Excellent work! You mailed the growing complexity.

very well paced, really subtle build up that accentuates the complexification

More on this 188th Disquiet Junto project (“Take a provided track and make it more complex”) at:

http://disquiet.com/2015/08/06/disquiet0188-complexcomplex/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

Image associated with this project from the notes that accompany the album Complexification (Entr’acte), by Guy Birkin and Sun Hammer, and on which project is based.

More on Complexification:

http://entracte.co.uk/projects/guy-birkin–sun-hammer-e187/

Disquiet Junto Project 0188: Complex Complex

More on this 494th weekly Disquiet Junto project — Insect Menagerie (The Assignment: Record a 20-second clip of the sounds of an insect that you yourself have invented) — at: https://disquiet.com/0494/

Thanks to Tobias Reber and Musikfestival Bern for collaboration on this project. More on the festival at:

https://www.musikfestivalbern.ch/
https://www.instagram.com/musikfestival_bern
https://www.facebook.com/musikfestivalbern

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

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

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0494-insect-menagerie/

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

The image associated with this project is by dr_relling, and used thanks to Flickr and a Creative Commons license allowing editing (cropped with text added) for non-commercial purposes:

https://flic.kr/p/6RPmAq

https://creativecommons.org/licenses/by/2.0/

Insect Menagerie - disquiet0494

for me complexity is a conceptual endeavour, it's more about the process than the outcome. at the moment, i see complexity as an integration of disparate elements: subjective-objective, creative-analytical, individual-communal, present-past etc. i'm aware that every piece of music i do follows on from another, they are related to each other in some (small?) way. working intuitively allows this to come out i think, but in addition i always combine conscious conceptual elements from previous efforts - my hope is that my soundcloud timeline provides a natural progression track to track. 

i've been working a lot with samples on my last few tracks, so i didn't add anything else. i just went through and isolated small sounds i liked then stretched them and blended in over the course of track (like in sleeping church) but here i was more interested in getting a balance between texture and frequency. i've been working with dronefx on my mixcloud pieces so i used that to generate some note progressions and changed the pitch of the low end sounds. i wanted to make an ambient piece that gradually develops with more texture (again like in all my recent pieces) and i used the concepts of the last two disquiet projects to complement this: i recorded the piece to tape as in summer:impermanence (& fortuitously coz it was the same decrepit old tape a little snippet of that track comes through right at the start!) then i faded between the tape version into the 'clean' version as the track progresses (like in last weeks project).

i wanted the finished piece to sound completely different to the source but still retain something of the spirit of it. i tested this by fading in and out my favourite section of the original  right at the end and i think it works pretty well.
₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

Disquiet Junto Project 0188: Complex Complex
Take a provided track and make it more complex.

This project was proposed by Guy Birkin and Jay Bodley (aka Sun Hammer). It extends the thinking that went into their album Complexification, released by the record label Entr’acte. (http://entracte.co.uk/projects/guy-birkin–sun-hammer-e187/)

These are the steps for this project:

Step 1: Pick one of the two tracks at the following URL: https://goo.gl/tN4Oit.

Step 2: Modify that one track in any way, using as much or little of it as you like, to make a new piece that sounds “more complex” than the original. You may add other sounds. (Note: You are free to use any definition or measure of “complexity.” You should be sure to describe your process and how it “increases” the complexity of the original track.)

Background: The album Complexification by Guy Birkin and Sun Hammer “explores musical complexity through a collaborative process based on a set of rules.” Those rules involved the two musicians swapping successive copies of a track in order to make it progressively more “complex.” For their purposes, they defined “complexity” as follows: “In this project, complexity is understood in terms of the quantity and variety of musical elements or patterns. The result is two parallel threads of music, each representing a progression of increasing complexity.”

