Lovely, lovely again – and captured to my understanding the idea so well: improvisation is always a creative dialogue.

through the lid of a pedal bin..wouah!! damm, no end creative way..

Another drone with microkorg and pedals, enjoy in my MOOD serie

MOOD V

The Disquiet Junto prompt this week was an invitation to transform a siren as it passes from left to right.

My contribution features the transformation of an air raid siren by way of two layers of heavily effected slide steel guitar and an ambivalent synth pad. The vocal samples were generated with text-to-speech.

"Airships Over Chicago" is a stereophonic experience, so choose your listening environment with care. Recorded at NO SIGNAL Multimedia Lab, The Shambles, Chicago, USA.

More about Disquiet Junto 0650: https://disquiet.com/0650

Disquiet Junto

Airships Over Chicago (disquiet0650)

QUARREL

Music can make you feel better, calm you down, lighten the situation or help you relax. So wouldn't it be great if you could call an orchestra in an emergency?

This track follows the inspiration of the Disquiet Junto 0650 project and gives you the opportunity to listen to an orchestral ambulance passing by.

More on the 650th weekly Disquiet Junto project, Doppler, Interrupted — The Assignment: Record a piece of music in which a passing siren blossoms into something else entirely — at https://disquiet.com/0650/

In Case of Emergency Call the Orchestra  (Disquiet0650)

Recorded for the Naviar Haiku challenge #545.

I wanted to illustrate the deceptive calmness under the stormy surface; our elusive memories, the petals as both wild sea foam and gently floating flower petals.

Both piano and Buchla are heavily affected by the Space Echo. Most of what you hear is the wet signal from the tape echo. In fact, when playing the piano I had no direct signal at all, resulting in me hearing what I had played half a second ago, not what I was playing at the time...

Main players:
Vintage Vibe
Buchla Music Easel
Roland Space Echo

Recorded in Logic Pro X with a Soundcraft MTK22.

floating [naviarhaiku545]

Humans create tools to make tasks easier. When the tool no longer works as intended, we discard or repurpose it for another utility. Our relationship with technology is like a transactional ouroboros, our behaviors influenced by human imperfections that machines were designed to eliminate. 

Computers distort the human-tool relationship, possibly due to their ephemerality in form factor and intended purpose. In merely a few decades, a machine that once encompassed an entire tabletop now rests comfortably in a jacket pocket. Tasks that once required several specialized instruments now reside in a single device. Such is the nature of our digital existence. 

(If there were a moment in this narrative to insert a casual reference to AI, here it is).

We want our computers to improvise because humankind is always improvising, and we need our tools to respond to our shifting priorities. “Everything is always turning into something else,” wrote the poet Kenneth Koch. “As we’re sitting here talking, monkeys are jumping around in the trees, and waves are going across the Hudson, and new poets are being born, and covers are coming off books … I mean, all sorts of things are going on.”

For this piece, Suss Müsik interpreted form and structure through improvisational reconstitution. Handmade electronic devices, built from discarded 1990’s computer hardware and a hacked Glitch Storm bitmap sequencer, manipulated acoustic timbres from plucked cellos to create unpredictable looping patterns. These were iteratively refactored until the tonic and non-tonic diffused, suggesting a "broken" musicality that transgresses common assumptions of sonic beauty.

The piece is titled Ultracrepidarians, a word to describe a group of people who express strong opinions about something beyond their expertise.

More on the 651st weekly Disquiet Junto project, Why Compute? — The Assignment: Respond to a prompt from George E. Lewis — at https://disquiet.com/0651/

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

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

Disquiet Junto Discussion: https://llllllll.co/t/disquiet-junto-project-0651-why-compute/67663

Ultracrepidarians [Disquiet 0651]

More on the 651st weekly Disquiet Junto project, Why Compute? — The Assignment: Respond to a prompt from George E. Lewis — at https://disquiet.com/0651/

“Why do we want our computers to improvise?” My answer: because it’s a fun way to enhance creativity, allow playful interaction and create a source of the unknown to challenge you.

I tried to create something in this spirit using the fabulous Krill for Norns with various Synths.

Disquiet0651 - Because It’s Fun!

sound art for disquiet0651.

manual cassette tape collage recorded through the lid of a pedal bin with a contact mic.


More on the 651st weekly Disquiet Junto project, Why Compute? — The Assignment: Respond to a prompt from George E. Lewis — at Disquiet Junto Project 0651: Why Compute? – Disquiet

redundant technology will save us (disquiet0651)

Disquiet Junto Project 0651: Why Compute?
The Assignment: Respond to a prompt from George E. Lewis.

Lewis asks, “Why do we want our computers to improvise?”
I, for myself, to be surprised by the improvisations.
But not too much.
That's why half of this track is made up of repeating patterns and the other half of patterns that change through computing slightly (!) with every interation.

More on the 651st weekly Disquiet Junto project, Why Compute? — The Assignment: Respond to a prompt from George E. Lewis — at https://disquiet.com/0651/

Discussions https://llllllll.co/t/disquiet-junto-project-0651-why-compute/

Subsidiary Surprise [disquiet0651]

Experimentation with Bitwig's FX Grid, processing a Harmony Bloom generated sequence with various randomisers, such as dice, sample and hold, and logical arithmetic based on several channels of source. The result was then further modified with Infiltrator 2, and Sampleson's Haptic Perc, and Xils-Lab La Palme.

indeterminant (disquiet0651)

This is my submission for this week's Disquiet Junto project.

More on the 651st weekly Disquiet Junto project, Why Compute? — The Assignment: Respond to a prompt from George E. Lewis — at https://disquiet.com/2024/06/20/disquiet-junto-project-0651-why-compute/

Banded Structures [disquiet0651]

Artist and non-musician making sound art with found objects.

redundant technology will save us (disquiet0651)

Raincat

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