The Missing Pieces Preview - Just a part of the Twin Peaks: The Entire Mystery Blu-ray
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‘Liliana Orsi, a 22-year-old beauty in Rome, Italy, displays her new atomic hairdo and the photo of the atomic blast which inspired it.’
(via brucesterling)
TweetHand-drawn poster for a 2-days GRM festival titled 30 heures avec le Groupe de Recherches Musicales de l’ORTF (or, 30 hours with the ORTF’s GRM) – as part of the Journées de Musique Contemporaine festival in Paris, 20–28 October 1969. The Journées… was an important contemporary music festival held from 1968 to 1972 and directed by Maurice Fleuret. The GRM concerts took place at Maison de l’ORTF, the French national radio. The program offered several world premieres and the inclusion of composers not generally associated with the GRM like Jacob Druckman, Karlheinz Stockhausen, Martin Davorin-Jagodić or Heinz Holliger.
[Full program here]
Detailed program:
23 octobre 1969
- 14h00 – Oeuvres electroacoustiques
”des studios de Paris, Cologne, Milan, Munich, New York. Tokyo, Utrecht Varsovie, et Computer Music“- 18h30 – Oeuvres mixtes
(K. Stockhausen: Solo ; I. Malec: Lumina
J. Druckman: Animus III ; G. Reibel: Carnaval)- 20h30 – Oeuvres pour bande
(A. Paccagnini: Partner ; G. Reibel: Vertiges ; L. Ferrari: Music Promenade ; B. Parmegiani: Thalassa)- 23h30 – Nuit Blanche – Musiques en action
(B. Parmegiani: Jazzex ; A. Savouret: Kiosque ; E. Canton: Mangés par une espèce de serpent ; Jagodic: Action pour un pianiste ; Chemirani: Improvisations au zarb ; E. Pagaya: Facettes, ballet music by P. Schaeffer ; Groupe d’Expression directe de ChâteauvalIon ; Bel Canto Choir de Stockholm: Moving Music)24 octobre 1969
- 10h30 – Films
(Films de Borowczyk. Brissot, Fores, Jeannessort Kamler, Lepeuve, Petit, Lapoujade, Rouxel. avec des musiques de Bayle, Cohen-Solal. Ferrari, Henry, Malec, Parmegiani, Philippot. Schaeffer)- 16h30 – Pierre Schaeffer, conference: “De l’expérience musicale à l’expérience humaine”
- 18h30 – Musiques éclatées
Directed by François Bayle with Rufus and the Bel Canto Choir of Stockholm.- 20h30 – Concert collectif
(François-Bernard Mâche: Synergies ; Philippe Carson: Collages ; François Bayle: Pluriel ; Luc Ferrari: Composé Composite ; Ivo Malec: Sigma ; Heinz Holliger: Siebengesang)Pictures from the Revue Musicale, special issue on Recherche Musicale au GRM, Paris, 1986
“Because the Buchla and the Moog opened up the possibilities of controlling sound across its entire spectrum in so many diverse ways,” synth pioneer Bernie Krause explained to me via Skype, “– well, for me, it changed the whole idea of music.
“There are a lot of definitions of music. But for Paul [Beaver] and me, when we wrote the Nonesuch Guide to Electronic Music, we were asked at that time to define what music was. And it was very clear, with the synthesizer, that music was control of sound and that made the change for us. We then understood what it was. Finally.”
I spoke to Bernie Krause, former west coast dealer to the R.A. Moog Co. and synthesizer consultant to groups such as The Monkees, The Doors, and The Byrds, for this article at The Quietus, The Stradivarius of the Synthesizer: Fifty Years of the Moog. You can also hear me chatting about the Moog on Tom Robinson’s 6Music show this Sunday evening, Now Playing, between 18:00 and 20:00.
The Gilbert U-238 Atomic Energy Lab
The Gilbert U-238 Atomic Energy Lab was a toy produced between 1950 and 1951. The toy allowed the user to conduct simple experiments with radioactive materials. Kit included;
- A Geiger counter
- An electroscope
- A Wilson cloud chamber
- A spinthariscope
- Four samples of uranium ore
- Pb-210 lead isotope
- Polonium
- Ruthenium
- Zinc
- various other accessories
After only a year of production, the toy was pulled from the market for obvious reasons.
(Source: orau.org, via peashooter85)
TweetJustus Dahinden, Urban Structures For The Future, 1972.
(Source: found0bjects.blogspot.com)
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