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They also added a barn with corrals to stable horses that they would obtain from the nearby Jenny Lake concession. Things were run very differently from the years that Geraldine Lucas had occupied the homestead. Geraldine preferred the quiet and solitude the location offered. She seldom went into town and lived a happy solitary life, content to keep her property to herself. The Fabians, however, believed the ranch should be welcoming and enjoyed by everyone.

They regularly hosted locals, as well as US Presidents and politicians. They also invited their family and friends from home, keeping up a constant stream of visitors throughout the summer. In September of , the same month their original lease was set to expire, Harold Fabian had a heart attack and was flown out of the valley to a local hospital. He would linger for months before dying on December 7. Despite their lease having expired, Josephine continued to spend her summers on the ranch for the next few years.

Her final summer was in , and in she returned briefly to pack up her belongings and say goodbye. She died on December 20, This land was not adjacent to her homestead. Many were boundary line disputes resulting from Geraldine not having her property surveyed a second time. She was officially approved for Geraldine convinced Colwell to apply for a acre tract of land directly south of her own land, and to prove up and receive her patent. Colwell complied, and after having her application approved, she sold her land to Geraldine and moved back home.

She was 58 years old, and a year-old Paul Petzoldt was her guide. This was the last application she would submit for land. Her homestead how totaled Her son buried her ashes in a large boulder, sealed with a plaque. The boulder is located on the northwestern edge of her property, facing the Grand. Her belongings were reportedly also part of this transaction, but Russell apparently threw them into a nearby cesspool. They would return mid-June to mid-September every year for the next 29 years. In Josephine returned to gather her belongings and never returned.

She later died on December 20, Lining both sides of the road, this ranch had modest beginnings. Manges cleared 42 acres of land and grew barley, timothy hay and wheat. Like most other homesteaders in the area, growing wheat was a short-lived practice as it was expensive and tedious work. Manges worked for the Wort family, who owned the Wort Hotel in the town of Jackson, chopping firewood in the winter months to bring in some cash. According to A.

Kendrew, Manges told him that chopping the firewood allowed him to stay warm in his summer clothes. The work was extremely hard and the soil was ill-suited for crops. With little water for irrigation, it took Manges nearly six years to clear and plant only 42 acres of land. Chester Goss, a Californian, moved into the valley to invest in commercial development and began to purchase homesteads near Jenny Lake. When Goss was interested in his land in , Manges was all too eager to leave.

Chester Goss had big plans for the area. He called it the Elbo Ranch and quickly began construction. While it was self-described as a dude ranch, the Elbo was anything but. It had a store, gas station, rodeo grounds, racetrack, baseball diamond, grandstands and concessions. There were small cabins and cottages for tourists to spend the night, with several different types available.

These cabins boasted running hot water, showers, bathtubs and electricity. These modern comforts were unheard of in the earlier dude ranches. The wealthier socialites from the big cities back east were putting pressure on the ranches in Jackson Hole to make improvements for their personal comfort. This ranch was much more in line with the popular trend of roadside cabin camps, designed for families and individuals with personal vehicles.

The idea was to come for a night or two, and be entertained by all of the various activities. It was located in valuable land, directly under the Teton Range and it was an eyesore. The commercialized development was something that John D. Once he was able to purchase this property, most of the commercial activities stopped immediately. During the s, the ranch was used to house National Park Service employees until the completion of new housing in the Beaver Creek Administrative Area located just to the south.

The Administrative Area served as park headquarters until when headquarters was relocated in Moose. Later in , with property was reopened as a true dude ranch to encourage the use of the Jenny Lake concessions. The dude ranch operated under the leases of Harry Espenscheid and later Kate Starratt until She moved her operation and renamed the Ramshorn as the Elbo Ranch. The property would later house the Teton Science Schools, and today it is known as their Kelly Campus.