More on this 188th Disquiet Junto project (“Take a provided track and make it more complex”) at:

http://disquiet.com/2015/08/06/disquiet0188-complexcomplex/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

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

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/


hidden complex (summer mix) (disquiet0188)

This weeks task was to take a track and make it more complex...

Complexity can be approached from various angles, I myself, not being a virtuoso musician, use blunt tactics. 
Previewing the material, I chose to sample (Complexification0010SH by Sun Hammer), The original material was sliced into sections and played back via pads in Ableton, triggering, bouncing and combining the material. After creating a rough sequence of events and patterns by hand and unquantized, I then added some sound design elements to add depth and texture to the sound.  Chains of effects where layered to try and add width.  I'm relying on a mixture of delays and edits to create transitions between the past and I just tried to make an interesting sound collage.

Oh yeah, and it was fun!

More on this 188th Disquiet Junto project (“Take a provided track and make it more complex”) at:

http://disquiet.com/2015/08/06/disquiet0188-complexcomplex/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

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

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

Image associated with this project from the notes that accompany the album Complexification (Entr’acte), by Guy Birkin and Sun Hammer, and on which project is based.

More on Complexification:

http://entracte.co.uk/projects/guy-birkin–sun-hammer-e187/


Consumer Complex  - Disquiet0188 - Complexcomplex

Lately, I've been enjoying taking a single sample of something and building a whole new track around it. 

I did that mostly with this, a short sample from the 2nd mp3 and then used a bunch of PD samples from freesound along with some VST instruments in Ableton Live - throwing everything but the kitchen sink.. and yet somehow it still sounds unfinished. Will revisit this track in the future.

Started and completed in one session in about 2 hours.

***

Disquiet Junto Project 0188: Complex Complex
Take a provided track and make it more complex.

This project was proposed by Guy Birkin and Jay Bodley (aka Sun Hammer). It extends the thinking that went into their album Complexification, released by the record label Entr’acte. (There’s more background on album below the project description.)

These are the steps for this project:

Step 1: Pick one of the two tracks at the following URL: https://goo.gl/tN4Oit.

Step 2: Modify that one track in any way, using as much or little of it as you like, to make a new piece that sounds “more complex” than the original. You may add other sounds. (Note: You are free to use any definition or measure of “complexity.” You should be sure to describe your process and how it “increases” the complexity of the original track.)

Step 3: Upload your completed track to the Disquiet Junto group on SoundCloud.

Step 4: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Deadline: This assignment was made in the afternoon, California time, on Thursday, August 6, 2015, with a deadline of 11:59pm wherever you are on Monday, August 10, 2015.

Background: The album Complexification by Guy Birkin and Sun Hammer “explores musical complexity through a collaborative process based on a set of rules.” Those rules involved the two musicians swapping successive copies of a track in order to make it progressively more “complex.” For their purposes, they defined “complexity” as follows: “In this project, complexity is understood in terms of the quantity and variety of musical elements or patterns. The result is two parallel threads of music, each representing a progression of increasing complexity.”

More on this 188th Disquiet Junto project (“Take a provided track and make it more complex”) at:
http://disquiet.com/2015/08/06/disquiet0188-complexcomplex/

More on the Disquiet Junto at:
http://disquiet.com/junto/

Join the Disquiet Junto at:
http://soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:
http://disquiet.com/forums/

More on Complexification:
http://entracte.co.uk/projects/guy-birkin–sun-hammer-e187/

Lee Rosevere - Test Pattern [disquiet0188-complexcomplex]

More on this 188th Disquiet Junto project (“Take a provided track and make it more complex”) at:

http://disquiet.com/2015/08/06/disquiet0188-complexcomplex/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

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

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

Image associated with this project from the notes that accompany the album Complexification (Entr’acte), by Guy Birkin and Sun Hammer, and on which project is based.

