Disquiet Junto Project 0492: Kintsugi Rework

The Assignment: Employ the Japanese technique of mending broken ceramics as a metaphor for remixing.

Step 1: This week’s project explores the ceramic method called “kintsugi.” If the term is unfamiliar, read up on it a bit. Here’s a description from an article in the Washington Post: “That means ‘golden joinery’ in Japanese, and it refers to the art of fixing broken ceramics with a lacquer resin made to look like solid gold. Chances are, a vessel fixed by kintsugi will look more gorgeous, and more precious, than before it was fractured.”

Step 2: Consider how kintsugi can be employed, through metaphor, as a means to rework/remix an existing piece of music.

Step 3: Take an existing track, perhaps one of your own, and by some means “break” it.

Step 4: Take the “broken” piece of music from step 3 and make it whole by employing a musical adoption of kintsugi.

Source for above quote, from art critic Blake Gopnik: https://www.washingtonpost.com/wp-dyn/content/article/2009/03/02/AR2009030202723.html

. . .

More on this 492nd weekly Disquiet Junto project — Kintsugi Rework (The Assignment: Employ the Japanese technique of mending broken ceramics as a metaphor for remixing) — at: https://disquiet.com/0492/

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-0492-kintsugi-rework/

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 Kate, and used thanks to Flickr and a Creative Commons license allowing editing (cropped with text added) for non-commercial purposes:

https://flic.kr/p/jEFjbJ

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

Disquiet Junto Project 0492: Kintsugi Rework

More on this 492nd weekly Disquiet Junto project — Kintsugi Rework (The Assignment: Employ the Japanese technique of mending broken ceramics as a metaphor for remixing) — at: https://disquiet.com/0492/

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-0492-kintsugi-rework/

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 Kate, and used thanks to Flickr and a Creative Commons license allowing editing (cropped with text added) for non-commercial purposes:

https://flic.kr/p/jEFjbJ

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

Kintsugi Rework - disquiet0492

sulking faith

halF kintsugI [disquiet0492]

Hey, I decided to rework a all-percussion track I finished two days ago and posted for the weekly haiku challenge [here](https://soundcloud.com/daniel-diaz/the-serpent-pulse-3-naviarhaiku387)
I added a layer of an orchestral track and broke the percussion master to create holes where the orchestral score pops up. Then , on some places I played with filters to make the orchestral layer "leak" through the percussive parts. It was fun.

Kintsugi on a broken serpent (disquiet0492)

release date: 04-06- 2021
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-0492-kintsugi-rework/

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 Kate, and used thanks to Flickr and a Creative Commons license allowing editing (cropped with text added) for non-commercial purposes:

https://flic.kr/p/jEFjbJ

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

Kintsugi Interior (disquiet0492)

This is the polka (disquiet0492)

Two sources gated and inversely gated by a third controlling noise source (unheard)
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More on this 492nd weekly Disquiet Junto project – Kintsugi Rework (The Assignment: Employ the Japanese technique of mending broken ceramics as a metaphor for remixing) – at: https://disquiet.com/0492/

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-0492-kintsugi-rework/

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

kintsugi (disquiet0492)

This was my contribution for Disquiet Junto Project 0718: Planet Jam It. The Assignment: Record the sound of an advanced alien civilization.
Here’s a copy of my post on the Disquiet Junto 0718 discussion thread on Lines:
This is posted for future reference. This audio is believed to be recorded music from an advanced civilization on an unknown planet. It was captured sometime in 2126, and transmitted back to Earth from a deteriorating research drone many years ago. Unfortunately, since Earth no longer exists, humans have never heard it. 

More on the 718th weekly Disquiet Junto project, Planet Jam It — The Assignment: Record the sound of an advanced alien civilization — at https://disquiet.com/0718/.

Lost Transmission [disquiet0718]

I LOVE creaky floorboards. ❤️ Always have. They’re the little confessions the world doesn’t know it’s making. How could it?

This particular set — oh, these sonic beauties — were discovered in a small museum in Lille, France. A place so very quiet you could almost hear the air move somehow. The curator said the building used to be a tailor’s shop. But the neighbours reckoned it had been an intelligence post during the war; the kind of place where secrets secreted themselves into the grain of the wood.

So I waited until closing time. Set up my recorder. And walked. Slowly.

Every step had its own personality — one a whisper, one a sigh, one a shriek like a door … perhaps remembering something it shouldn’t. Somewhere between the third and fourth creak, though, the air changed and tilted weirdly. You know that cold, coiled feeling — when you’re not sure if you’ve just been noticed by someone? But I was alone ... I WAS alone.

I kept recording.

Later, when I played the sounds back, there it was: a super faint shuffle beneath and between the creaks. A pause. Then two extra footsteps … that weren’t mine. Perfect rhythm. Perfect distance. Like a partner in a dance waiting years for the next cue, which had now arrived, years later.

