EAR#14.5 1974 p 6 copyright 433w

Cold and Secret Places by Beth Anderson

The Women in Media Conference was held at U.C.B.'s Art Museum March 17-16, and among other things, HYSTERESIS did an event.

The first piece was a billowy one by Linda Collins called DREAMS. It echoed around the museum in harmony with the environment. It was made by manipulating a lot of vocal sounds made by Beth Anderson (me) with echo, reverb, and other electrically dreamy changes.

MURRY, by Jill Kroesen was next. Tom stood up high and Jill and Marsha Mikulak walked around and then finally found Tom and disappeared over the side with him. Then they all reappeared. Tom had the MURRY tee-shirt on his body. There was a tape with siren sounds that caught a lot of peoples attention, who would not have noticed us otherwise.

Jill's next piece was CONVERSATION. She had four little speakers that were put on people's mouths and the conversations that had been prerecorded were manipulated and it was very strange to see. And as usual, no one understood what anyone else was saying.

Miniature E. III by Denise Sporer followed. Denise was one of the people I left off the list of bay area women composers from EAR 13-14.5, through forgetfulness, only. Her piece was the third of three pieces in a series involved with theatrical anticipation in sound. It consists of indecipherable voice textures which are molded by the environment. The only thing clearly spoken is a Bible reading in Cherokee, but for most of the world, that is also indecipherable!

Jill did another piece that Sunday, OPENING AND CLOSING DOORS -- a tape piece with an video crew at the museum enjoyed this on because it gave them something they thought was worth filming.(?jh)

TORERO PIECE, a text-sound music by Beth Anderson ended the program, as the fellow from Leo's Music Store took back his speakers. Sybl Chickenmint discussed the demise, as well as the rise of Sybl Chickenmint up until 1969 (when the equipment was about to be hauled off with or without our stopping, so we did stop). The other part of this duet is based on the numerological decoding of a paint-by-numbers scroll I found on the way to visit Pauline Oliveros. The sounds are from the piece's vowels in the title, and from ZAJ and other Spanish consonants -- seven of them altogether.

And that's it for HYSTERESIS, except for the fact that we've been invited to do a program at Evergreen College in Olympia Washington for a women's festival in mid-April. LALALA