10th June 2016
By republishing her seminal book “An Individual Note: of Music, Sound and Electronics” we want to write Daphne Oram back into music history; sharing her vision with new generations of musicians, composers, musicologists and contemporary music lovers.
We want to establish Daphne Oram as one of the UK’s leading modern composers, but we can’t make this happen without your support.
In 1972, Daphne Oram wrote her seminal book, “An Individual Note: of Music, Sound and Electronics”, which was a pioneering explanation of electronics in relation to music and sound.
In 2017 it will be 45 years since Daphne Oram’s book was first published. There are only a handful of copies available to access, and we want to share her story far and wide with future composers, producers and fans.
In order to republish this amazing book with the help of Anomie Publishing and the brilliant team at the Goldsmiths’ Daphne Oram Archive, we need to raise £10,000. We can’t make it happen without your help and if we don’t raise the funds needed by 14 July, we won’t receive any of the funding already pledged.
Please pledge your support and receive great rewards including the book, limited edition merchandise and unique experiences available when you donate through our Kickstarter campaign.
Thank you for your support.
28th June 2013
Daphne’s Oramics Machine and the recent Nonclassical event, ‘Pioneers of Electronic Music’ feature in this docu-film ‘Do Analogue Sound Machines Dream of Digital Sheep?’.
This documentary from Queen Mary, University of London, also includes an excerpt of a performance by Tom Richards (currently researching a PhD on Daphne’s Oramics Machine) and a conversation with the director of the archive, Mick Grierson. The section highlighting Daphne’s work begins at 6’45”.
01st June 2013
On Friday 30th May, Daphne’s work featured on BBC Radio 3’s Late Junction. Host Fiona Talkington presented a collaborative session with electronic duo Walls exploring material from the Oram collection. The programme features an interview with Dr. Mick Grierson, director of the collection, and includes Oram’s ‘Tumblewash’. More here.
01st May 2013
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A tape playback of Daphne’s 1968 work ‘Four Aspects’ will open a forthcoming concert of Sound Arts on Thursday 9th May 2013. The evening concert, held in tribute to the ‘First Concert of British Electronic Composers’ that took place in the hall in 1968 (featuring Daphne, Peter Zinovieff, Tristan Cary and others see this programme), is free to enter and begins at 18:30 on Thursday 9th May.
Further details of other works and performers who are performing in the Queen Elizabeth Hall concert are available here.
08th January 2012
08th November 2011
On Wednesday 9th November a talk on Daphne Oram and the philosophy of Oramics will take place at the Sound Arts & Design Department at the London College of Communication. In ‘The Legacy of Daphne Oram’, Chris Weaver and Dan Wilson will discuss the workings of the Oramics machine, its theory, origin, development and the sonic explorations it facilitated. Daphne Oram’s futurological and esoteric ideas will be examined, along with her later work involving her somewhat secretive computerised realisation of Oramics.
18th October 2011
The official opening of The Science Museum’s ‘Oramics to Electronica’ exhibition took place earlier this month. Two short films were premiered: Aura Satz‘s ‘Oramics: Atlantis Anew’ followed by Nick Street and Jen Fearnley’s ‘Oramics to Electronica’ (charting the run-up to the opening of the exhibition).
An excerpt from Aura Satz’s atmospheric film, named after Daphne Oram’s futurological manifesto, can now be viewed on The Wire website by following this link.
Street and Fearnley’s ‘Oramics to Electronica‘ documentary, meanwhile, is viewable in its entirety here.
30th July 2011
On Thursday 28th July, the Oramics machine was unveiled marking the start of the first phase of the Oramics to Electronica project at The Science Museum. All four elements of the Oramics apparatus are on display, namely, the loudspeaker cabinets, the waveform scanner, the amplifier and the control console itself. Rare interview footage with Daphne Oram is also featured, along with many other previously unseen curios.
This is an amazing opportunity to view this groundbreaking and historic machine ‘in the flesh’. Earlier this year, chief curator, Dr. Tim Boon, pointed out at The Wire’s Daphne Oram salon the famous “grandfather’s axe” authenticity problem, which asks “does ‘grandfather’s axe’ remains his axe if both head and handle are replaced?” In view of this, the Oramics machine is exactly preserved – the only notable replacements being the celluloid film strips on the control console (the originals had become discoloured, warped and very brittle).
Goldsmiths University have provided an interactive Oramics emulator console to faithfully reproduce the Oramics machine’s capabilities. This is also soon to be made available as an iPhone app. A video showing this program in its experimental stage can be found here.
19th July 2011
This month’s issue of The Wire (August 2011) contains the first in-depth examination of the intersections between Daphne Oram, the New Age movement and electronic music. Titled ‘The Woman from New Atlantis’, this article by Dan Wilson takes a look at her long out-of-print 1972 book, ‘An Individual Note of Music, Sound and Electronics’ along with her interests in deep listening, music therapy and archaeoacoustics (among other topics).
Within the article, a previously unpublished extraordinary futurological manifesto is reproduced, written by Daphne Oram in 1960, updating Sir Francis Bacon’s famous “we have also Sound Houses” quote from his New Atlantis. Oram variously called her utopia ‘The Newer Atlantis’ or, elsewhere, ‘Atlantis Anew’…
Related material may be found at The Portal on the The Wire website for the current issue.