naviarhaiku479 – Summer night

Summer night
transforms to daybreak.
I count fleas.

Ryōkan Taigu was a Japanese poet and calligrapher who lived during the Edo period. A Buddhist monk who lived much of his life as a hermit, he spent most of his time writing poetry, calligraphy, and communing with nature. His poetry is often very simple and inspired by nature.

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

 

Deadline: 15th March 2023

haiku by Ryōkan Taigu https://allpoetry.com/Taigu-Ryokan

picture by freestocks https://unsplash.com/@freestocks

Summer Night Fleas [naviarhaiku479]

a theme by Marco Lucchi re-imagined by Walter Fini

marzo 2023

Walter Fini - Acqua di Marzo

Original Score inspired by the Todd Keisling novel Devils Creek

Father Jacob

Generative synth patches and some field recordings.

Blink and it's gone

incertitude

Naviar Haiku 511

in dark autumn nights
dew and the new bamboo shoots
reaching out to moon

Shubham Dasgupta, hailing from the picturesque city of Guwahati, India, introduces himself as a student of law. However, his true passion lies in his enchanting affair with words and the mesmerizing world of poetry. With an innate ability to discover beauty in the most ordinary aspects of life, he finds solace in daydreaming. Mastering the art of crafting Haiku poems on a daily basis, he effortlessly weaves emotions into syllables, creating captivating pieces of art. Occasionally, he ventures into the realm of painting, giving life to his vivid imagination.

To participate visit https://www.naviarrecords.com/about/naviar-haiku
 
Haiku by Shubham Dasgupta https://www.instagram.com/poetry.bysdg

Picture by naraa .in.ub https://unsplash.com/photos/Qf-5KCZduV0

Touch the Moonlight

Touch the Moonlight (NaviarHaiku511)

Marco Lucchi : synthesizers
*
1 dicembre 2023
*

Nel Museo nazionale romano di palazzo Altemps si conserva una testa in marmo che secondo la tradizione rappresenta un’Erinni addormentata. Gli occhi chiusi, i ciuffi dei capelli scarmigliati sulla fronte e la guancia, le labbra appena dischiuse, il volto della Furia – se di una Furia si tratta, sia essa Aletto, Megera o Tisifone – riposa quieto su un cuscino di buio marmo, come se sognasse.
Una furia che invece di gemere e urlare, scuotendo la chioma serpentina, chiude gli occhi e sogna, smentisce se stessa. Eppure proprio e soltanto il sogno o il sonno di una furia assomiglia al pensiero. Il pensiero non è soltanto contemplazione, è innanzitutto furore. Si dà pensiero, si dà contemplazione, solo se prima vi è stato furore, se guardando l’abominio degli umani e del mondo, la mente – diceva Bruno – discesa «ne la parte più inferna… si sente lacerare e sbranare». E solo se nel nostro eroico furore riusciamo a chiudere gli occhi e sognare, si ha vera quiete, si ha visione e teoria. I nostri sogni non sono allora fantasie a occhi aperti, che sappiamo ingannevoli e vane, ma verità a cui, anche se con gli occhi chiusi, non possiamo non credere, perché abbiamo prima visto la vendetta e l’errore. Il pensiero è questo acquietarsi del furore, è un’Erinni che sogna.

13 novembre 2023
Giorgio Agamben

Furore che sogna [1]

Marco Lucchi : synthesizers and tape
*
for the current Disquiet Junto challenge
https://disquiet.com/2024/02/22/disquiet-junto-project-0634-bust-a-move/
*
from F. J. Haydn - Sinfonia n^6 "Le Matin" - 2° movimento - Adagio
*
with the voice of Akemi Takeya
* 
febbraio 2024

Iki no kôzô

Bandcamp

Iki no k​ô​zô # 3 - w/Akemi Takeya [disquiet # 0634]

Disquiet Junto Project 0637: Right (2 of 3)
The Assignment: Record the second third of an eventual trio.

This years beginning was full of work and I missed 1/3. This time I did not want to miss the collaboration. I went with Daniels piece https://soundcloud.com/daniel-diaz/live-bass-soundscape-disquiet0636 simply because I liked it and I wanted to know what would come out if I tried it - if I would not like the outcome I would go on to another piece. I improvised a first track with a Hydrasynth Explorer. A second track is the rattling of a napkin ring with rattling shells on it, which I had bought in France just for this purpose. I went with my gut feeling until I had the feeling that I couldn't contribute any more. I always liked it in every step, probably because it's DDs. I think there is still room for a third person with something unusual.

If you need a left-right-version, just ask.

Track image based on a photo by Kelly Sikkema
https://unsplash.com/de/fotos/person-die-seifenblasen-im-freien-halt-hUuGUG9gdRg

More on the 637th weekly Disquiet Junto project, Right (2 of 3) — The Assignment: Record the second third of an eventual trio — at https://disquiet.com/0637/

Reflecting Fragility [disquiet0637] 2/3 (first)

Disquiet Junto 0639 

                                                          Pathways 4 of 3 

 

The Assignment: Rework musical trios using the constituent parts-one of two ways DAW: Ableton 12 

Key: G minor? 

Time Signature: 4/4 

Length: 3 minutes 

Started with the four tracks from 0636 that were not used in 0637.The tracks were by August Miles,Dandante,Martinsea and  MtnViewMark-Bits 

Used panning automation to change each tracks panning

More on the 639th weekly Disquiet Junto project, Path Ways (4 of 3) — The Assignment: Rework musical trios using the constituent parts — one of two ways — at https://disquiet.com/0639/

disquiet0639remix

This week's #disquietjunto prompt was: "Record something, slow it down, and then record over it."

I love how slowing things down to half-speed and adjusting the pitch at the same time changes the transients and timbres, so I knew immediately I wanted to explore that some more in this project. 
I made a quick, short beat at 180 bpm over the weekend. 180 feels like a d&b tempo, so I copied that iconic drumbeat (with a weird little "skip" in the second half of the beat that the steady hi-hats seem to smooth out).
I experimented with slowing down the output, and it seemed the quality of the mix had a huge impact on the character of the slowed-down version, so I made a few more attempts than usual at mixing the underlying beat.
Then, I recorded it direct to cassette on my dictaphone, recorded that back into Ableton, and dropped the pitch by an octave and slowed it down by half.
The result was pretty good - the mix seemed to work, and it turns out a 180 d&b drumbeat at half speed morphs into a West Coast 90's hip-hop drumbeat? At least to my ears.
Then I added some new material over this slowed down version. I wanted to add some accordion or melodica (I thought the sustained and reedy tones would add a nice contrast to the muffled, lo-fi rhythm) but it was a little late at night and I'm not sure my neighbors wanted to hear that, so I ended up using some reedy synths: a sample of my accordion, Ableton's "accordion pad," and some sounds from Arturia's Pigments. 
The result is a little weird, but, to me, interesting!

* * * * *
More on the 645th weekly Disquiet Junto project, Speed Trap — The Assignment: Record something, slow it down, and then record over it — at https://disquiet.com/0645/ 2

Slow Coast (Disquiet0645)

Composer and producer who puts together noise and pretty sounds. Hear my releases on Bandcamp: https://natetrier.bandcamp.com/

Slow Coast (Disquiet0645)

Nate Trier

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