same comment as northwoods, and great sounds too.  A pleasure!

wow, this sounds like an interesting project!! (best of luck!)

I've actually listened to this track at the beginning of the week, but realised just now how good it is.

More on this 435th weekly Disquiet Junto project, Disquiet Junto Project 0435: Woodshed Report — The Assignment: Share something you’ve been working on (and respond to what others post) — at:

https://disquiet.com/0435/

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0435-woodshed-report/

There’s also a Disquiet Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

Image associated with this track is by Josh Self, used thanks to a Creative Commons license and Flickr. The image has been cropped, colors shifted, and text added.

https://flic.kr/p/dqMB2w

https://creativecommons.org/licenses/by-nc-sa/2.0/

Disquiet Junto Project 0435: Woodshed Report

Galaxy Next Door

Some kind of Christmas-Cookie… 

best wishes to all!

Ich steh an Deiner Krippen hier

Recorded live in our studio back in the 70'
Music : Fin Valentin
Linie 18 is.
Drums : Niels Enevoldsen
Bass : Fin Valentin
Saxofon: Søren Blet
Rythm guitar : Hans Kvisgaard
Lead guitar : Per Jensen

Linie 18 W/ Linie 18

"Repetición y diferencia" (encargo ArtHaus)

(Eva García Fernández -2022-)
para flauta, clarinete bajo, saxo alto, piano, guitarra eléctrica, violín, cello, vibráfono y batería.

Concierto – La unión hace la fuerza – ArtHaus (17 de diciembre 2023)


Ensamble ArtHaus
Flauta: Amalia Pérez
Clarinete bajo: Federico Landaburu
Piano: Marcelo Balat
Guitarra Eléctrica: Pablo Boltshauser
Violín: Grace Medina
Cello: Clement Silly
Vibráfono y batería: Bruno Lo Bianco
Dirección: Pablo Druker

Repetición y diferencia es una obra que surge a partir de cuestionamientos en torno al ser y la identidad, tanto en el ámbito personal como en el estético o artístico. La identidad no es fija, sino dinámica, se construye a través de la experiencia de la diferencia y la repetición, es esta experiencia la que nos permite relacionamos con el tiempo, con la historia y con el otro. En esta línea, es una obra que dialoga con Gilles Deleuze, Bernhard Lang y obras anteriores de la compositora. La obra es, en sí misma, un acto de repetición y diferencia.

En la obra, esta dialéctica constante entre diferencia y repetición, se expresa en diversos niveles. Por un lado hay repeticiones de determinadas configuraciones, que si bien aparentan ser “exactas”, son repeticiones “puro disfraz”, ya que a la hora de sonar y transcurrir en el tiempo, producen diferencias infinitesimales, estas diferencias se producen en el interior de la repetición.  Por otro lado, hay elementos sonoros que se repiten a lo largo de la obra, diferenciados por su relación en el contexto temporal y material, creando una repetición diferida que reactualiza el presente. De igual manera, hay algunos momentos de articulación formal en donde se escuchan diferencias cualitativas, es decir, en donde los elementos se reconfiguran y se subvierten las estructuras repetitivas preexistentes.

Repetición y diferencia

Repetición y diferencia - para ensamble - (2022)

Symphonia 5

Symphonia Symphonia part5/Lake of Madder

Composed, arranged, performed, and produced by
Carlos Vivanco & Jason Mowry
Final mix by Jason Mowry
@asleepwithheadphones
@lazydadamusic

Supraliminal

Supraliminal by Jason Mowry & Carlos Vivanco

Downtown Lights

4-Bit Verde

Today's the day.

Words and music by The Beta Band.

https://www.youtube.com/watch?v=yLhNfLq-sMI

https://www.youtube.com/watch?v=ek_X_e8Byng

Dry The Rain (Beta Band Cover)

UnBoxed June 2024
Original song, vocal performance, sounds and recording by the marvellous @rubyeiko
Reimagined and embellished by Out of the Box
Special assistance from Ellie and Sofi

OUT OF THE BOX / RUBY EIKO - Sexy Strange Girl

A modular patch exploration trying to recreate generative music something like Jon Hassel's Dream Theory in Malaya, or the Possible Musics project with Brian Eno.

4 Minutes Spent Floating... Or Falling (disquiet0435)

Disquiet Junto Project 0435: Woodshed Report
The Assignment: Share something you’ve been working on (and respond to what others post).

Step 1: The past six weeks of Disquiet Junto projects have encouraged and rewarded collaboration. This week’s is more insular. There’s no formal constraint. Just share a recent piece of music, or create a new piece for this week.

Step 2: After uploading your track, please take a few minutes to listen to and respond to tracks by other participants.