In , the remaining buildings and structures of the original Elbo Ranch were torn down and removed. Only the Manges cabin remains today, a quiet reminder of the vibrant history this area once had. The only other remnant of this ranch is the racetrack, which is visible from above with satellite imagery. August 11, James H. This cabin is known for being the first two-story log structure in the valley. He cultivates barley, timothy hay, and wheat. The Manges two story log cabin remains. Struthers Burt graduated from Princeton University in Philadelphia in , and maintained his contacts with the University throughout his life.

In , after several years of arguing over how to best run and manage the JY, Burt split from Joy and began a survey of the valley for the perfect location to open his own dude ranch. By the end of the summer they had found the location they sought, along the Snake River bottoms south of Timbered Island. The location was ideal for the river frontage and the light breeze that kept the mosquitoes away. The two men filed for homestead patents and began the hard work of acquiring timber, supplies, and ranch hands. Their intention was to open for business the following summer.

Over the winter, away from the ranch, they were able to sign on a few dudes despite the majority of the ranch being still under construction. Both men arrived in the early spring and got to work, miraculously meeting their deadline to open for the summer of The first year was rather sparse and rough, but they managed to create an experience that would keep their guests coming back year after year.

The first year, they housed 15 dudes. By , the combined homestead parcels had 18 cabins, laundry, and 46 acres of cultivated land. They intended to open the ranch with dudes and transition into raising cattle. By , the Bar BC controlled over acres of land. They would expand to over 45 buildings including a main lodge with two dining rooms, a kitchen and two sitting rooms, 5 bunkhouses, a blacksmith shop, garage, ice house, root cellar, dining hall, ranch store, laundry and sleeping cabins. The partnership with the White Grass Ranch would be short, lasting only four years from The idea was to allow young boys an opportunity to learn outdoor skills, and to bring their family with them to stay at the Bar BC.

While the business plan had merit, it was not popular enough to sustain the partnership. In , Hammond and Bispham were deeded back their ranch and the partnership dissolved. This would be a tough year for the Bar BC men as both Carncross and LePage died unexpectedly while away from the ranch. Burt and Corse were the remaining partners, and Burt was beginning to think about moving on.

A year later, Burt, growing tired of the busy dude ranching business purchased three homesteads north of Moran and built the Three Rivers Ranch. He was tiring of the increasing amount of tourists and development cropping up around the Bar BC. Burt preferred his quiet Three Rivers Ranch up north where he could work on his writing career in earnest. This ranch was solely meant for Burt and his family, as an escape from the development that he feared was rapidly spoiling the valley. In truth, the development was not as bad as it seemed, but having it on his doorstep was too much for Burt.

The ranch that he had worked so hard to build was now the problem. Just six years earlier, Burt had participated in a meeting at the Maud Noble cabin in Moose to determine what to do about the growing development in the valley. A group of concerned valley residents and Horace Albright, superintendent of Yellowstone National Park, met secretly to discuss options. At that time, none of them were interested in welcoming the federal government back to reclaim the land. But now, in , that was looking like the only option.

Burt sat down with his neighbors from across the valley, Pierce Cunnigham and Josiah Ferrin , to write a petition urging the valley residents to understand the situation they faced. The petition called for a government agency to buy back the land, relieving the residents of their tax burdens while freeing them to create a profit on their ranches. Ninety-seven valley residents signed the petition, many of whom were previously opposed to the idea. Later that year, the Snake River Land Company was formed with the goal of quietly and inconspicuously purchasing ranches and homesteads throughout the valley.

Almost immediately, many valley residents feared the Company was buying land to sell for profit, and public feeling quickly turned negative. When the valley residents learned the truth, that the newly purchased lands were to be given back to the federal government, they were incensed all the same.

However, when residents found out that it was John D. Others welcomed the opportunity to receive any money at all for their land, owing back taxes and having defaulted on mortgages. Wanting to do his part to support the cause, Burt turned over the ranch to Rockefeller. In the next five years, Burt and Corse would go their separate ways and Burt ceased his management of the ranch. Two years later in , he sold all of his shares to Corse and officially departed the Bar BC.