More on Complexification:

http://entracte.co.uk/projects/guy-birkin–sun-hammer-e187/

i took the original sample and copied it 8 times as different layers which I then placed into garageband, with each layer being placed slightly to the left of the previous one. this created a complexity in the different spacing of notes and sounds.
I then deleted the beginning 20 secs of the second track (and deleted an extra 20 secs from each of the following tracks so that they all came in slowly to add complexity over an expanded period. i then added 1 effect to each of the layers
layer 1 no effects
layer 2 pitch shift down 
layer 3 slow panning tremolo
layer 4 vocal transformer (pitch down and fierce degradation)
layer 5 pitch shift down
layer 6 vocal trans. (pitch -15 slight degradation)
layer 7 delay (fast sweep)
layer 8 pitch shift down (-12) + 6 second reverb.


Strudel (disquiet 0188 - Complexcomplex)

Disquiet Junto Project 0188: Complex Complex
Take a provided track and make it more complex.

- My intention was to have increasing complexity acting upon increasing complexity.
- Did this on my iPad. I used the 2nd track, but really used both. 
- The Sparkle app was used to apply the temporal characteristics of the 1st track onto the 2nd track, so the 2nd track was played with the sound characteristics of the 1st track.
- I took 3 minutes of each track. The 1st track was played at half speed and the 2nd a normal speed. So for this six minute piece the 2nd track (3 minute segment) played twice.
- For the first three minutes it is just the increasing complexity of the 1st track acting on the 2nd track, which itself is increasing in complexity.
- At three minutes delay was added, and then gradually increased.
- Around the last minute I manipulated the filter for additional complexity.
- Recorded the piece in Sparkle, then applied EQ and Compression in Auria.

More on this 188th Disquiet Junto project (“Take a provided track and make it more complex”) at:
http://disquiet.com/2015/08/06/disquiet0188-complexcomplex/

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

Join the Disquiet Junto at:
http://soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:
http://disquiet.com/forums/

Image associated with this project from the notes that accompany the album Complexification (Entr’acte), by Guy Birkin and Sun Hammer, and on which project is based.

More on Complexification:
http://entracte.co.uk/projects/guy-birkin–sun-hammer-e187/

Transferred Complexity [disquiet0188-complexcomplex]

Disquiet Junto Project 0188: Complex Complex
Take a provided track and make it more complex.

I used the track Complexification0010SH.

My goal was to add complexity while preserving the clarity of the original track. 

I began by adding 2 subtle tracks under the original opening. One is a time stretched version of the original with a stretch factor of 1. It adds a bit of pitched noise. The other is Spectral Filterbank which adds a slight repeating pitch. Both tracks are derived from and follow the sounds of the original track. They add a new bit of complexity to the original.

For the second section, starting at about 2:15, I added a new track based on the quieter section of the original. I repeated and reversed it creating a bilateral arc. I copied this and time stretched it with a stretch factor of 1. Underneath this I added a long, soft drone from Freesound (DerwentSharpe, Ambient » minor - 3b.wav). All this is under the original track. The new layered sounds add to the complexity of the original.

I overlapped the sounds from the last minute of the original track to create a drive to the final segment. The repeated beat pattern returns at about 3:15, increases and reaches a climax at 4:10. The piece ends with the sound of the original track. 

Edited in Audacity. 

The image associated with this track is by Thomas Boulvin

This project was proposed by Guy Birkin and Jay Bodley (aka Sun Hammer). It extends the thinking that went into their album Complexification, released by the record label Entr’acte. (There’s more background on album below the project description.)

More on this 188th Disquiet Junto project (“Take a provided track and make it more complex”) at:
http://disquiet.com/2015/08/06/disquiet0188-complexcomplex/

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


Complex Complex [disquiet0188-complexcomplex]

Translated: "There's a cat on the gamelan."

In a complete departure for me, I decided that this challenge - many different random number checks, careful timings, and so on - were much better suited to automation than trying to run them myself, so instead of an improvisational approach, I decided that I'd program this instead.

