{"id":3736,"date":"2012-03-07T12:14:23","date_gmt":"2012-03-07T12:14:23","guid":{"rendered":"http:\/\/thedomesticsoundscape.com\/wordpress\/?p=3736"},"modified":"2012-03-07T14:33:50","modified_gmt":"2012-03-07T14:33:50","slug":"notes-from-the-past-few-days","status":"publish","type":"post","link":"http:\/\/thedomesticsoundscape.com\/wordpress\/?p=3736","title":{"rendered":"notes from the past few days"},"content":{"rendered":"

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Whitstable is gorgeous and I enjoyed the Off The Page<\/a> Festival organised by Sound and Music<\/a> and The Wire Magazine<\/a> held there the weekend before last. I learned about graphical sound in 1920s Russia from Andrey Smirnov<\/a>; met Jonny Trunk of Trunk Records<\/a><\/em>, (who released my favourite record of 2011, Music for Biscuits<\/a><\/em>); and participated in a Panel Discussion focussing especially on Delia Derbyshire<\/a> and Daphne Oram<\/a>; I also met Aura Satz – and saw her film about Oram’s Oramics Machine<\/em>. <\/p>\n

I revisited Adventures in Washing Up<\/em> The FRRS in assn. w. MA<\/a><\/em> for the purposes of the panel discussion, and also talked a bit about Messy Tuesdays<\/a><\/em>, in reference to how one’s creative workspace can influence one’s work. I found myself considering how the work of the Radiophonic Workshop never got the same recognition that other 1950s electroacoustic music like Musique Concrete; Elektronische Musik etc. acquired, because the work of the Radiphonic Workshop lacked the quality of abstract purity<\/em> striven for in those other disciplines, and because the creative process in operation at the BBC Radiophonic Workshop was more like a craft process than an art process. I am interested in making impure work, and in muddying the distinctions between art and life, and there is evidence in Oram’s work that she did this sometimes, too. I love the physicality of the Oramics machine as technology… as expression of idea… as tool… as creation.<\/p>\n