In Irving Corse held the lease in full. Corse would have troubles managing the ranch, experiencing several fires over the next few years that destroyed part of the main lodge, and his main residence. He rebuilt what he could. In reality, the ranch fell into disrepair. With the shortages of supplies and labor during World War II, ranch operations came to a halt. Peggy oversaw ranch management for the next nine years. In , after several illnesses, Irving Corse died, leaving his wife Margaretta Sharpless the sole lease holder. After a fire destroys the main residence, Peggy Conderman left the valley, leaving Margaretta Sharpless to oversee the ranch.

Sharpless managed the ranch for the next several decades. In , too old to continue living on the ranch, she held a family auction for ranch buildings and furnishings and ceases operations. Changing attitudes on preservation over the next several decades greatly affected what remained of the Bar BC Dude Ranch. The buildings were in rough shape after already enduring years of deferred maintenance. They continued to deteriorate until the late s when Grand Teton National Park initiated its first round of stabilization work.

Since then, efforts to save the ranch have continued. All of these ranches were created by former dudes, wranglers and others who had been on the Bar BC. Burt had been a partner to Louis Joy on the JY, but after a falling out Burt decided to start his own ranch. Carncross had been the JY physician and was interested in owning his own land and starting a dude ranch with Burt. The men spend the summer surveying the valley to find the perfect location for a ranch.

Burt knows he wants Snake River frontage with a breeze to keep the mosquitoes away. After finding their location, the two men file on adjacent homestead claims and begin to enlist the help of friends for supplies, labor and money. They intend to open the ranch the next summer. The first season is rough, with little food and limited accommodations for guests, but nevertheless it gains a following that will continue to grow.

There are 9 dude cabins on each parcel for a total of 18, as well as a laundry, 7 smaller cabins, a well, and 46 cultivated acres for grain and oats. The same year, Horace Carncross suddenly dies in Pennsylvania while he is home visiting family. Joe LePage then dies from pneumonia. Seeking the peace and quiet of the northern end of the valley, Burt wants to focus on his writing career rather than dude ranching. These types of commercial developments are exactly what Burt fears will be the undoing of the valley, and witnessing their disturbances on a daily basis becomes too much.

Wanting to play his part in saving the valley, Burt and Corse sell the dude ranch to the Snake River Land Company with a lease to continue operations. The buildings are no longer kept in top condition, and are allowed to deteriorate. The Corses rebuild a new wing. The Harrison family is issued a sublease and they construct a private residence on the ranch.

In the latter half of the decade, ranch operations cease due to World War II and labor shortages. A family auction is held and many small buildings, as well as furnishings are removed from the property. Today, many buildings still exist in a severely deteriorated state. Efforts to preserve the ranch continue. In Mears applied for a acre homestead on this land.

By when the patent was approved, Mears had seen action in WWI, gotten married, divorced, sold his property to Edward Mears and moved into the town of Jackson. Very little changes have been made to the buildings and property. Each of the sleeping cabins is private, yet unites the area into a communal space for gathering. The main lodge was used for living and dining purposes and had a spacious central living room with a large fireplace.

Despite some buildings being moved to the property, and existing cabins receiving bathroom additions, the character of classic dude ranch architecture remains. With the exception of the cabins that were moved to the property, the original structures have not changed locations. The irrigation ditches built by Mears were used to provide water to the haying fields are still intact, although unused today. Someone had to remain on the property during the winter months to maintain the structures and make sure the buildings could open on time for the summer season.

The caretaker was also responsible for general ranch chores such as haying, caring for the horses and maintaining the livestock in the summer months. While caretakers were a common sight on dude ranches , some ranch owners preferred to do these chores themselves. The 4 Lazy F Dude Ranch was one of few dude ranches in the valley who catered to guests requesting short-term reservations.

Moogfest Full Schedule

Emily Oliver could regularly be seen outside the Moose Post Office asking tourists if they needed overnight accommodations. Generally the minimum stay at a dude ranch was around two weeks. Double bedroom in main cabin with private bath…Season: July 1 to September Activities: riding, swimming, fishing along streams or boat fishing on the Snake River. Pack trips to Yellowstone National Park can be arranged.

