This is the shorter recording of a train, by @toaster-1, for use in the Disquiet Junto project that begins on February 29, 2024.

Train Source (:52)

sound art for disquiet0712.

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/.

leaf litter (disquiet0712)

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

Recorded, edited, mixed & mastered on 24 Aug 2025 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa, USA.

Synths, drum samples, 12-string electric guitar, effects

Photography/Art - Jim Lemanowicz, 19 Aug 2017, Massapequa, NY, USA

Music & art © 2017, 2025 Jim Lemanowicz

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This original version of “Walking To Other People’s Footsteps” was submitted as part of Disquiet Junto Project 0712: Zebra Code The Assignment: What rhythm do you hear in a bar code?

More on the Disquiet Junto at: disquiet.com/junto/

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/.

Walking To Other People’s Footsteps  (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)

This was my contribution for Disquiet Junto Project 0712: Overclocked. The Assignment: What rhythm do you hear in a bar code?

Here’s a copy of my post on the Disquiet Junto 0712 discussion thread on Lines:

I recently added Daphne Oram’s book An Individual Note: of Music, Sound, and Electronics, to my reading stack. So decided to use the barcode on the back cover for this project. The original intent was to create something that aligned with her more experimental work, but as often happens with these projects, it morphed into something different. This time, into an IDM like rhythm based track.

This was put together in Ableton Live 12 using mostly Dillon Bastan’s Rhythmorphic max for live MIDI effect. It’s a “non”-euclidian sequencer that uses the brightness values of an image or video to generate note patterns with modulations. A little bit like the way Daphne’s Oramics machine works with light and dark. I used the image of the barcode from the book on three different tracks using Slate + Ash and Madrona Labs instrument plugins. Also created additional tracks via a MIDI keyboard, as well as a couple of short, sliced and manipulated samples of her music and sound experiments. Hopefully she won’t mind too much with me using them.

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/

Daphne's Dancing Dream [disquiet0712]

took the barcode on the most recent module i bought - intellijel auxmix - and turned the barcode into a step pattern - at least the first 64 steps. narrow/wide meaning 1 or 2 steps.

this barcode step pattern goes through clock divider to get the same pattern at different resolutions. the most obvious (and fastest) one is the hats, slower divisions go to fm voice + granular triggers + various modulations

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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/.


disquiet0712 - barred pattern

disquiet0712 Con Shn

This week's Disquiet Junto prompt was to create music based on any  barcode.

I used the barcode from a bottle of banana-flavored Soylent, which was my breakfast throughout the month of August (long story):
1 0 0 2 8 9 7 0 1 2

 I took inspiration from the “will it riff” videos by treating the bar code as notes, but I don’t really play much guitar or use tab, so instead I treated the numbers as whole steps away from a given note (middle C, to make it easier) (so I guess I treated it as guitar tab if your guitar had only one string and that string was tuned to middle C).

So, I took the first digit, 1, to mean one half step away from C, giving me C#/Db. I took 0 to mean back to C, etc. (for the 20th-century music theory fans, basically set theory with very long sets)

This gave me the pitch sequence Db C C D Ab A G C Db D, which, broken down into three- or four-note segments, provides the opening bassline.

Then I tried a variation on my approach, deciding that this time the numbers would give me half steps down from C, which provides the first melody: B C C Bb E Eb F C B Bb

I really like working with atonal lines like this and trying to make them feel catchy and accessible. It’s easier with music that permits lots of repetition (because repetition legitimizes! repetition legitimizes! repetition legitimizes!)

For the beat, I tried to create something that was a cross between Daisuke Tanabe’s “for the twin” and Copycatt’s “Dunque”.  I think I tend towards boombap beats, so I have a ways to go towards developing my Tanabe-inspired glitch palette.

For the other aspects of production, the bassline is a lot of Beatsurfing’s Random (which I rarely get a chance to use) doubled with a normal bass and a very quiet wah-wah bass guitar. The synth lead is note from Arturia’s Pigments fed into Sonic Bloom’s Synplant for glitchy variations. I have an envelope follower on the snare triggering Synplant’s “overall weirdness” parameter, so the synth sound has a little flutter of weirdness every time the snare hits.
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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/

BANANA SOYLENT (disquiet0712)

My 33 1/3 series book about the Aphex Twin album <i>Selected Ambient Works Volume II</i> 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.