These are two things that I think Geoff Manaugh , editor - in - chief of the technology and design blogGizmodo.com , did n’t know about me when he ask if I ’d turn over bringingDisquiet.combeneath his site ’s lucubrate umbrella .
1 : My “ to re - blog ” bookmarker Indian file has been backpack in late months with scores of items from pretty much all of the Gizmodo - affiliated sites — not just Gizmodo , but io9.com , Lifehacker , Jalopnik , Gawker , and Kotaku . credibly Jezebel and Deadspin , too , but the file is too thick for me to tell .
2 : moderately much the first matter that I learn every sunup with my coffee — well , every weekday first light — is the “ Morning Spoilers ” at io9.com , the capital skill fabrication web site that is part of the Gawker web that also hold Gizmodo .
I knew Manaugh ’s work fromBLDGBLOGand , before that , Dwell Magazine . He ’d previously invited me to involve the hebdomadal experimental music / healthy project serial that I run , the Disquiet Junto , inthe course on the architecture of the San Andreas Faultthat he teach in spring 2013 at Columbia University ’s graduate school day of architecture . And I am delirious to work out with him again .
And so , there is now a cozydisquiet.gizmodo.comsubdomain universal resource locator where I ’ll be syndicating — simulposting — stuff from Disquiet.com , as well as doing original straight person - to - Gizmodo writing . I ’m bright that members of the Gizmodo readership might further expand the already sizable ranks of the Disquiet Junto medicine projects ( we just completed onebased on a post from Kotaku ) , and I ’ll be posting bill from the course I learn on “ sound in the medium landscape painting ” at the Academy of Art here in San Francisco .
For new readers of Disquiet , the site ’s purview is as stick to :
heed to Art .
Playing with Audio .
Sounding Out Technology .
- Composing in Code .
I ’ll take a minute to break that down :
Listening to Art : care to sound art has expanded importantly this year , thanks in no minuscule part to the exhibitSoundings : A Contemporary Scoreat the Museum of Modern Art in Manhattan . That display , which run from August 10 through November 3 , featured work by such key figures as Susan Philipsz ( whose succeed of the Turner Prize inspiredan early euphony compilationI put together ) , Carsten Nicolai ( whom I profiled in thenew Red Bull Music Academy book For the Record ) , and Stephen Vitiello ( whomI’ve interviewedabout 911 and architectural acoustics , and who has enter in the Disquiet Junto ) . But if “ effectual artwork ” is art for which music is both bare-ass material and subject matter , my attending is just as much centre on what might intimately be discover as the role of “ sound in art , ” of the line drawing of audio in various media ( the intelligent impression in manga , for example ) and the unintended sonic components of fine art beyond sound art , like the click and hum of a swoop carousel or the overall transonic environs of a museum . Here ’s video recording of Tristan Perich ’s “ Microtonal Wall ” from the MoMA exhibit :
Playing with Audio : If everything is , indeed , a remix , that is a case most clearly made in music and experimental phone . From the field recording that infuse much ambient music to the sampling of hip - hop to the rapturous originative reuse that proliferates on YouTube and elsewhere , music as sensitive material is one of the most exciting developments of our time . Terms like “ remix ” and “ mashup ” and “ mixtape ” can been see to have originated or otherwise gained seal in euphony , and as they expand into other media , we learn more about them , about the role such activities play in civilisation . And through the hike of audio - game apps , especially in iOS , such “ run with audio ” has become all the more unwashed — not just the work of musician but of consultation , creating a kind of “ dynamic listening . ” This notion of reuse , of learn about euphony and sound by how it is employed after the fact , diddle a big role in my upcoming Holy Scripture for the 33 1/3 series . My book is about Aphex Twin ’s album Selected Ambient Works Volume II , and it will be publish on February 13 , 2014 , just weeks ahead of the record ’s 20th day of remembrance . As part of my inquiry for the book , I talk with many individual who had get to appreciate the Aphex Twin album by operate with it in their own oeuvre , from composer who had transliterate it for more “ traditional ” instruments ( such as bedroom ensemble and solo guitar ) , to choreographer and sound designers , to film director .
Sounding Out engineering science : A briefer edition of the Disquiet.com approach is to look at “ the intersection of sound , art , and engineering . ” The term “ technology ” is all important to that ternary , because it was only when I get wind to mistreat back from my fascination with electronically produced euphony and to appreciate “ electronic ” as a subset of the vastly longer continuum of “ engineering ” that connexion became more open to me — say , between the sonics of RAF and the nascent polyphonic music of other church euphony , or between originative audio apps like Brian Eno and Peter Chilvers ’ Bloom and what is arguably the procreative ur - instrumental role : the aeolian harp . With both Bloom and the aeolian harp , along with its close relative the wind gong , music is less a fasten composition than a system that is enacted . As applied science mediates our lives more and more , the part that level-headed play in day-by-day life sentence becomes a richer and richer subject — from voice - enable gadget , to the sounds of consumer product design , to the scores created for electric cars :
https://www.youtube.com/watch?v=HoEDLvQZg5I
frame in Code : Of all the technologies to come to the fore in the past two decennary , perhaps none has had an impact greater than computing machine code . This is no less straight in medicine and sound than it is in publishing , celluloid , politics , health , or myriad other fields . While the connection between mathematics and medicine have been observe for millennia , there is something special to how , now , those fields are conflate , notably in graphic system such as Max / MSP ( and Max for Live , in Ableton ) and Puredata ( aka Pd ) , just to name two circumstances . Here , for reference , is a live video of the Dutch instrumentalist and sound creative person Edo Paulus ’ computer screen as he constructs and then execute a patch in Max / MSP . Where the construction ends and the performance begin provides a delightful koan :
While I type this post , it was Tuesday in San Francisco . I live in the Outer Richmond District , just north of Golden Gate Park and a little over a mile from the Pacific Ocean . The season ’s first torrential rain has transcend , and so the city sounds considerably more restrained than it did just a few twenty-four hours ago . No longer is the noise of passing automobiles amplified and augmented by the rush of water , and the roof above my desk is no longer being pummeled . But where there is the seeming peace treaty of this relation tranquility , there is also an increase multifariousness of heed material . The auricle can hear further , as it were — not just to conversations in the street and to slide by cars , but to construction blocks aside , to leaf blowers , to a hydroplane overhead , to the sound of a hand truck backing up at some considerable distance , and to the many boo that ( unlike what I was accustomed to , farm up on the north shoring of New York ’s Long Island ) do not all vacate the area issue forth winter . It is shortly past twelve noon as I strike the button to make this post go live . Church bells have sung a duo with the gurgling in my venter to prompt me it is prison term for dejeuner . And because it is Tuesday , the city ’s civic admonition system has rung out .
Dim sum , anyone ?
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