So I built the track around that. A haunted duet between spy and spectre, each trying to decode the other’s silence.

Enjoy … if you dare. 🎃😈

More on the 722nd weekly Disquiet Junto project, Spook Street — The Assignment: The Assignment: Make music for a haunted spy film — at https://disquiet.com/0722/.

more halF unusuaL

halF spooK [disquiet0722]

This comes from a groovy, slow-funk spy-thriller track— Fender telecaster and jazz bass, tenor sax, drums, synths, and percussion — originally written for a producer’s call that never made it through.

For this week’s challenge, I decided to destroy it.I kept just a few fragments — scattered guitar and bass phrases, some sax phrases— and rebuilt the track with ambient layers and unsettling textures from soft-synths fittingly called Thrill and Spooky Keys.And some distorted arpeggaitors barely heard.

What took a couple of days to construct only took two hours to tear down.I like the result: a dark, cinematic mood somewhere between spy funk and ambient noir.

Sax by Miguel Yanover
Photo by Stefano Pollio
The rest by me.

Project:
https://llllllll.co/t/disquiet-junto-project-0722-spook-street/

@disquiet

Spooky Spy - disquiet0722

This is part of Disquiet Junto Project #0722: Spook Street. See more at https://llllllll.co/t/disquiet-junto-project-0722-spook-street/73313/5.

Escapism 10

An electronic composition, sounds from various sources including Pure Data.

More on the 722nd weekly Disquiet Junto project, Spook Street — The Assignment: The Assignment: Make music for a haunted spy film — at https://disquiet.com/0722/.







Spooky Doings (disquiet0722)

In this installment of Sound Advice, we are joined by global techno sensation Charlotte de Witte. Over the past 15 years, Charlotte has built her career from the ground up, rising from Belgium’s underground scene to become one of the genre’s most revered names today. In this exclusive interview, we speak with the DJ, producer and KNTXT record label founder about her dance music heritage, creative process and the making of her long-awaited, self-titled debut album. Charlotte also talks about finding your sound and staying true to it, offering valuable advice for emerging DJs and producers looking to build a lasting career in electronic music. For techno fans, this one’s a must.

Episode Show Notes: https://soundcloud.com/stories/post/charlotte-de-witte-interview-sound-advice
Follow SoundCloud Stories: @soundcloud-stories
Follow Charlotte de Witte: @charlottedewittemusic
Get Started With Artist and Artist Pro: https://artists.soundcloud.com/

Sound Advice: Charlotte de Witte

This was my contribution for Disquiet Junto Project 0722: Spook Street. The Assignment: Make music for a haunted spy film.

Here’s a copy of my post on the Disquiet Junto 0722 discussion thread on Lines:

Used a sample of the theme music from the classic spy film with the similar name as the foundation of this piece. It was pitched down in Ableton Live and altered using mainly Soundtoys effects. Additional tracks were added using Native Instruments PlayBox, Madrona Labs Sumu and Slate+Ash Choreographs. Hope everyone has a very frightful night…

More on the 722nd weekly Disquiet Junto project, Spook Street — The Assignment: The Assignment: Make music for a haunted spy film — at https://disquiet.com/0722/.

The Ghost Who Came in from the Cold [disquiet0722]

More on the 722nd weekly Disquiet Junto project, Spook Street — The Assignment: The Assignment: Make music for a haunted spy film — at https://disquiet.com/0722/.

Cops Cant Catch Criminals (disquiet0722)

Disquiet Junto 0722 asked us to create a spooky pairing of a spy and horror movie soundtrack. I had a lot of fun going back and listening to some classic spy movie music, taking notes on some of the tropes that I wanted to incorporate in my response. 

The brass was a huge stretch for me. I generally try to stay away from synthetic versions of a lot of acoustic instruments because of how impossible it is to accurately simulate their performance, so I don't have any experience with writing for horns. I found some helpful advice on various music composition threads, and I'm happy enough with the arrangement for a fun Halloween piece. 

But you know what's really scary about this piece? I spelled "exsanguination" correctly on the first try.

More on the 722nd weekly Disquiet Junto project, Spook Street — The Assignment: Make music for a haunted spy film — at https://disquiet.com/0722/.

The Exsanguination of Agent 99 (disquiet0722)

In common with others, it seems, I encountered various problems with this website. There was a considerable time lapse between pressing the keys and the resulting sounds and the site crashed a couple of times. Then the recording software stopped working and the whole thing eventually gave up the ghost, so that I lost patience with it.  Nevertheless, I did manage to record a few short sequences. I took some of these, added various fx (detuning, delay, etc.) and combined them into this track.

More on the 726th weekly Disquiet Junto project, Chord of Omnis — The Assignment: Make music with a browser-based Omnichord as your sole sound source — at https://disquiet.com/0726/.

Omnishambles (disquiet0726)

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.

kintsugi (disquiet0492)

wasabicube

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