Electricity was a rare modern amenity on a dude ranch, most ranch owners preferred rustic living conditions, which also meant no running water. Emily and Henry equally shared tasks in running the dude ranch. While Henry oversaw the outdoors activities such as pack and fishing trips, Emily ran the cooking and cleaning staff. In the earlier years, Emily hired cleaning girls from town, but later invited her granddaughters and nieces to work under her observation.

She was responsible for making sure the cook turned out 6 meals a day; 3 for staff, and 3 for the guests an hour after staff meals. Emily and Henry worked as a team to make sure the ranch was running as smoothly as possible. They also kept two to three milk cows, work horses, saddle horses, hogs, and chickens. Very little alterations was made to the landscape. While both the Frews and Olivers cultivated and irrigated the land for winter feed, not much else was changed.

It is unknown if they cultivated timothy or alfalfa hay, or if they made use of the natural grasses. The lawn outside the Main Lodge was the only other area of major change on the landscape. Initially this area was irrigated and flooded in order to maintain the green grassy area. It was later updated to a sprinkler system under the Olivers. This system has not been in use since when the Olivers vacated the area, however the grass persists. The once young cottonwood trees now dominate the landscape, filling in a canopy over the grassy area.

Army during WWI. He returns to the valley with his wife. He only cultivates the minimum amount of acreage to receive the patent for his land , and leaves the property frequently. However, one month before he receives his homestead patent, Bryant Mears deeds his land to Edward Mears. After getting divorced, he moved into town. Struthers Burt would later be quoted as saying that Mears was unstable and unpredictable. As Emily had grown up in the area during the summer months, she was well-acquainted with the dude ranching lifestyle.

The Tack Room in the barn was added to create more workshop space. Frances Dunn Judge was talking about her grandmother Lucy Nesbitt Shive, an early Jackson Hole homesteader, when she penned those words in It is difficult to describe the type of woman who often calls Jackson Hole home, especially during the early 20th century.

Homesteaders were self-sufficient, hardy and hard working. They played as hard as they worked, and immensely enjoyed the spectacular scenery around their rustic homesteads. In such country a woman had to be as skilled as her husband with a hatchet as she was with a needle.

It is intended to highlight and celebrate the unique women who called this valley home when all members of the family were considered capable ranch hands. The Jackson Hole Historical Society and Museum is proud to share the stories of these strong women and plans to update this exhibit annually. Maggie Sullivan was born on January 2, in West Virginia.

When she was 16, they settled in Colorado, after a brief stay in Iowa. It was here in Colorado that she met her husband John Simpson and the two were married in In , John and Maggie were among the first dozen couples and families to call Jackson Hole their permanent home. They settled near the mouth of Cache Creek and began the necessary requirements to acquire their homestead patent.

In , the patent was in their hands, and they began to think about creating a community out of a few haphazardly placed homesteads in the area. The next year in , Maggie applied for the position of postmaster and the Post Office a box and a wagon was moved to their property. The first postmaster, Fred White, had named Marysvale after his wife, Mary. Maggie felt the area needed a less individualized name to grow a community around. As the site of the only Post Office in the valley, all roads led to the Simpsons. As the population grew from about 28 individuals in to over by , Maggie began thinking of ways to lessen the foot traffic on her property.

She and John gave five acres on the north-western corner of their homestead to a newly-formed community group called the Jackson Hole Gun Club. The post office would move in here, along with space for meetings, dances, and nearly any community need. Jackson had been put on the map, and Maggie saw an opportunity. She filed for a forgotten acre lot, and received the patent in She then sold ten acres to Grace Miller, who had plans to draw up lots to sell for homes or businesses. She moved to San Diego to live with a daughter.

