Video for track https://www.youtube.com/watch?v=uKLDxIXsAXU&t=133s
far distance beckons
– hazy blue peaks loom over
calm sea horizons

Raymond Cobley is an experimental composer and regular participant in our Haiku challenge. Now retired, Raymond aims to explore the possibilities afforded by open-source software, which he uses exclusively for creating and editing both sounds & images. All his works are published ​under a Creative Commons licence, and free for anybody to download or remix.

Hazy blue -(naviarhaiku477)Video for this track- https://www.youtube.com/watch?v=uKLDxIXsAXU&t=133s

P.oceanica is a slow-growing species of Posidonia, a global seagrass that provides food and shelter to marine organisms, protect coasts against erosion, and purifies natural water resources. P.oceanica covers the entire coastline of the Mediterranean Sea with its network of roots and rhizomes. One colony discovered off the coast of Ibiza is believed to be nearly two-hundred thousand years old, which would make it the oldest living plant in the world.

Marta Solé, a research scientist in environmental engineering at the Universitat Politècnica de Catalunya in Barcelona Tech (UPC), has spent her career studying the impact of noise pollution on marine biology. Solé’s previous research demonstrated that cephalopods hear sound through small sensory organs, which become damaged when noise exceeds a certain volume and frequency. P.oceanica have exhibited similarly adverse effects to noise, compromising the plants’ ability to connect to root systems and gather nutrients from the ocean.

Suss Müsik considered the metaphorical duality of sound waves and ocean currents as a framework for this Junto project. Three “waves” of synthetic material were treated with various distortion effects and allowed to pass over each other. A cyclical pattern simulates the gently modulating seagrass that lies beneath the surf, insulating its tender blades from the harsher noise just above the crashing waves.

The piece is titled P.oceanica and was recorded live to Tascam 8-track. Those who wish to learn more about Solé’s work are encouraged to read The Sounds of Life by Karen Bakker.

More on this 588th weekly Disquiet Junto project, Swell Time (The Assignment: 

Make some surf music), at: https://disquiet.com/0588/

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

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

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0588-swell-time/

P.oceanica [Disquiet0588]

Disquiet Junto Project 0590: Concrète Roots
The Assignment: Make music combining field recordings and feedback

This project is the first of three that are being done in collaboration with the 2023 Musikfestival Bern (musikfestivalbern.ch 2), which will be held in Switzerland from September 6 through 10. The topic this year is « √ » — as the organization explains: “the radical, or square root symbol and the power of its symbolism are central to the festival and these will be translated into music in multifarious ways.” All three projects will engage with the work of Éliane Radigue, who is the Composer-in-Residence for the 2023 festival.

We are working at the invitation of Tobias Reber, an early Junto participant, who is in charge of the educational activities of the festival. This is the fifth year in a row that the Junto has collaborated with Musikfestival Bern.

Select recordings resulting from these three Disquiet Junto projects may be played and displayed throughout the festival.

Step 1: Consider two different techniques: field recordings and feedback.

Step 2: Combine field recordings and feedback in the development of an original track.

Eight Important Steps When Your Track Is Done:

Step 1: Include “disquiet0590” (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 “disquiet0590” (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 track in the following discussion thread at llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0590-concrete-roots/

Step 5: Annotate your track 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.

Step 8: Also join in the discussion on the Disquiet Junto Slack. Send your email address to marc@disquiet.com for Slack inclusion.

Note: Please post one track for this weekly Junto project. If you choose to post more than one, and do so on SoundCloud, please let me know which you’d like added to the playlist. Thanks.

Additional Details:

Length: The length is up to you.

Deadline: This project’s deadline is the end of the day Monday, April 24, 2023, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, April 20, 2023.

Upload: When participating in this project, 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 always best to set your track as downloadable and allowing for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution, allowing for derivatives).

For context, when posting the track online, please be sure to include this following information:

More on this 590th weekly Disquiet Junto project, Concrète Roots (The Assignment: Make music combining field recordings and feedback), at: https://disquiet.com/0590/ 2

About the Disquiet Junto: https://disquiet.com/junto/ 1

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

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0590-concrete-roots/

Back to nature (Part One) - disquiet0590

Additional instrumentation on my end: A kalimba with Valhalla delay (resembles a haunting synth), and a ratchet with lots of reverb

More on this 592nd weekly Disquiet Junto project, Better Than One (The Assignment: Record the second third of an asynchronous trio), at: https://disquiet.com/0592/

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

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

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0592-better-than-one/

Somebody's Home (disquiet0592)

Opposites attract

For this challenge, I re-used the samples I made way back for Disquiet 0262 in 2017.  This time though, I processed the sample using the modular - One side of Lubadh playing the sample, the other echoing it, then Clouds and Rings both process it as well. I then played the faders on my mixer to create a track, that sounds quite warm for an ice bath! 

More on this 627th weekly Disquiet Junto project, Just Ice Society — The Assignment: Record the sound of ice in a glass and make something with it — at: https://disquiet.com/0627/

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

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

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0627-just-ice-society/

Warm Ice (Disquiet0627)

