Another remix for the Disquiet Junto project.

"The Assignment: Combine three field recordings from artist Charles Lindsay to explore and express notions of perceived techno-organic intelligence."

I slowed down one of the recordings to 9 minutes in length, and then sampled it at an even slower pitch in Ableton and messed around with various effects until the sounds blurbled and eventually formed a rhythm I really liked, then I built the track around the rhythm.

Then little fragments of the other recordings were chopped, processed and generally mangled into little percussive hits, which were played live with various filters and even more effects.

I wanted to use more than the lower frequencies that make up the majortiy of this piece, and when the D-WAVE2 Quantum Computer sample was reduced to 0.02 of second, I found a tone that was in tune with the rhythm sample and around 4 minutes in, a "melody" appears.

Originally 18 minutes long, it was mixed and edited down to 7.

photo by Melanie Cook
www.flickr.com/photos/wiccked/6257072400/ (BY-NC-SA 2.0)

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Disquiet Junto Project 0213: Complex Signatures


This week’s project is being done in conjunction with the head of the Artist in Residence program at the SETI Institute. His name is Charles Lindsay, and he has provided us with three very different field recordings. Work completed for this project will be considered for employment in a future project of Charlie’s. Work won’t be used without the given participating musician’s permission.

Step 1: Consider what it is that Charlie is exploring in his work: “I’m thinking about evolution, entropy, sentience, and the complex signatures of intelligence: what microtonal soundtrack would best express the micro and the vast, the field and the matrix, what we call nature and what we call machine, in unity, as music or as sound?”

Step 2: Download the three tracks recorded by Charle that are in this playlist on SoundCloud. The first track was made on the Osa Peninsula in Costa Rica, rain-forest ambient sounds caught with a parabolic microphone at nightfall. The second was made with a hydrophone at dusk amid the Bunsby Islands in British Columbia. The third was made at the D-WAVE2 Quantum Computer at NASA Ames.

soundcloud.com/charlies-experiment/sets/disquiet-junto-complex-signatures

Step 3: Follow this request from Charlie: “Please process, merge, and mix these tracks to seven minutes total. Imagine the final track looping indefinitely in a sound installation in a museum or gallery environment. This use of sound in controlled space is something I’m very interested in, as a real time, real space tool to blend so-called realities. Imagine dream images, much the way our mind seems to, glitches and all. I look forward to what you come up with, and thanks very much for your interest.”
Deadline: This project was posted shortly before noon, California time, on Thursday, January 28, 2016, with a deadline of 11:59pm wherever you are on Monday, February 1, 2016.

More on this 213th weekly Disquiet Junto project (“The Assignment: Combine three field recordings from artist Charles Lindsay to explore and express notions of perceived techno-organic intelligence”) at:

disquiet.com/2016/01/28/disquie…complexsignatures/

More on the Disquiet Junto at: disquiet.com/junto/

Join the Disquiet Junto at: soundcloud.com/groups/disquiet-junto/

Subscribe to project announcements here: tinyletter.com/disquiet
Disquiet Junto general discussion takes place at: disquiet.com/forums/

The photo associated with this project is the cover of Charles Lindsay’s forthcoming book, Carbon, more on which here:
minormattersbooks.com/collections/bo…lindsay-carbon

And here are details on a MASS MoCA exhibit he will be participating in. It begins May 28, 2016:
www.massmoca.org/event_details.php?id=1045