A grim and unforgiving portrayal. Great use of source material and congrats on the execution.

amazing sounds you created for this junto,brilliant

Awesome, Awesome synth work. Luv module synth setups. Great job man.🔊🎶🎶🎶😎👍👍

More on this 264th weekly Disquiet Junto project, Time Travel: Record a piece of music that plays with the perception of time”:

http://disquiet.com/0264/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

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

Project discussion takes place on llllllll.co:

llllllll.co/t/music-for-time-travelers-disquiet-junto-project-0264/6157/

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

Image associated with this track is by Heather and used thanks to a Creative Commons license:

flic.kr/p/4fD1HJ

creativecommons.org/licenses/by-nc-nd/2.0/

Disquiet Junto Project 0264: Time Travel

Episode 2 focuses on past, present and future of the Detroit-Berlin axis. By means of an interview collage, writer and Make Techno Black Again activist DeForrest Brown, Jr., Lerato Khathi aka Lakuti (founder of Uzuri Recordings and the Bring Down the Walls initiative), Boris Dolinski (resident DJ at Berghain) and Mark Ernestus (musician and founder of the Hard Wax record store) explore how the rapid growth of techno and club culture in Germany after 1989 relates to the music’s origins in the Black neighbourhoods of the post-industrialised city of Detroit.

Assembling a Black Counter Culture: Techno at the End of the Future - Ep 2 Berlin

This track was created for the Naviar Haiku group.
405week haiku
https://www.naviarrecords.com/2021/10/06/naviarhaiku405-a-day-of-rainbows/

2021-10-07

A Day Of Rainbows  ( Naviarhaiku 405 )

This track is intended to give the listener a connection to his inner self and the mythological past buried deep inside of us. Sounds of nature, a shaman reciting...
It is inspired by the Disquiet Junto Project 0515 - creating music for an psychotherapist’s waiting room (see below).

An alternative version (more mythical, more shamanic wisdom) can be heard at https://soundcloud.com/rabmusiclab/la-shamane-nattend-jamais-il-vit

I owe my thanks to Lárus Guðmundsson whose poetry reading I have used as building material for the shaman. You can find this - and other of his poems - on freesound.
The used poem https://freesound.org/people/Pax11/sounds/479362/ is under the Creative Commons Attribution 3.0 Unported license https://creativecommons.org/licenses/by/3.0/.
I changed the pitch and formant, and only play deliberately pieces of the poem backwards.
The music of Lárus Guðmundsson can be found on SoundCloud: https://soundcloud.com/lalli-fraendi

The wonderful bird-recordings are from https://freesound.org/people/klankbeeld/. The three recordings
https://freesound.org/people/klankbeeld/sounds/577248/
https://freesound.org/people/klankbeeld/sounds/581729/
https://freesound.org/people/klankbeeld/sounds/577446/
can be heard consecutively throughout the track. These recordings are also licenced under the Creative Commons Attribution 3.0 Unported.

I also want to thank kangaroovindaloo for providing the very evocative field-recording of the creek that plays all through the track at
https://freesound.org/people/kangaroovindaloo/sounds/588652/
This perfect recording already contains birdsong. It is licenced under the Creative Commons Attribution 3.0 Unported, too.

More on this 515th weekly Disquiet Junto project — Talking Cure (The Assignment: Write music for a psychotherapist’s waiting room) — at: Disquiet Junto Project 0515: Talking Cure

More on the Disquiet Junto at: https://disquiet.com/junto/ 1

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

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0515-talking-cure/

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

La Salle d'Attente Mythique (disquiet0515)

WOMEN* WUT Tracks´n talks and exhibitions @ Habibi Kiosk with @kimtwiddle

Anlässlich des Weltfrauentages präsentierten wir 04.-06. März 2022 Tracks ‚n‘ Talks and Exhibition in Kooperation mit dem habibi_kiosk und famlabor 🔥

Wir näherten uns dem Thema WUT mehrdimensional mit Ausstellung, Podiumsdiskussion, DJ Sets and many more!