While the Simpson homestead is no longer visible, her mark remains on the landscape. The town of Jackson retained her name, the lots she drew up with Grace Miller can still be seen today, and the Clubhouse remains on the town square. East Simpson Avenue transects the land that was once part of their homestead. For those who know where to look, the Simpson legacy continues to be a strong reminder of the resourceful individuals who saw potential in their small community. Pearl Williams was born on October 24, in Colorado, the youngest and only daughter of Otho and Josephine Williams.

With five older brothers to contend with, Pearl learned from a young age how to keep up. When she was just two years old in , her family moved to Jackson Hole in the spring. By mid-June when the census was taken, her father and older brothers were listed as farmer and day laborers on their ranch. It was here that Pearl learned how to ride a horse and take care of herself in the rugged country. She was a skilled marksman and was known for her horse-riding talents.

When Pearl was old enough, she took up a job as a clerk in the drugstore in Jackson. Locally, she was known as the soda squirt. Despite her small stature and friendly demeanor, Pearl was met with no trouble. By the town was fairly quiet, and the legends of horse thieves and rustlers were of a different generation. By the time a reporter got through, Pearl had already retired and resumed her job as the drugstore clerk. She had fielded so many questions, and was tired of giving the same answers. In truth, she had dragged some drunken cowboys to the town jail, but the cells had no doors.

She ordered them to stay put, and they did.

FABIAN ERA: 1945-1982

Mostly she kept stray cattle out of the town square. It was here that Pearl and John raised their children, and lived a relatively quiet life. However, her stint as the first female marshal in Jackson would follow her, despite her best efforts to downplay the role. Geraldine Lucas at Lupine Meadows near her homestead. Born to a frontier family on November 5, , Geraldine was exposed to pioneer living at an early age. She quickly outgrew her small-town life and went on to pursue higher education at Oberlin College and graduated with an education degree in Before attending college, she attempted the life that was expected of her, getting married young and starting a family.

Six months into her pregnancy and marriage, she decided to follow her independent nature and divorced her husband. Upon their divorce, Geraldine reclaimed her maiden name for herself and her son. She then moved to New York City where she maintained a fulltime career as a music, art and sewing teacher until her retirement in Having enough of city life, Geraldine decided to join her siblings out west in Jackson Hole. In after a year of surveying the valley, she filed for a acre parcel north of Moose and directly underneath the Grand Teton. After several years of bureaucratic hurdles and turmoil, she was approved for Due to her successful teaching career, she was able to support herself in a comfortable retirement.

She did, however, amass a large library of over 1, books. She was the second recorded woman to make the climb. Geraldine was well-known in the valley for her unusual lifestyle. While many could not tolerate her eccentricities and openly obstinate opinions, those who did accept her knew her to be equally gentle and caring. Due to her struggles acquiring her land, she was distrustful of government. She was staunchly against Harold Fabian and the Snake River Land Company, and vehemently rebuffed all of their offers for her highly-prized parcel. She began making arrangements to donate the property to Oberlin College, but lost her battle on August 12, when she died in her sleep.

Jack and Lucy Shive at their ranch on the Buffalo Fork. Lucy Wadams Nesbitt had a three-year old daughter, Carrie Maybelle, when she decided to divorce her husband and move away. She wanted to pursue life outside her home and marriage, and went on to find her own adventures. Leaving her daughter Carrie with her parents, Lucy found work as a ranch hand, working in the hayfields. She saved enough money from working other odd jobs as a chambermaid and waitress to purchase and run her own boarding house. When this interest ran out, she decided to undertake a move, alone, from Medicine Lodge, Montana to Jackson Hole, Wyoming in They were married a year later, and Jack enlarged his modest one-room cabin to fit his growing family.

Carrie, now 10 years old, was summoned from Montana to live with her mother and new stepfather. Lucy went about making the cabin into a home, hanging photos and even crafting a chair from antlers. Lucy was also talented in creating meals out of bare ingredients when supplies were low. She was as talented inside the house as she was out. She preferred to work outdoors, repairing fences, rounding up cattle or hunting.

