I’ve been looking through some of my drafts in a bit of a tidy up, and have found many that, for some reason, I forgot to post, like this one…Now’s as good as any…
National Women’s Hall of Fame Induction Sept. 14, 2019 –
Laurie Spiegel: (1945- ) A composer whose work appears on NASA’s “Golden Record,” (shipped out on the Voyager spacecraft) Laurie Spiegel is known worldwide for her pioneering work with early electronic and computer music systems. A cutting-edge thinker, her experience with early analog electronic music systems led Spiegel to innovate musically and instrumentally. She has focused largely on interactive software that uses algorithmic logic as a supplement to human abilities, thereby expanding access to creative expression for a far greater number of people than was previously allowed through traditional methods of musical training. The aesthetics of musical structure and cognitive processes have also been a focus of Spiegel’s work. Spiegel’s work has been re-issued, having appeared in the popular Hunger Games movies, highlighted in the 2018 BBC Proms, and featured in various museum settings where the intersection of electronic music compositions, the machines, and software used to create those compositions, and the visual arts have come together in harmony.
Four Electronic Artists Reflect on the Influence of Composer Laurie Spiegel
/cdn.vox-cdn.com/uploads/chorus_image/image/63640613/ljaF0xbQ.5.jpg)
There’s a memorial aspect to acousmatic sounds that can lead towards a conceptual end-point usually avoided by Schaefferian humanism: the severing of the sound from its source is a kind of death. Echos + is an in-depth exploration of their afterlife, the composer turned into a caretaker (without the apocalyptic overtones of the famous project of the same name) dedicated to the consideration of sounds’ new state. Like a written document, the recording marks an aural element’s transition from life into its other, a technological aid that turns preservation into an art of re-signification. To care for these sounds in death is not to simply reproduce them, nor is it to circumscribe them in a narrative about mourning for the loss of a certain world, but to help reconfiguretheir meaning in a context that is no longer their own.
Feminatronic 
You must be logged in to post a comment.