Hier auf Soundlcloud findest du die DJ Sets von diesem wunderbaren Wochenende und hier gehts zum AFTERMOVIE >> youtu.be/Okmka8o9aUc
____

>>KIM TWIDDLE<<

Kim Ramona Ranalter alias Kim_Twiddle arbeitet mit unbändiger Lust am Verschränken von Ausdrucksformen, Gewerken und Materialien auf Bühnen wie im virtuellen Raum und verbindet Theater- und Musikproduktion, Performance, Live Acts und DJ*ing mit Ensembles und Kunstschaffenden jeden Hintergrunds in vielgestaltigen Projekten. 
Seit 2016 liegt der Fokus vermehrt auf Komposition und Sounddesign in der elektronischen Musik. Zwischen Retro und Sci-Fi gestaltet Kim Sound multimedialer Arbeiten und Installationen, interpretiert Musik für Theaterstücke zeitgenössisch und installiert diese als tragenden Bestandteil der Inszenierungen auf der Bühne: analog, ohne Bildschirm oder Laptop, auf elektronischen Klangerzeugern der frühen 2000er Jahre. Dabei wird aus unterschiedlichsten musikalischen Strömungen von Klassik über Electronica, Techno, Pop, HipHop bis Experimental geschöpft. 
Als Mitglied des queer-feministischen Kollektivs WUT e.V. versteht sich Kim mehr und mehr als nichtbinäre Person und organisiert seit 2018 mit DJ*s, Computerkunst- und Musikschaffenden ermächtigende und all(e)umfassende Veranstaltungen, Bildungs- und Netzwerkstrukturen sowie politische Interventionen.

>>LINKS<<
https://www.kimtwiddle.live
https://soundcloud.com/kimtwiddle
https://www.instagram.com/kim_twiddle
https://www.facebook.com/kimtwiddle

WOMEN* WUT Tracks ´n´ Talks and Exhibitions @ Habibi Kiosk with KIM TWIDDLE

First try with Snazzy Effects Miniark.  A little potpurri of  sounds. Some Ibanez baritone guitar, some random tones generated with Electro Harmionix RTG. Lots of samples made with Korg Kaoss Replay. Also mixed with Replay.
Strongly inspired by a reading of Kai Alstaedt´s Book " Palantir Foundry by use cases

Foundry Datasets

made with Flame six in a row, Alesis Nanosynth und Kinotone Ribbons

Spaceship verliert Kontakt

Spaceship verliert Kontakt / spaceship looses contact

was thinking about space dilating as i imagined speeding through time.

i got some cello samples and put them thru the protoplasm tsm synth, lots of oscillation, then had dimension expander and crystal reverb automated so they'd get bigger throughout. 
pulled into audacity and sliding time stretch applied so gradually speeds up
audition - duplicated track, stereo widened, then crossfaded with previous track to gradually get wider. mastered

....

Disquiet Junto Project 0264: Time Travel
Record a piece of music that plays with the perception of time.

Step 1: Recorded music is, generally speaking, a fixed object. It’s a document. It proceeds linearly, over time. It is, in the terminology of fine art, “time-based.” That said, music has the power to change one’s perception of time. Slowing and speeding tempo alone can alter a listener’s understanding of what is happening. Backward masking, sublimated hints of themes yet to come, the sound of a tape in fast forward mode — those are just a few ways that a composer can suggest that time is not moving linearly. Now, consider for a moment the tools available to give an impression of time doing things other than proceeding in a steady forward motion.

Step 2: Record a short piece of music that takes time travel as its theme, using ideas that resulted from the consideration in Step 1.

Five More Important Steps When Your Track Is Done:

Step 1: If you hosting platform allows for tags, be sure to include the project tag “disquiet0264″ (no spaces) in the name of your track. If you’re posting on SoundCloud in particular, this is essential to my locating the tracks and creating a playlist of them.

Step 2: Upload your track. It is helpful but not essential that you use SoundCloud to host your track.

Step 3: In the following discussion thread at llllllll.co please consider posting your track:

http://llllllll.co/t/music-for-time-travelers-disquiet-junto-project-0264/6157/

Step 4: Annotate your track with a brief explanation of your approach and process.

Step 5: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Deadline: This project’s deadline is 11:59pm wherever you are on Monday, January 23, 2017. This project was posted in the morning, California time, on Thursday, January 19, 2017.

Length: The length is up to you, but two to three minutes sounds about right.

Title/Tag: When posting your track, please include “disquiet0264″ in the title of the track, and where applicable (on SoundCloud, for example) as a tag.

Upload: When participating in this project, post one finished track with the project tag, and be sure to include a description of your process in planning, composing, and recording it. This description is an essential element of the communicative process inherent in the Disquiet Junto. Photos, video, and lists of equipment are always appreciated.

Download: It is preferable that your track is set as downloadable, and that it allows for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution).

