Broken

The Shaggymane Work

method: layering
narration: the term CHTHULUCENE was coined by Donna J. Haraway, see https://mosayebi.arch.ethz.ch/en/thesaurus/chthulucene/ 
apart from that: listening to too much Kashmir (Led Zeppelin) lately has momentarily clouded my ability to avoid silly rhymes (as good as their music is). Sorry.  
Image: self-shot and self-gimped

poem / copyright jo richter

adopting a circular angle at interrelations
we are created by our creations
‘though you can‘t put your finger on it right now
we‘ve always been earth, co-existing with the plough

averting your eyes, alien shadows will rise
while accountants still stammer out weird alibis
there is no reason to avoid one another
the same remains different, no need to bother

recording no time cannot withhold seizures
reality leaks in through multiple fissures
good manners are naughty, abstraction's obscene
arachnoids welcome the chthulucene

chtulucene

chthulucene

Wrong Spell For Crimson Divinations My Dear Runny Angel Eye

Greywacke

Q-Rīga

NO.A#002

Disquiet Junto Project 0616: Definition Jam
The Assignment: Explore, in music, the nuanced differences between two closely related words.

Step 1: Think of two words in any single language of your choosing that mean “quiet.” For example, in English you might choose from “quiet,” “silence,” “hush,” and “tranquil,” among others. (Alternate: You could choose any base word for this project. “Quiet” is simply a recommendation. You might, instead, choose two words that mean “noise,” or something else entirely. Given the nature of this project, it may be best to choose a word related to sound.)

Step 2: Spend time coming to understand the nuanced differences between the definitions of the two words you selected in Step 1.

Step 3: Think about how you can render, through sound, the two different definitions, based on the thinking that you developed in Step 2.

Step 4: Record a piece of music that begins with the sonic rendition of one word and morphs slowly into the other.

Eight Important Steps When Your Track Is Done:

Step 1: Include “disquiet0616” (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 “disquiet0616” (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-0616-definition-jam/

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, October 23, 2023, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, October 19, 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 616th weekly Disquiet Junto project, Definition Jam (The Assignment: Explore, in music, the nuanced differences between two closely related words), at: https://disquiet.com/0616/

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-0616-definition-jam/

Two sides - disquiet0616

More on the 633rd weekly Disquiet Junto project, Voice Swap — The Assignment: Rerecord all or part of one of your tracks using just your voice — at https://disquiet.com/0633/

The image associated with this track is a photo by Ricardo André Frantz of Luca della Robbia’s 1431 work, Cantoria — https://en.wikipedia.org/wiki/File:Cantoria_luca_della_robbia22.jpg

Used with a Creative Commons license — https://creativecommons.org/licenses/by-sa/3.0/deed.en

Respect Revolution (Love Evolution).disquiet0633

I’m a bit of a philistine when it comes to classical music (in German “Banause”, which sounds much less sophisticated than philistine). A few visits to the opera as a kid, but that’s about it. So I chose a recording on archive.org of a composer I did not know, Edvard Grieg. The track I selected at random based on length and name: Sigurd Jorsalfar, Suite op. 56, Intermezzo, le rêve de Borghild. Pretty intriguing.

I added two synth layers and a recording from a movie (see cover image for a guess) over the filtered track. I then used several followers on the track to modulate the synths and the movie recording. The result is pretty crazy.

It’s spring outside, time for a walk. A lovely weekend to everyone!

Disquiet0634 - Banausin

xhg

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