I decided that I'd use ChucK for this - it's well-suited for dynamically adding and removing layers and programatically arranging and synthesizing music.

I started out by stealing bits from the modal-o-matic example; this is a program that randomly plays different configurations of the ModalBar unit generator. The only really salvageable part (for my piece, anyway) was the code that did the different strikes and positions on the virtual bar. Playing around with this, I decided to use a single note (middle C) with different strikes, positions, and presets on every note as an ostinato, and then create dynamic "shreds" that would compute the note timings and durations according to the original plan.

After a few hours of programming, mostly figuring out the timing, I was about to record the final version, when I realized that because this was ChucK, I could actually run six independent copies of the piece at the same time; a couple of takes (every take is different!) and I had the final six-layer version. 

Edit: I realized on listening once I was awake that the multiple layers of pulse were obscuring the panning; split the pulsed and no-pulse versions apart and ran six of the no-pulse and one of the pulsed for the final version.

Edit edit: Soundcloud's conversion is sadly covering up the panning in the pulse track. I suggest running it yourself with headphones to get the intended effect.

https://github.com/joemcmahon/ada-kucing-gamelan.ck

More on this 235th weekly Disquiet Junto project — “Create a piece of music based on a structure determined by the roll of a single die” — at:

http://disquiet.com/0235/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

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

Subscribe to project announcements here:

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

Disquiet Junto general discussion takes place on a Slack (send your email address to twitter.com/disquiet for inclusion) and at this URL:

http://disquiet.com/forums/

Ada Kucing Pada Gamelan [disquiet0235]

"Ran´s Alphonse Beyond" (Junto Project 0255)

Collaboration improvisational track with Andrew Hulett,
banjo
monome
custom software
buchla 200e
patchbay

Hazy Afternoon Banjo (disquiet0255)

This track was created for the Naviar Haiku group.
193week haiku
naviarlab.tumblr.com/

Korg MicroKorg XL+  ,  kalimba + guitar reverb pedal

2017-09-15

Fireflies over the river (Naviarhaiku 193)

TO PARTICIPATE

- Make music in response to the assigned haiku.
- If you're a Soundcloud user, upload the track on Soundcloud and message me privately with the track's URL; alternatively you can send me your composition directly via Dropbox
- Include the assignment number in the title of your track - “Title of your track (naviarhaiku214)”

Please use a Creative Commons license for your track and set it as downloadable if you wish to be included in the podcasts and compilations.

F0046 [Naviarhaiku 214 - How heavy on my eyes, the winter sun.]

Night - over
sleeping children,
sound of the waves.

Now considered as one of the most influencial modern Japanese writers, the novelist of the Meiji period Natsume Soseki was a late bloomer: his literary career officially began in 1903, with a series of haiku and renga published on various literary magazines. Between 1900 and 1903 he studied at the UCL in London, but this experience proved to be quite dramatic for the young Soseki as he’ll describe his period in the United Kingdom with these words:

“The two years I spent in London were the most unpleasant years in my life. Among English gentlemen I lived in misery, like a poor dog that had strayed among a pack of wolves.“

Despite this, when Soseki returned to Japan he exploded into prolific writing activity.

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

F0048 [Naviarhaiku 215 - Night - over sleeping children, sound of the waves.]

**Production Notes**

In Ellsworth Kelly’s early works you find plenty of seemingly simple, yet beautiful collages. First Kelly painted some lines in broad brush strokes, then he cut up the paper and started to rearrange the pieces. I went for a similar approach.

- First, there’s some gnarly ”gesso” background to bring in some movement (some tonal noises made with Aalto)
- There are 5 asynchronous loops, cut in 5 pieces each (made with Blisko Cello, Aalto, and Chromaphone)
- First the loops are played as a whole, then rearranged within each sample, and for the last time, everything is rearranged by chance.

* * * 

**Disquiet Junto Project 0478: Collage of Collages**

The Assignment: Make a collage that will become part of a larger collage.