Linking: When posting the track online, please be sure to include this information:

More on this 264th weekly Disquiet Junto project, Time Travel: Record a piece of music that plays with the perception of time”:

http://disquiet.com/0264/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

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

Project discussion takes place on llllllll.co:

llllllll.co/t/music-for-time-travelers-disquiet-junto-project-0264/6157/

temporal pulse (disquiet0264)

This is a tough one to describe.  I knew I couldn't do time travel with just an instrumental.  There had to be a voice involved.  Some kind of narrative.

The voice sample (not me) is altered.  Pitch-shifted up on the left and lowered on the right, but the duration was preserved on both to avoid phasing.  A bit of reverb.  The two samples were panned.  You should really listen to this piece with headphones.

Was the voice recording cut up and re-ordered or is it a continuous rant?

The subject matter does the time traveling in my mind:  Beach Boys, David Lynch movie, minute steaks with sunnyside up eggs, Edgar Winter, Stevie Ray Vaughn, Vyvanse, swinging bachelor pad, dress pants and dress shoes, shaved head, Mannix, Ironside, The White Album, Revolution #9, Long Long Long, Revolution #1, sleep, swagger, "the same feeling that night I drank", "the shield of armor" (which is Ephesians 6:10-18), AA talk, "and then Laura told me to Sit In That Feeling."

Book-ending it with talk about "a David Lynch movie" and "Laura told me to sit in that feeling" was intentional.  Or was it?

Was I trying to make the voice sound like a cheap version of The Man From Another Place, or did it just turn out that way?

Now you're thinking about the Twin Peaks reboot.  This isn't about the Twin Peaks reboot.  Or is it?

Music added includes bits of "We Meet Again" by Ambient Matyk (to be released soon), "Feather Ridge", "Kad", and "Shunting" by me, and some extra sounds.

More on this 264th weekly Disquiet Junto project, Time Travel: Record a piece of music that plays with the perception of time”:

http://disquiet.com/0264/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

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

Project discussion takes place on llllllll.co:

llllllll.co/t/music-for-time-travelers-disquiet-junto-project-0264/6157/

Sit In That Feeling (disquiet0264)

One Percent Disjunction [disquiet0264]

I thought I’d approach this by exploring the inside of a stretch, rather than just absorbing the overall drone effect. Not sure if it worked, but it was fun.

I took a 3 second sample from a piece I was working on. I used Audacity’s Sliding Time Scale effect on it. This stretches the sample unevenly, pulling only from one end, as it were. When the result was just over three minutes long, I reversed it. 

I duplicated the track and then pitched it down by 1% - that is by 0.01 of a tone. This helps create the phasing and movement you hear in the track. I also mixed these together and laid the mix as another track, but out of phase by 0.01 of a second.

A reverb version of the mixed tracks was also laid (in phase).

The ending was made by stretching the original sample out 12x using Audacity’s simplified version of Paulstretch.

The track image was made by applying similar principles to Marc’s email image, using paint.net



----------------------------------------------

Disquiet Junto Project 0264: Time Travel

Record a piece of music that plays with the perception of time.

Step 1: Recorded music is, generally speaking, a fixed object. It’s a document. It proceeds linearly, over time. It is, in the terminology of fine art, “time-based.” That said, music has the power to change one’s perception of time. Slowing and speeding tempo alone can alter a listener’s understanding of what is happening. Backward masking, sublimated hints of themes yet to come, the sound of a tape in fast forward mode — those are just a few ways that a composer can suggest that time is not moving linearly. Now, consider for a moment the tools available to give an impression of time doing things other than proceeding in a steady forward motion.

Step 2: Record a short piece of music that takes time travel as its theme, using ideas that resulted from the consideration in Step 1.

Five More Important Steps When Your Track Is Done:

Step 1: If you hosting platform allows for tags, be sure to include the project tag “disquiet0264″ (no spaces) in the name of your track. If you’re posting on SoundCloud in particular, this is essential to my locating the tracks and creating a playlist of them.

Step 2: Upload your track. It is helpful but not essential that you use SoundCloud to host your track.

Step 3: In the following discussion thread at llllllll.co please consider posting your track:

http://llllllll.co/t/music-for-time-travelers-disquiet-junto-project-0264/6157/

More on this 264th weekly Disquiet Junto project, Time Travel: Record a piece of music that plays with the perception of time”:

http://disquiet.com/0264/


Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

One Percent Disjunction [disquiet0264]

God: You can never change the future. The past, yes, but not the future.

Lucifer: How do you change the past?

God: Why, the past is always changing—nobody remembers anything. But the future can no more be turned away than the light flowing off the moon.

