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From Wire mag -
Little Doorways To Paths Not Yet Taken is a bite-sized insight into the US composer's studio work and processes
In 2016 the Spanish sound installation artist and film maker Aura Satz premiered Little Doorways To Paths Not Yet Taken at Oliver Coates’s Deep Minimalism festival. Since then her film has been screened at International Film Festival Rotterdam, Fridman Gallery in New York, The Wire's Off The Page in Bergen, and elsewhere.
The film offers the viewer a brief yet intimate venture inside the home studio of Spiegel, composer of The Expanding Universe (1980) and Unseen Worlds (1991), and it’s soundtracked by Spiegel’s music and musings.
“The film came about after we collaborated on Dial Tone Drone, a sound piece for telephone in 2014 (with Pauline Oliveros),” says Satz. “I shot it in her studio in Tribeca NY, where she has several work stations for different aspects of her practice, be it electronic music, musical instrument restoration, writing scores, etc. Laurie is an animal rights activist and one of the preconditions of the shoot was that she would have to go out to feed pigeons in the middle of the day. Some of my favourite details in the film are all the notes-to-self stuck on various bits of kit, as well as the vintage musical toys and some objects which were made by her father.”
Laurie Spiegel - Drums (1975)
Excerpt from: http://www.newyorker.com/culture/cult...
"A technical breakdown of the GROOVE setup can become pretty complex, but, in brief, the system was controlled from a room that held a console, a monitor, a three-octave keyboard, and a joystick operated by the user, all of which was separated by a glass window from a temperature-controlled room with a large DDP-224 computer, which was in turn linked up to a digital magnetic tape drive down the hall.
(...)
The extent of Spiegel’s venturesome spirit as a composer is further revealed on the reissue (of The Expanding Universe). In particular, her programming of pitched percussive accents on the polyrhythmic track “Drums,” as well as on the five-minute “Clockworks,” looks ahead to the not-yet-invented world of minimal techno."
Little Doorways To Paths Not Yet Taken is a bite-sized insight into the US composer's studio work and processes
In 2016 the Spanish sound installation artist and film maker Aura Satz premiered Little Doorways To Paths Not Yet Taken at Oliver Coates’s Deep Minimalism festival. Since then her film has been screened at International Film Festival Rotterdam, Fridman Gallery in New York, The Wire's Off The Page in Bergen, and elsewhere.
The film offers the viewer a brief yet intimate venture inside the home studio of Spiegel, composer of The Expanding Universe (1980) and Unseen Worlds (1991), and it’s soundtracked by Spiegel’s music and musings.
“The film came about after we collaborated on Dial Tone Drone, a sound piece for telephone in 2014 (with Pauline Oliveros),” says Satz. “I shot it in her studio in Tribeca NY, where she has several work stations for different aspects of her practice, be it electronic music, musical instrument restoration, writing scores, etc. Laurie is an animal rights activist and one of the preconditions of the shoot was that she would have to go out to feed pigeons in the middle of the day. Some of my favourite details in the film are all the notes-to-self stuck on various bits of kit, as well as the vintage musical toys and some objects which were made by her father.”
Laurie Spiegel - Drums (1975)
Excerpt from: http://www.newyorker.com/culture/cult...
"A technical breakdown of the GROOVE setup can become pretty complex, but, in brief, the system was controlled from a room that held a console, a monitor, a three-octave keyboard, and a joystick operated by the user, all of which was separated by a glass window from a temperature-controlled room with a large DDP-224 computer, which was in turn linked up to a digital magnetic tape drive down the hall.
(...)
The extent of Spiegel’s venturesome spirit as a composer is further revealed on the reissue (of The Expanding Universe). In particular, her programming of pitched percussive accents on the polyrhythmic track “Drums,” as well as on the five-minute “Clockworks,” looks ahead to the not-yet-invented world of minimal techno."
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