Making of – intimacy beschäftigt sich mit der Normierung der intimen Erfahrung, lässt sie als Klangformen in ihrer Vorgeformtheit und Schablonisierung durchsichtig werden. Zugleich arbeitet das Stück an der Spezifikation der Klangformen und -strukturen durch kompositorische Transformationen und unternimmt den Versuch, die normierten Empfindungen, die mit den überkommenen und zumeist ungefragt übernommenen Klanggestalten einhergehen, aufzulösen und durch eine gehobene, ins „genau-Jetzt-so-seiende“ Präsenz zu überführen.
Thematisiert werden die in klangliche Erscheinungen transformierten Erfahrungen unseres intimen Erlebens, Erfahrungen, die wir alle kennen, die jede und jeder von uns für sich selbst als „die Besonderen“ erlebt haben wird. Deren Formen und Erleben sind aber kulturell geprägt. Unsere Wahrnehmung und unser Erleben sind geprägt durch die Welt, in der wir leben: Wir lernen zu hören und das Gehörte entsprechend den geltenden Konventionen zu erleben. Die kompositorische Arbeit an der Vorgeformtheit unseres Erlebens bietet die Möglichkeit, eine einzigartige, unwiederbringliche intime Klang-Erfahrung zu kreieren. Klang-Erfahrungen, die sich einer Schubladisierung verweigern und sich nicht sofort einordnen lassen; deren Erfahrung uns selbst wiederum intim werden lässt, indem wir „nackt“ vor ihnen sind und sie als solche hören.
Als eine kompositorisch grundlegend veränderte Form des Erlebens von (ehemals vorgefertigten) Klang- und Erlebnisschablonen, in und durch grundlegend veränderte Kontextualisierungen kann dann die Erfahrung diese Klangstrukturen spezifisch und einzigartig werden lassen. Dieser Organismus, der durch das Stück, die Musiker*innen, die Zuhörer*innen und den Raum gebildet werden wird, lässt – so die Intention – die Grenzen des Erlebens durchlässig(er) werden und ermöglicht hoffentlich Erfahrungen jenseits der Norm.

Making Of – Intimacy

Artefact

Machin

The term ‘solastalgia’ refers to the sense of loss and emotional distress we feel as environmental changes that we perceive as negative unfold before our eyes. It was coined in 2005 by Glenn Albrecht, professor of sustainability at Murdoch University in Western Australia. The man-made ecological collapse that has been lurking around the corner for a long time, is now no longer a future danger—it is here upon us. Recently, we have experienced floods, not only in tropical regions but in places like the German Ahr Valley, forest fires at unprecedented levels, not only in fire-prone areas like the California mountains, but globally, and drought in countries known for their rainfall such as the United Kingdom. Our yearly seasons are being denatured and we watch helplessly as species of insects and plant die out. We are more likely to change our behavior if we can move from general intellectual observation of these phenomena to personally experiencing the ecological disruption—with the attendant anger, fear and sadness. 

During our collaborative process of creating Solastalgia in the pandemic, we have faced our eco-anxiety through the attempt to lend our voices to the struggling Arctic ice. By sending recordings of ice and violin back and forth online and examining them, Carola and Karin have together created a multi-layered mapping of the sounds of the polar regions. At the same time, Eric Lanz has studied and shaped the formation of salt crystals as an analogy to melting ice. We have immersed ourselves in the characteristics of the element of ice, inviting it to speak through our eyes and ears. 

Solastalgia is developed in collaboration with Studio für Elektroakustische Musik der Akademie der Künste in Berlin (2021–2022) and Experimentalstudio des SWR in Freiburg. It is commissioned through the Swedish Arts Grants Committee as a part of Karin Hellqvist’s PhD in artistic research at the Norwegian Academy of Music in Oslo.

Solastalgia - Co composer Karin Hellqvist, Witten 21.4.2023 WDR

The US government has sent Israel more than 100 arms shipments since October 7, to help it bomb Gaza. Polls show 52% of North Americans oppose these weapons sales. Biden is defying the Democratic Party's base, while allying with Trump and the Republicans. Ben Norton reviews the evidence.

VIDEO: https://youtube.com/watch?v=Yoj8Sleb9XQ

US kills 4th UN call for peace in Gaza, helping Israel violate Hague's genocide ruling: https://geopoliticaleconomy.com/2024/02/21/us-veto-un-resolution-gaza-israel-hague-genocide/

Topics
0:00 Most Americans oppose US arms sales to Israel
2:57 Youth & Democrats say Israel commits genocide
5:10 ICJ: genocide case against Israel is "plausible"
5:30 Top UN expert: Israel commits genocide in Gaza
6:03 US court: Israel "plausibly" committing genocide
7:00 Biden admin sends Israel 100+ arms shipments 
9:17 US vetoes ceasefire resolutions in UN Security Council
9:50 Israel's war on Gaza is most destructive in modern history
10:50 Biden's cynical "food aid" PR stunt
11:19 Israel is starving Palestinian children to death
12:01 Amnesty: Israel violates Hague's Gaza ruling
12:46 UN warns Gaza kids are dying of hunger
13:50 China condemns Israel's "disgrace for civilization"
14:23 Malaysia's PM blasts West's "murderous" hypocrisy
16:21 Western colonialism continues
18:57 Outro

US sends Israel 100+ weapons shipments. Most Americans oppose it - but Biden ignores them.

sound art for disquiet0647.


I started with a drone loop made with a broken casio keyboard. I then played the loop through a bluetooth bone conduction speaker. I’ve been experimenting with a cheap speaker and using it to vibrate other objects and record the vibrations with a contact mic. For this track I first used it on one of my litter sculptures that has a metal tin attatched. Each face of the tin sides gives a slightly different sound when the bone conduction speaker is moved around. I made two tracks like that and panned them hard left and right. The result is a subtle pulsing effect.

Then I made another two recordings of the speaker on top of a buckled crash cymbal. I left the speaker alone and let it slowly move across the cymbal by its own vibrations. Both are straight down the middle with no stereo effects, one is EQ’d to cut out a lot of the top end.


More on the 647th weekly Disquiet Junto project, Day Drone — The Assignment: Make some daylight drones for Drone Day — at https://disquiet.com/0647/

Solastalgia - Co composer Karin Hellqvist, Witten 21.4.2023 WDR

Carola Bauckholt

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