This bit of dialogue is from Arthur Miller’s underrated play The Creation of the World and Other Business. It comes at a crucial point in the narrative where Lucifer admits to God that he compelled Eve & Adam to partake of the forbidden fruit, an act that ultimately banished God’s children from the Garden of Eden.

Time travel is not impossible; we are always revisiting past events in our efforts to understand the present, and our attempts to predict the future often arise from moments of stagnate contemplation. Anyone who has experienced the feeling of traveling by air or rail understands the dichotomy between moving and not moving, not unlike how a great piece of music rewards the listener’s investment by making time stand still.

For this short piece, Suss Müsik literally went back in time—ten years, to be exact. The source material is an eight-bar guitar phrase played with a Danelectro 12SDC 12-string in 2007. The sample was chopped through a Korg ToneWorks 411X processor and recorded live from a Vox AD30VT. The binaural motion cycles for about two minutes or so before the reverse reverb winds it down, coming almost to a halt. The momentary respite allows for a calming pause before the cymbals announce their arrival.

The piece is entitled Trammel, a word to describe something that restricts or impedes one’s freedom of action.

More on this 264th weekly Disquiet Junto project, Time Travel: Record a piece of music that plays with the perception of time”:

http://disquiet.com/0264/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquietjunto/

Project discussion takes place on llllllll.co:

llllllll.co/t/musicfortimetravelersdisquietjuntoproject0264/6157/

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

Trammel [Disquiet0264]

Time Considered as a Helix of Semi-Precious Stone (Samuel R. Delany)

Yesterdays Aldous Huxley on a present state.Tomorrows electronic machines evolving - a moment in time.

Words by Aldous Huxley: Technology to control human behaviour
https://www.youtube.com/watch?v=ad-UnkacS_k&list=FLFNIVeJ588cdo-aHXiKrTDA

More on this 264th weekly Disquiet Junto project, Time Travel: Record a piece of music that plays with the perception of time”:

http://disquiet.com/0264/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

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

Project discussion takes place on llllllll.co:

llllllll.co/t/music-for-time-travelers-disquiet-junto-project-0264/6157/

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

Image associated with this track is by Heather and used thanks to a Creative Commons license:

flic.kr/p/4fD1HJ

creativecommons.org/licenses/by-nc-nd/2.0/

the enjoyment of servitude “disquiet0264″

Technical rehearsal for the Knobs & Wires synth fest 2018
Drums, Pads, Sampler and Ipad: Tom Simonetti
Sampler, Synth, Effects and iPad: Leo Hopfinger
Guitar, Effects, Modular and Macbook(white): Tobias Laemmert

Colossus of the road -  Erlenweg

Deep Blue Darling Session

Post-Reflotation Session

Treated (muted) upright piano
Orchestral samples (treated and mistreated) 
Music box sample
Synthesizers.
Bowed dulcimer (sampled)

Composed and performed by DD in a rainy Paris on Friday December the 7th during the whole day.

Created for the 362nd weekly Disquiet Junto project — Operational Surrealism
This track might not be the most surrealist of the lot for this junto, an uplift little melody, a simple "ballade" or "comptine" if you want. But one thing is sure, this track is beautiful as the chance meeting on a dissecting-table of a sewing-machine and an umbrella.

Treated (muted) upright piano
Orchestral samples (treated and mistreated) 
Music box sample
Synthesizers.
Bowed dulcimer (sampled)

Composed and performed by DD in a rainy Paris on Friday December the 7th during the whole day.

There's a word play with the double or simple L in _ballade/balade_ for the French speakers, don't know which one makes more sense for the title and artwork. Should ask Mr Magritte....

More on this 362nd weekly Disquiet Junto project — Operational Surrealism / The Assignment: Make a piece of music informed by a key text from the art movement — at:
https://disquiet.com/0362/ 1

Thanks to Peggy Nelson, for having proposed this project.

Ceci n'est pas une ballade (disquiet0362)

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.

A "dinett" is a trolley table made in the fifties by the furniture company Bremshey out of Solingen. For the experimental electronic music of Soundinett it serves as a workspace like a canvavs for painting. The upper tray is where the sound is painted, the lower tray stores the devices waiting to be added to a ever changing modular pattern of gear. The workspace of the dinett allowes only a few modules to connect. This reduction is a important formal element of "Soundinett" composition technique. It prevents from getting lost in gear while setting up the audio colour palette of electronic devices. 

the enjoyment of servitude “disquiet0264″

soundinett

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