The Assignment: Use probability to remove material from a track.

I made a 3 track piece specifically for this idea instead of using something I already had because I figured it should be done with tracks that always have something happening so the silence is more noticeable/dramatic.  I think the moments where everything cuts out are the most dramatic.  Silence is sort of the 4th track in that sense (or what ever is going on around you when listening).  The piece itself used a fair bit of aleatory.  "Dr Chaos" is a max for live instrument I used with the drum kit.  It plays random samples at a regular beat division (1/8th, 1/16th, etc.). The 2 other tracks are just moving through different interval cycles (minor 3rds and perfect 4ths) at different paces so they create different unpredictable harmonies.  I used Random.org to decide where to cut and how long the cut should be (1-8 beats).  I figured cutting on beats instead of seconds would give the breaks a rhythmic quality.

More on this 586th weekly Disquiet Junto project, Chance the Eraser (The Assignment: Use probability to remove material from a track), at: https://disquiet.com/0586/

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

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

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0586-chance-the-eraser/

Nothing Hear (disquiet0586)

This is just a simple ambient solo using the Buchla Music Easel and Christopher H.M Jacques "Sleepwalker" patch for the Zoia. Hopefully it will be of some use to someone for the trio project.

disquiet0591

YouTube visuals @ https://youtu.be/36yoz3r4ECE

Lost in tranquil seas
Where spring feels melancholy
Another sunset

haiku by Gary Clarke https://whaligoeeye.co.uk/

picture by Lavi Perchik https://unsplash.com/photos/bwm26JyAHBk

For more information visit http://www.naviarrecords.com/about/naviar-haiku

visuals (YouTube)

halF melancholY [naviarhaiku486]

This track is about a minute of C# major droning, then some F# major, then back to C# major. Created using a modular setup using Moog Matriarch, Cloud Terrarium, and Virt Iter Lego for a total of 7 droning oscillators sent through the Matriarch ladder filter and stereo delay. Hope someone finds this to be a useful starting point!

More on this 591st weekly Disquiet Junto project, The Loneliest Number (The Assignment: Record the first third of a trio), at: https://disquiet.com/0591/

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

Seasharp Effsharp

Seasharp Effsharp - Disquiet0591

Part one a three part assignment - make a track for someone to add to.

More on this 591st weekly Disquiet Junto project, The Loneliest Number (The Assignment: Record the first third of a trio), at: https://disquiet.com/0591/

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

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

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0591-the-loneliest-number/

five days a week [disquiet0591]

A textured drone around the note G2 (98 Hz). Could be used, with modifications as necessary, for the basis of a layered sequence.

More on this 591st weekly Disquiet Junto project, The Loneliest Number (The Assignment: Record the first third of a trio), at: https://disquiet.com/0591/

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

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

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0591-the-loneliest-number/

Bass Base (disquiet0591)

naviarhaiku487

Sound of mountain
sound of ocean
everywhere spring rain.

Sôen Nakagawa was a key figure in the transmission of Zen Buddhism from Japan to the Western world. Author Sean Murphy, in his “One Bird, One Stone: 108 Contemporary Zen Stories”, tells us an interesting story about the Zen Buddhist master during his time in the U.S.:

“Soen loved to walk around New York City. He’d stare at the lighted skyscrapers, at their tops, he claimed he saw Buddha figures in the lights. “Look at the Buddha,” he’d point, “Shining Buddha!” He’d fill the sleeves of his robes with nuts and berries from Central Park or herbs growing in the sidewalk cracks, and add them to his bowl at the next meal. He loved the musical Fiddler on the Roof, and when asked a question about why some particular point of ceremony needed to be performed in a certain way, he might burst into song, responding “Tradition…!”

Seven days to make music in response to the assigned haiku: to participate visit https://www.naviarrecords.com/about/naviar-haiku

Deadline: 10th May 2023
haiku by Sôen Nakagawa
picture by Guillaume de Germain

Everywhere Spring Rain (naviarhaiku487)

The cold forest flaunts
A newly webbed blanket of
Wood anemones

Pritee Rel is a teacher living in Alberta, Canada, with her husband, two children, a dog, and a cat. Besides reading and writing, Pritee likes going on long walks/hikes with her dog.

Seven days to make music in response to the assigned haiku: to participate visit https://www.naviarrecords.com/about/naviar-haiku

Deadline: 31st May 2023

Haiku by Pritee Rel https://twitter.com/PriteeRel

Picture by Annie Spratt https://unsplash.com/photos/pfBwKO8rzjY

Wood Anemones (NaviarHaiku490)

Behind

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Intro

The Field Between: Music and Anti-Music

This artistic manifesto explores sound in the liminal space between music and anti-music—a generative field where the "unheard" insists on being felt rather than understood.
Music as Architecture: Music is framed as humanity's system for creating order and meaning from sonic chaos. It organizes, names, and classifies sound, offering maps and directions through auditory experience. Music builds bridges of meaning, structures time into comprehensible sequences, and domesticates temporal flow so it "makes sense." Fundamentally, music expresses gratitude for the recognizable, providing belonging and comfort through shared patterns and familiar structures.

Anti-Music as Invitation: Contrary to negation or rupture, anti-music is a profound expansion of sonic possibility. It doesn't destroy—it invites. This is an invitation to perceive differently, to embrace the unmapped and un-coded as valid artistic territory. Anti-music offers "foreignness not as exile, but as adventure"—a chance to be a stranger in one's own sensory experience. It presents the sublime: beauty in what escapes comprehension, abysses that aren't empty but full of strange possibilities "without baptism." Where music domesticates time, anti-music offers time without domestication. It expresses gratitude for mystery itself.

The Fertile In-Between: The work's core focus is the vibrant field existing between these poles—not a void but a charged space of becoming where the "inaudito" (unheard) insists, overflows, conspires, and expands. This recognition acknowledges that understanding is also limitation; every definition closes secret doors. Each act of comprehension loses infinite other readings.
Intuitive Reconnection: The practice seeks to reconnect with pre-lingual perception—sensing vibrations the body intuits without understanding. "In this not-understanding, I reconnect." This return to the un-codified is the core artistic act.

Unified Philosophy: Music and anti-music aren't opposing forces but symbiotic partners coexisting in the same sonic space. The work celebrates both the understood and its beyond, residing in what anti-music reveals: a "fenda linda"—a beautiful fissure in the fabric of the known, from which new ways of hearing and being emerge.

five days a week [disquiet0591]

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