Recorded, mixed & mastered 30 Nov 2023, 01 Dec 2023 & 03 Jul 2024 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

©2024 Jim Lemanowicz

Process notes

This started life in Nov 2023 along with Disquiet Junto 0622, which is to say a recording of acoustic guitar I made in 1988. (https://ift.tt/MwTqgeO)

Tools used - Ableton Live, a handful of Max for Live devices, K-Devices Shaper, AudioDamage Fluid, AudioDamage Ratshack Reverb, AudioDamage AdVerb, Monolake PitchLoop89 & Ableton native devices, along with iZotope Ozone 9 for mastering.

This original version of "The Distorted People That I Know" was submitted as part of Naviar Haiku 548, The Sound Of Silence

The sound of silence
is all the instruction
you’ll get

by: Jack Kerouac

Like other “Beat Poets”, Jack Kerouac was attracted to Eastern philosophy, perception, and poetry. Together with Ginsberg and Whalen, he helped “Americanise” the haiku form and introduce it to a wider audience outside of Japan.

“The American Haiku is not exactly the Japanese Haiku. The Japanese Haiku is strictly disciplined to seventeen syllables but since the language structure is different I don’t think American Haikus (short three-line poems intended to be completely packed with Void of Whole) should worry about syllables because American speech is something again…bursting to pop.
Above all, a Haiku must be very simple and free of all poetic trickery and make a little picture and yet be as airy and graceful as a Vivaldi Pastorella.”
(Kerouac)

For more about the Naviar Haiku Challenge, see https://www.naviarrecords.com/haiku-music-challenge/

The Distorted People That I Know (naviarhaiku548)

Barcode Love [disquiet0712]

exercise for disquiet junto 0712, barcode inspired. all sounds are generated from a midi representation of a single barcode at various scales.

the cover image’s horizontal lines are drawn directly from a screen grab of the project’s MIDI notes.

the barcode is from Ryoji Ikeda's Matrix CD. (at the end i've layered some field recordings i made at his exhibit at Atlanta's High Museum)

barcode [disquiet0712]

This track was inspired by this week's Disquiet Junto project: The barcode of the softcover Penguin edition of Daniel Kahneman's "Thinking, Fast and Slow" was used as the timeline for the rhythm, and the track was created with this beat as inspiration.
The other elements followed, found through intuition or happy accidents.
The result is a far groovier track than I initially assumed.

More on the 712th weekly Disquiet Junto project, Zebra Code — The Assignment: What rhythm do you hear in a bar code? — at https://disquiet.com/0712/

Thinking Fast and Slow (Disquiet0712)

I created this track for Disquiet Junto Project 0712. The assignment involved creating a rhythm by interpreting a barcode. I interpreted the thin lines of the barcode as snare hits and the thick lines as kick drum. I programmed the snare and kick hits into my sequencer with spacing loosely following the spacing in the barcode. I improvised various keys parts over this rhythm. The number code in the barcode guided note selection. To decide which notes I could select from, I set 0 at a Bb, then counting up or down in half steps I could use any notes that were numerically represented in the barcode. 
More on the 712th weekly Disquiet Junto project, Zebra Code — The Assignment: What rhythm do you hear in a bar code? — at https://disquiet.com/0712/.

Code Read [disquiet0712]

a submission for this weeks disquiet junto: riffing off a bar code. abrcode from a water bottle



More on the 712th weekly Disquiet Junto project, Zebra Code — The Assignment: What rhythm do you hear in a bar code? — at https://disquiet.com/0712/.

disquiet0712waterbottleriff

Response to Disquiet Assignment: What rhythm do you hear in a barcode? The first :30 of the piece consists of the barcode: vocal sounds to represent each size of the lines, and one sounds for the biggest space - followed by improvisational vocal sounds repeats of the barcode. More on the 712th weekly Disquiet Junto project, Zebra Code — — at https://disquiet.com/0712/.



disquiet0712 Al Dente

More on the 712th weekly Disquiet Junto project, Zebra Code — The Assignment: What rhythm do you hear in a bar code? — at https://disquiet.com/0712/

Ii|1|]:'IIll|:!! [disquiet0712]

Created for Disquiet Junto 0712 Zebra Code, created in response to a prompt to use a bar code as a rhythmic source.

l.ife (Disquiet Junto 0712)

We use a lot of olive oil in our cooking so I took the barcode from a bottle in our cupboard to inspire this music.

First, I converted the barcode to a sequence of pitches, where each digit is the number of semitones from the root note. I used that 12-note pitch sequence in multiple tracks (bass, pad, lead) at different tempos.

Next, I created a percussion track by taking the unique non-zero digits from the barcode (1,2,5,6,7,8) and interpreted each as the number of sixteenth-note rests between notes for each of six percussion instruments. This made an interesting polyrhythm.

Finally, I arranged the parts in Ableton, added a touch of reverb, then used a few tablespoons of olive oil to prepare dinner.

More on the 712th weekly Disquiet Junto project, Zebra Code — The Assignment: What rhythm do you hear in a bar code? — at https://disquiet.com/0712/

popeye's girl - disquiet0712

Track created for Disquiet0712 Challenge. Foundation rhythm generated from decoding a UPC bar code. No Kind Breakfast Protein Bars were harmed in making this track. All sounds created with SurgeXT VST Synth.

The track is in 7/8 with the following decoded pattern as the rhythmic foundation:
Each number represents the 1/8 note duration value per a bar.

1114 3211 2122 1114
1231 2122 1132 2221
2112 1411 3211 3211

More on the 712th weekly Disquiet Junto project, Zebra Code — The Assignment: What rhythm do you hear in a bar code? — at https://disquiet.com/0712/.



Ictus UPC-Disquiet(0712)

Making music is about being surprised.
https://www.patreon.com/blisterpop
Linktree for more - https://linktr.ee/blisterpop

The Distorted People That I Know (naviarhaiku548)

Jimmy Lem