In 1962, Daphne Oram presented Oramics, the project that consumed so much of her time and resources. She received two consecutive Gulbenkian Foundation grants in the region of £3,500, a sizeable sum in the 1960s, to develop her research. Daphne said of Oramics, “I visualize the composer learning an alphabet of symbols with which he will be able to indicate all the parameters needed to build up the sound he requires. These symbols, drawn…freehand on an ordinary piece of paper, will be fed to the equipment and the resultant sound will be recorded onto magnetic tape.”
The concept of drawn sound was not new. The technique of drawing patterns by hand onto the thin strip at the edge of 35mm film had been around since the 1920s. Russian film makers Arseny Arraamov and Yevgeny Sholpo created soundtracks from intricate ink drawings on thin strips that were 1.93 - 2.5.mm in width. Norman McClaren used drawn sound in many films. (...) read more
The concept of drawn sound was not new. The technique of drawing patterns by hand onto the thin strip at the edge of 35mm film had been around since the 1920s. Russian film makers Arseny Arraamov and Yevgeny Sholpo created soundtracks from intricate ink drawings on thin strips that were 1.93 - 2.5.mm in width. Norman McClaren used drawn sound in many films. (...) read more
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