustics & aural piercing, play with ur own ears

Eclectic, electronic music producers EIF have been working out of Birmingham UK for the last decade. In recent years they have had huge successes, as they sought after producing style has captured the hearts and ears of some of the city’s most renowned musicians.
 
From soundtracks to remixes, art installations to festivals, and their never the same live sets across Europe, EIF have had a busy few years since their first official release of mini-album ‘Away From Here And Now’ on London’s Bit-Phalanx Records in 2016, followed by ‘Human Animal’ EP in 2018.
 
Working with many well-known vocalists and musicians, including the likes of Xhosa Cole, BBC’s Young Jazz Musician of the Year 2019, when an afternoon jam session with hot coffee and warm beats resulted in the album ‘Autumn Conversations’ released in 2018.
 
Their works include electronica, neo-classical, ambient, electro-acoustic, world music, and often their clean-cut beats and unlikely instrumentation cannot fit into any known genre, yet it is exceptional in its ability to engage and intrigue the listener. Focusing on compositional structures and full frequency productions, EIF’s specialist sound design creates a unique experience.
 
Using field recordings and gaining influence from the world around them, this alternative duo produced and co-directed the documentary ‘Soundscapes’, a visual story of how they create their compositions. In 2019, EIF wrote and produced the soundtrack for International dance company Humanhood, with the exceptional creation that is ‘Torus’.
 
With 2016 to 2019 full of international performances, the duo’s next chapter focuses on the release of the numerous innovative projects they are currently creating. The first part of 2020 is set to be very exciting, with the self-release single ‘Skyline’ in March and ‘Mutation’ on Erbium Records in April.