Oramics to Electronica
Oramics to Electronica
Oramics to Electronica
Daphne Oram (1925-2003) was a pioneering electronic composer who developed a technique that allowed her to draw sounds, which she called Oramics. The unique instrument which she developed, the Oramics Machine, was at the heart of the Oramics to Electronica exhibition on display in the Science Museum from October 2011 to December 2012.
Oramics to Electronica was the foundational project for the Research and Public History Department and took the topic of electronic music as a focus for the Museum’s first public history investigation. The Oramics to Electronica exhibition explored the history of electronic music through the work of three British studios: Electronic Music Studios (EMS), the BBC Radiophonics Workshop and the private studio of Daphne Oram. The exhibition was co-created with a group of musicians, local historians, subject enthusiasts and people who made electronic music in the 1960s. Students from the National Youth Theatre’s Acting Up 2 course and a group of women writers also supported the exhibition by providing their own interpretations of the life and work of Daphne Oram.
This collection houses the content of the Oramics to Electronica exhibition and supporting materials.
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Item type:Journal article, Oramics to electronica: investigating lay understandings of the history of technology through a participatory project(2014-10-08) ;Boon, Tim ;Vaart, Merel van derPrice, KatyOramics to Electronica was a 2011 Science Museum project designed to put the tools of museum participation in the service of research into public history, taking the history of electronic music as our example. The primary output was a temporary exhibition. Whereas the term ‘public history’ is often used to denote popularisation of academic history, in this inflection we are primarily concerned with how lay people like our visitors think about the past in general, and about the past of science and technology in particular. Taking the opportunities that arose, we worked with two ‘expert’ groups – of original 1960s participants in electronic music and of 12 recruited present-day music enthusiasts. We also enrolled a group of theatre students and another of writers to respond to the themes of the project and, in particular, to the ‘Oramics Machine’ a unique sound synthesizer created by Daphne Oram. In this essay, an account of our practice is bookended with consideration of related practice and reflections on the implications of the project. It is suggested that the project demonstrated the virtues of proceeding by way of engagement with micro-audiences to understand the ‘cognitive exclusion’ of potential visitors who do not see their interests represented in museum displays.1 3