Upon her return from her first solo hunting trip, Jack admonished her for taking a shot and leaving the elk in the field. He ordered her back into the field to bring home the injured animal. Not one to sit still, Lucy turned to taxidermy as a hobby which was grudgingly supported by her wary family. She often had some form of crafting to work on, including teaching Jack how to embroider. He was quick to learn, and they prided themselves on being equally adept with branding iron or needle. In a compromise, Lucy always hung them right-side up, and Carrie could read bits and pieces of different stories.

She acquired a set of opera glasses that enabled her to read the ceiling. While Lucy had as many ranch skills as any man, she never wore pants. The one concession she did make to aid her work was to wear the Jackson Hole double-barrel skirt. These skirts allowed a woman to appear as though she was wearing full skirts, but they were designed to allow her to ride astride. Portrait of Mardy Murie taken by Olie Riniker.

She attended the Alaska Agricultural College of School and Mines where she became the first female graduate in That same year she married Olaus Murie and the two spent their honeymoon on a research trip studying caribou for eight months. Olaus worked for the U. Bureau of Biological Survey and devoted his life to an emerging field of conservation research. The two moved to Jackson Hole, Wyoming so Olaus could study the deteriorating elk populations in Initially living in town, they began to search for a home in a quieter area of the valley.

In , the Muries purchased the ranch and moved in to a large cabin that was previously a private home on the property. As part of the purchase agreement, the ranch could not be used as a dude ranch, and the Estes could keep their original homestead cabin. Both wishes were fulfilled, as the Muries wanted a private home for family and friends. They removed the established pathways and allowed wildlife to return to the property and used their natural trails. By the Muries became the sole owners of the ranch, and the Estes moved permanently to Arizona.

Now known as the Murie Ranch, the dude ranching history has been largely forgotten. During their time in Jackson, the Muries had three children. Rather than being stuck at home with her babies, Mardy packed them up and brought them on research trips. In , Olaus became president of the Wilderness Society, and the ranch was the perfect location to host their annual meetings.

Their long career was cut short in when Olaus died. Rather than giving up her ranch and moving on, Mardy devoted herself to work as a wilderness advocate. She wrote speeches, letters, books, and appeared in movies. Her work spanned the globe, from Egypt to Australia. She continued to travel to Alaska for research trips and conferences that resulted in several honors and awards, along with her other conservation work. These accolades are significant because she was one of the first women to receive such recognition for work the conservation field. Upon her death in , the life lease on the ranch ended and the property transferred to National Park Service ownership and management.

Today it is known as the Murie Center, which continues to educate the public on the importance of conservation and natural resource protection. Betty Woolsey out for a walk with her dog. Courtesy of Trail Creek Ranch. Her family lived in the shadows of the Sandia Mountains, while her father worked for the U. Forest Service. Here, she had an early introduction into an outdoor lifestyle that would continue for the rest of her life.

She learned skills in campsite selection and building, campfire cooking and the endurance to withstand long hot days in the blazing desert sun. When her family moved to New Haven, Connecticut, Betty found herself bored by the smooth countryside and picket fences. There were no mountains or caves for exploring so she spent her time mastering team sports and earning a degree from Vassar. Betty went on to climb several formidable peaks around the world.

Her many adventures also included many close brushes with death that included running out of rope while rappelling down a mountain. She extricated herself by swinging back and forth to jump onto a ledge. On the Waddington Expedition, she fell into an hourglass-shaped crevasse in the Franklin Glacier and was able to dig herself back out. During her climbing expeditions in Switzerland she was convinced to return in the winter when the higher peaks were better accessed by skis.

The first trip included her first self-taught skiing lesson. Despite the early frustrations, she proved to be a natural. Just weeks after her first trial on skis, she participated in a race that qualified her to become part of the first U. In , she competed in her first Olympics in Germany. She placed seventh overall, and shocked the European skiing world. She would continue to win several races and earned international recognition.