If you’re interest in background on the concept of the “woodshed,” here’s video of a talk I gave a little over a year ago on how it relates to the Disquiet Junto:

https://www.youtube.com/watch?v=GzHrOpBwhMU 5

TRACK NOTES:

This is an excerpt of a stereo mock-up/composite for a comissioned permanent installation that I'm currently finalising for the Angaston Railway Precinct redevelopment. 

In its finalised form the sound composition will be broadcast across a nine-channel 'sound pole' installation arranged in a grid formation. Since the sound sequences are all of varying lengths, the resulting phase relations will create a dynamic, shifting composition for visitors to experience in-situ. 

This mock-up provides an impression of what the work may sound like at a given iteration.

Sternere (2020)- stereo mock-up

More on this 435th weekly Disquiet Junto project, Disquiet Junto Project 0435: Woodshed Report — The Assignment: Share something you’ve been working on (and respond to what others post) — at:

https://disquiet.com/0435/

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0435-woodshed-report/

There’s also a Disquiet Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

disquiet0435   -    EDeeM

A work in process peep into my woodshed, faintly exasperated conversation about... creativity? With my dear, long-suffering, friend: the computer. Accompanied by twiddling knobs on Korg Volca Bass/Keys/Sample, sequenced in Numerology with just a splosh of echoechoecho. I've had this sitting around for years but was being far too perfectionist about it at the time so really lost patience with myself - all the original sequences etc are lost now, so just went back to the original recording and did a bit of editing (Reaper) - minimal post-production just a bit of compression & limiting from Limiter no.6

I can't remember what I used to do the voice, it was some sort of old freeware amiga, or maybe commodore 64, emulator. We chatted in real time, me just saying whatever came into my head & then helping 'puter reply by typing words into his wee mouth, out through speakers into the room (and my Zoom H2n) just as day was dawning one September morning (2016), and then I edited some of the pauses out, etc.

Since then I've got rid of all the programs I can't afford - which is nearly all of them, as I have had no income for some time - I don't want to be a pirate, I want to help and contribute, so am going all free and open source, and am planning to rebuild my way up to being able to make this level of stuff (+++) by coding my own sequencers etc in Pure Data, gonna take some time, mind, I int no programmamama.

Have reserved my rights on this as thinking might be able to put an EP out? But always up for collaboration & can change this if needs be. This is for the disquiet junto:::

More on this 435th weekly Disquiet Junto project, Disquiet Junto Project 0435: Woodshed Report — The Assignment: Share something you’ve been working on (and respond to what others post) — at:

https://disquiet.com/0435/

More on the Disquiet Junto at:

https://disquiet.com/junto/

YEScomputAWE (disquiet0435)

This week's Disquiet Junto assignment was to post something you've been "woodshedding." I haven't been working on my own stuff much, but my time just freed up so I thought I'd dust off and try to finish this piece based on Schoenberg's approach to hexachords later in his life (long story short, he loosened his rules for 12-tone serialism).

I wrote a pretty six-note riff and then ran it through the ol' tone-row matrix to get its inversions, retrogrades, etc. From there I tried to find hexachords that went together to sound melodic, harmonious, and unified. Finding interesting melodies and harmonies was fairly easy, but it was very hard to find transitions that "felt" right. Maybe after I work with this a bit longer.

Photo by David Meurin

* * * * * *
More on this 435th weekly Disquiet Junto project, Disquiet Junto Project 0435: Woodshed Report — The Assignment: Share something you’ve been working on (and respond to what others post) — at:

https://disquiet.com/0435/

More on the Disquiet Junto at:

https://disquiet.com/junto/ 1

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0435-woodshed-report/

Hexachord Etude 1 (disquiet0435)

Tristan Louth-Robins is a South Australian artist working principally in the medium of sound art and field recording. Ideas of sound and its signification are key elements in Louth-Robins' practice, traversing the space between the visual and aural his work is realised through the mediums of recordings, installation, visual art and performance. He is interested in sound and its associative implications - including its relationship to objects, technology, urban space, memory and the natural world. 


Since 2005, Louth-Robins has presented work in Australia and internationally as a solo artist, whilst also collaborating with artists, writers, researchers, musicians and performers. 

Working across a vast array of activities encompassing composition, sound design, installation art, field recording and workshops, his work has been featured in events such as the Adelaide Festival of Arts (2006), The National Regional Arts Festival (2012), Mildura-Wentworth Arts Festival (2013), Fairfax Festival (2013) and Adelaide Fringe Festival (2014); and selected works exhibited at galleries including The Australian Experimental Art Foundation (2009), SASA Gallery (2012, 2015), Light Square Gallery (2012) and FELT Space (2015). His audio works have been broadcast on radio including Radio National, Classic FM, The BBC (UK), Acoustic Frontiers (USA) and RBB (Germany).

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.

Sternere (2020)- stereo mock-up

Tristan Louth-Robins

Recent comments

ausgesuchtestenohren

Nate Trier

elchrisso

¶radio hummingbird

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