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”@@VERSION” is an EP of Schemawound’s work for the Disquiet Junto and compilations.
Cover Photo by Dan Newkirk
More on this 89th Disquiet Junto project, in which the sounds of interstellar space are used to make "goodbye music" for the Voyager 1 space probe, at: disquiet.com/2013/09/12/disquiet0089-vger/
Source audio courtesy of NASA/JPL-Caltech/University of Iowa via: www.youtube.com/watch?v=LIAZWb9_si4
Special thanks to Mark Ward (mark-ward.org) for having suggested this material as the subject for a Disquiet Junto project.
Disquiet Junto Project 0093: Netlabel Hybrid
This is a shared-sample project. Create a single new piece of music by employing the selected material of each the following three tracks. See below.
All three of these tracks were initially posted to the Internet with a Creative Commons license encouraging derivative reworking. This project — one in an ongoing series of netlabel remixes undertaken by the Disquiet Junto — is intended to address the unfortunate popularity of “ND” (i.e., “no derivatives”) licenses among netlabels.
Please only use the following material in your piece; you can transform in any way you choose, but do not introduce any new source material. The music originated on these three netlabels: Birdsong, Inoquo, and Qunabu.
1: Use the first 10 seconds of “Dark City” by Marc Pastco off the 12AX7 album, released by inoquo.com, based in Barcelona, Spain. MP3: goo.gl/MXDTJv
2: Use the second 10 seconds (i.e., from :11 to :20) of “Zamenhof Blues” by Digital_Me (Shay Librowski) off the The Accordion E.P., released by birdsong.co.il, based in Israel. MP3: goo.gl/ysydcH
3: Use the third 10 seconds (i.e., from :21 to :30) of “Archean” by PlotKA off the Circulation of Deposits EP, released by netlabel.qunabu.com, based in Gdańsk, Poland. MP3: goo.gl/pM9AqI
My Approach: For this one I just started snipping pieces that I thought sounded interesting, my early results had what I would consider a dub sound but I kept snipping the samples down further and further until I ended up with some kind of "glitch dub". So here it is, whatever it is.
This track was made for Disquiet Junto project 0097-page99remix
Disquiet Junto Project 0097: Ford Madox Ford Page 99 Remix
This week's project takes as its source a comment attributed to the author Ford Madox Ford: "Open the book to page ninety-nine and read, and the quality of the whole will be revealed to you." We will convert text from page 99 of various books into music.
Step 1: Pick up the book you are currently reading, or otherwise the first book you see nearby.
Step 2: Turn to page 99. Confirm that the page has enough consecutive text in it to add up to 80 characters.
Step 2a: If the page is blank or otherwise has no text, turn to page 98. Continue this process of moving backward through the book until your find an appropriate page.
Step 2b: If you are reading an ebook that lacks page numbers, or a book that happens to lack page numbers, then use the first page of the main body of the book (i.e., not the Library of Congress information or the table of contents) or flip to a random spot/page in the book.
Step 3: When you have located 80 consecutive characters, type them into a document on your computer or write the down on a piece of paper.
Step 4: You will turn these characters into music by following the following rules:
Step 4a: The letters A through L will correspond with the notes along the chromatic scale from A to G#. To convert a letter higher than L, simply cycle through the scale again (i.e., L = G#, M = A, etc.). Capital letters should be played slightly louder than lowercase letters.
Step 4b: Any spaces and any dashes/hyphens will be treated as blank, as a silent moment.
Step 4c: A comma or semicolon will signify a note one step below the preceding note.
Step 4d: A period, question mark, or exclamation point will signify a note one step above the preceding note.
Step 4e: All other punctuation (colon, ampersand, etc.) will be heard as a percussive beat.
Step 5: Record the piece of music using a digital or analog instrument.
Step 6: Set the pace for the recording to between 160 and 80 beats per minute (BPM). In other words, the track should be between 30 and 60 seconds in length.
Step 7: Add any desired underlying music or sound bed, and any additional instrumentation, but the melody resulting from Step 6 should be the most prominent sound.
My Source: Microsound by Curtis Roads
Page 99: "When the delay interval between the grains is irregular, perfect grain syn-chr"
Disquiet Junto Project 0083: R#d#ct#d
This week’s project is an open-ended exploration of surveillance and graphic notation.
The page at the following URL is the score that you will perform: goo.gl/eYX80X
You can use any instrumentation you choose, just no source audio for which you cannot yourself claim ownership or fair use.
Background: The image is page 8 of recently declassified documents related to NSA collection of telephone metadata records.
My Comments: In keeping in the theme of this project I wanted to deal with the concept of words that are fully present but obscured. I used a segment of the Sunday, May 26, 2013 episode of the Music Manumit Podcast interviewing C. Reider for my voices ( www.musicmanumit.com/2013/05/c-reid…t-podcast.html ). The podcast audio is used under a CC-BY-SA license and contains the voices of Tom Ray, Doug Whitfield and C. Reider. I used Supercollider to granulate and mutate the voices until they were indecipherable and added some other sounds to build a framework for the voices.
Created with Supercollider. Appears on the compilation "I PREFER THE TERM ARTIFICIAL PERSON MYSELF: A Compilation of Machine-Made Audio"
Available for free download from Kill Collector Culture.
Source code is available from: sccode.org/1-4TZ