They found their new home base in Sun Valley, Idaho which had several modern amenities that the European resorts lacked. From here, she learned of a nearby, quiet mountain valley already known for its soft powder snow. In Jackson Hole, Betty would find her true home on the Trail Creek Ranch that she purchased and opened up to dudes year-round. With her team of close friends, they outfitted the ranch with plumbing and electricity by hand.

Her dry childhood in New Mexico gave her a life-long respect and appreciation for water. A herd of Rocky Mountain big horn sheep slowly graze their way up the grassy slope. Guiding the herd, it instinctively turns to retrace the route back down the slope.

But something is not right there either. Humans appear both ahead and behind the herd. In a mad dash down the hill, the lead sheep directs the course of the herd toward the nearest trees. The sheep scramble over the logs and brush in their path. In their stampede over the obstacles, the sheep become entangled, and the hunters harvest several animals before the rest of the herd struggle over the logs, running to safety. This remarkable hunt can easily be reconstructed as we walk up this same grassy slope today.

The wide saddle across the top of this steep mountain has been crossed by numerous generations of wild sheep, seemingly oblivious to any change in their natural habitat. These skillfully designed traps were amazing efficient. The dependency of the Mountain Shoshones on the big horn sheep make it imperative for them to know everything about the animal: its weaknesses and its strengths.

They were well aware of the ancient routes the sheep continually traveled in this region. The Mountain Shoshones knew how leery the sheep were and what keen eyesight they possessed. With this knowledge, they designed elaborate driveways and built efficient traps to procure the sheep.

The sheep trap shown here is located on a grassy pass between two river drainages. The Mountain Shoshones used the entire pass in constructing this driveway and trap. The outer wall, nearly a quarter of a mile in length, begins at the head of along, steep gully that provided a natural migration route over the mountain. The inner wall starts at the edge of a steep cliff on the opposite side of the same gully. This wall, shown in the photo to the left crosses the center of the pass and continues up the slope.

Made of logs, stones, and brush, the walls apparently were slanted inward to discourage mountain sheep, who are known for their ability to climb nearly any natural barrier, from climbing over the walls. The two walls were not designed to come together quickly; they purposefully funneled the animals into a somewhat circular enclosure high on the slope.

The overall objective of these walls was probably not to contain the animals but to slowly direct their movement up the driveway toward the ambush point. As a herd of sheep reached the top of this driveway, they were not far from the protection of trees and a steep slope off the other side of the mountain. At this point a small ambush structure, big enough to hide several people, was built. The sheep moved directly toward this structure on their natural route up the slope. The accompanying photo shows the ambush structure and the actual trap on the slope below.

With the sheep so close, the hunters needed only to stand up and be seen by the lead sheep, causing it to turn instinctively to flee. The wall located above the sheep would have been less inviting as a way to freedom than the route of the well-designed runway, leading straight down the slope. Other hunters were most likely hiding in the trees lining the driveway; they would force the sheep to take the pathway to the trap.

From this point down the hill, the walls of the driveway quickly narrow until they are no more than six to eight feet apart. With the sheep running hard to get away, the wooden obstruction at the end of the runway would have been of little concern. The surefootedness of the sheep would have taken them easily up the wooden ramp.

Once on top the ramp, the sheep would have tried to run over it, jump off the far end, and continue moving down the open slope. Mountain sheep are not tall animals, so the wooden ramp only needed to be constructed approximately five feet above the ground. Their speed and ability would have helped them negotiate a short structure, so the length of the trap was built fairly long. It was constructed much like a cattle guard used by ranchers today. The logs were placed across the top in such a way that the animals, even though they might be able negotiate the first couple of logs, would likely lose their footing and fall between the logs, becoming high-centered.

As quick and strong as mountain sheep are, the hunters probably had only a limited amount of time in which to reach the trap and use their spears, bows, and clubs to harvest several animals. The method of using traps by the Mountain Shoshones to secure meat was not fool proof. There were many factors that might well have prevented the trap from working. One factor was the wind. After hunters had been sitting in the ambush structure for hours, waiting for the sheep to graze their way up the driveway leading to the wooden ramp, a change in the direction of the breeze could give them away.