Step 1: Create a “musical collage,” however you might define it, likely using the equivalent of cut and paste. When doing so, consider the sense in which your collage might itself become part of a subsequent collage.

Step 2: If you’d like your piece excerpted for a broadcast on the Austrian community radio show Kopfkino (translated: “cinema in the head,” and also available as a podcast) by Margarethe Maierhofer-Lischka, make sure your track is set for download when you post it.

Background: Margarethe has offered to produce an online segment in collaboration with the Disquiet Junto. The theme of the Kopfkino episode will be “collage.” The episode will itself be a collage of tracks produced in this week’s Junto project.

More on Kopfkino at: https://cba.fro.at/series/kopfkino

Seven More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0478” (no spaces or quotation marks) in the name of your tracks.

Step 2: If your audio-hosting platform allows for tags, be sure to also include the project tag “disquiet0478” (no spaces or quotation marks). If you’re posting on SoundCloud in particular, this is essential to subsequent location of tracks for the creation of a project playlist.

Step 3: Upload your tracks. It is helpful but not essential that you use SoundCloud to host your tracks.

Step 4: Post your tracks in the following discussion thread at llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0478-collage-of-collages/

Step 5: Annotate your tracks with a brief explanation of your approach and process.

Step 6: If posting on social media, please consider using the hashtag #disquietjunto so fellow participants are more likely to locate your communication.

Step 7: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

(…)

More on this 478th weekly Disquiet Junto project — Collage of Collages (The Assignment: Make a collage that will become part of a larger collage.) — at:

https://disquiet.com/0478/

The project is a collaboration with the radio show Kopfkino, initiated by Margarethe Maierhofer-Lischka. More on Kopfkino at:

https://cba.fro.at/series/kopfkino

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

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

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0478-collage-of-collages/

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

Ellsworth Kelly [disquiet0478]

The Serpent and the Egg (disquiet0478)

i took this weeks project as an impetus to just cut and paste something together, didn't let the "musical" side put me off, just revelled in the excuse to splice and juxtapose the contents of my recorder - some sounds recorded intentionally for this project, most just what was there; fragments snatched over the past three months or so.

///

... some pink noise, an aubergine being chargrilled, nextdoor's bins, a ventilation system, a brief hydrophone recording, a waterfall, a self-service check-out, various birds, some metal stairs, traffic, rain, ice, snow, various paperbags, a train station tannoy, a malfunctioning videocall, a dehumidifier, gulls, small pieces of plastic, wind, demolition work...

///

it's my age and inclination, i think, but i am deeply enamoured with collage and assemblage aesthetics; the way the world necessarily leaks in to even the most perverse and hermetic project; the way you can sort of synthesise the sheer abundance of the world; a nest of implications and connections; the way things become strange when they're oblided to be in overlap or proximity.

///

i used no effects on the final piece beyond a little panning at times, a little EQ-ing; some of the files and chopped into the thing had been processed, but for the most part - as the relentless bumps of mic-handling shoud indicate, the component sounds are essentially unprocessed.

///

More on this 478th weekly Disquiet Junto project — Collage of Collages (The Assignment: Make a collage that will become part of a larger collage.) — at:

https://disquiet.com/0478/

The project is a collaboration with the radio show Kopfkino, initiated by Margarethe Maierhofer-Lischka. More on Kopfkino at:

https://cba.fro.at/series/kopfkino

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

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

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0478-collage-of-collages/

time and room enough here [disquiet0478]

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.

Complex Complex [disquiet0188-complexcomplex]

dirigent

Recent comments

337is (three three seven is)

̲ ̲ ̲ ̲ ̲ ̲ ̲ ̲ ̲s̲e̲v̲e̲n̲ı̲s̲m̲ ̲ ̲ ̲ ̲ ̲ ̲ ̲ ̲

Dave Dorgan

Ian Haygreen

Related tracks