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Oscillate wildly
Deconstructing pop’s fabric or bleeping on TV, two electronic pioneers embraced the future with differing agendas.
By Jim Irvin.
All wired up: (clockwise from below) Carl Stone now; Mort Garson goes lunar in the late ’60s; Stone (left!) in John Landis’s 1973 comedy horror, Schlock.
Tomohiro Ueshiba, CS Lauburu
SOMETIME IN the early ’70s, experimental composer Carl Stone was a graduate at CalArts tasked with transferring the university’s librar y of 10,000 vinyl albums to tape, requiring him to dub many records at once on multiple systems. The resulting collisions of disparate musics came to fascinate him, and he sought ways to compose using those textures.