Wiardgroup

Hi Mark
--- In wiardgroup@yahoogroups.com, Mark Griffiths <mark@...> wrote:
> I think the message also went out on Analog Heaven.
>
ah ... i would definitely have missed it, then.

oddly
It was my daughter who brought it to my attention. She read it in
Variety Online. i guess all the haranguing of my family that i've done
at the dinner table all these years about the pantheon of electronic
music sunk in at least a little!

 
> As an observation, and outragiously off topic, I was reading the SoS
article on the BBC Radiophonic workshop and noting how many women were
included in their number, including people who where developing their
own systems like Daphne Oram. You'd expect a lot more now, but it
seems it isn't the case, both as builders and performers.
> 

an interesting observation, i think that when the field was in it's
infancy, electronic-composition and performance offered a path that ,
at least for a while, bypassed the academic old-boy network. That
didn't last of course...check out Susan Ciani's account of her
interactions with Don Buchla in the book, Analog Days.
In the case of Bebe & Louis, Louis may have had the cajones to tap
those grids bare-handed but it was Bebe who edited and processed hours
and hours of tape into those brilliant minutes of composed output. 

> I guess I should connect my Id to the Disturb CV on the Wogglebug
for full effect?
> 

it's a very low frequency signal , try running it through a frequency
shifter first!
;'>

best,
-doc

Hi Mark!

-- Mark Griffiths <mark@...> wrote:
>...and noting how many women were included in their number, including people who where 
developing their own systems like Daphne Oram. You'd expect a lot more now, but it seems 
it isn't the case, both as builders and performers.


If you were in the Bay Area, home of Mills College (which is entirely female in the undergrad 
degrees) and its Center for Contemporary Music, you would regularly see women builders 
(software and hardware) and performers.  I'm partial to Kris Bobrowski's work using water, 
glass, and gravity.

Oliveros made her mark while in the Bay Area, too, and she returns from time to time to keep 
the flame going...

Hear, hear Doctor.

I think the message also went out on Analog Heaven.

As an observation, and outragiously off topic, I was reading the SoS article on the BBC Radiophonic workshop and noting how many women were included in their number, including people who where developing their own systems like Daphne Oram. You'd expect a lot more now, but it seems it isn't the case, both as builders and performers.

I guess I should connect my Id to the Disturb CV on the Wogglebug for full effect?

Mark

----- Original Message ----
From: drmabuce <drmabuce@yahoo.com>
To: wiardgroup@yahoogroups.com
Sent: Thursday, 24 April, 2008 4:49:40 PM
Subject: [wiardgroup] a Krell requiem

Hi Wiardos,
One of the seminal zeitgeists of Wiard designs is the cybernetic
sound experimentaion of Bebe and Louis Barron. Grant made frequent use
of the term 'Krell' in his descriptions of the Wogglebug.
For those of you who don't already know, Bebe Barron (nee Wind)
died in California this past Sunday at the age of 83. 
If you don't know who Bebe & Louis were, then i urge you to
limber-up your google-finger and get hip to two of the most remarkable
pioneers in the history of electronic music.
i never met bebe but we had a couple of friends in common and the
traits i always heard cited in describing her, were humility and the
rare ability to work intuitively with very complex systems without
sacrificing emotional content.
Bebe & Louis always seemed like perrennial outsiders to me and i
think that's why they never got as much credit as their contributions
to the art merited. That's why i wanted to make sure that Bebe's
passing did not go unremarked.

"The Krell had completed their project. Big machine. No
instrumentalities. True creation. "
- Doc Ostrow (from Forbidden Planet,1956)