The animals, warned of the hunters presence before they reached the top of the driveway, would quickly turn to flee in the opposite direction. Another factor in the method of trapping sheep in this well designed and skillfully built structure was that it only worked from a single direction. The herds traveling over this particular pass had to come up from the gully below to be enclosed within the walls of the structure.

Sheep traveling from other directions would have naturally gone around the outside of the walls. Even though this trap was not used every day, the people who built it knew the sheep continually used this pass. The hunters were aware that it was only a matter of time before another migrating herd would move up the steep gully, eventually appearing in front of the ambush structure.

These hunts were consistently effective. This particular trap is located in an area that was a wintering ground for both sheep and the Mountain Shoshones who followed their migration. Therefore, a sizable group of people may have been available to make such a large designed trap work efficiently. During the summer months when smaller groups lived and hunted together, other hunting strategies might well have been used. Very likely only a couple of animals were harvested while the others fled to freedom. With small family groups, however, it did not take a great number of animals to provide meat and hides to sustain them until another hunt could be organized.

Game migrating from one drainage to another is probably the reason other sheep traps have been located in various parts of this region. The Mountain Shoshone most likely built traps and organized hunts wherever sheep migrated. The elements are slowly reclaiming the several remaining traps in the area.

Today, when we look at the remnants of a sheep trap, we may see what appears to be carelessly strewn logs and rocks, and the ramp may seem to be a pile of firewood. But the original structures were ingenious devices used by a resourceful people who were remarkable hunters. Washakie and Shoshones in early camp scene, William H. Taken by professional photographer W.

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Jackson, who traveled through Wyoming with the Hayden Geological Survey in , this photograph highlights an aspect of daily life that has since changed significantly, though perhaps not as rapidly as often thought. This camp scene, typical, even after reservation boundaries were well established, shows the relatively mobile nature of daily life that marked reservation living at this time. This mobility, shifting home base until the or camping in higher elevations in the summer to hunt, continued well into the first decades of this century.

For many it changed only gradually with the start of permanent living quarters and housing developments:. You see the White man told me a different story. And the Indian told me too, another story. And you kinda get caught in the middle. And they tell you that a long time ago—Indians are not supposed to live in villages. Pansey St. Chief Washakie, W.

Sometimes the distance is too great and it is difficult to capture the true voice of the past. This second photo by Jackson is similar to the first in that it shows Chief Washakie, not as Whites would expect him to appear in his role as Chief of the Shoshones but rather as a working member of this tribe or community. The real birth of interest in specifically Indian subjects and photography started when Jackson came to Omaha, at a time when the city was the hub of activity in the west like Denver is today. In Omaha, Jackson opened up a studio and began venturing out to surrounding reservations, a practice he continued after linking up with Hayden.

Washakie, Chief of the Shoshones, Baker and Johnson, ca. This picture, by Baker and Johnson, photographers based out of Evanston, Wyoming, is a studio portrait done at Fort Washakie. The painted curtain stops short of the frame on the right hand side revealing the brick work of one of the Fort buildings. Baker and Johnson did a number of portraits at Wind River that were really designed for the White market.

The practice of recording trappings of wealth or prestige in a photograph, represented, for example, by warbonnets or ceremonial objects of Native American cultures , or of presenting the subject in such a way that their social position was made apparent, was originally an Anglo custom. Early photos—showing people in every day dress or every day life are harder to come by. Shoshone woman, Baker and Johnson, ca.

Often such stories only briefly touched on what the Shoshone people were really experiencing at that time. Shoshone woman with travois, ca. I heard then of the Treaty of Fort Bridger. After they allotted the land, there were still some buffalo left. The government showed us how to plow. The government began giving us cattle. They gave one cow to each house. We were rather hungry at that time.

When we got hungry, we Indians killed and ate the cattle. Following the cattle, they gave us plow, harness, wagon. Bobachee, recorded by Rupert Weeks. Shoshone man in military coat, Carl Chittim, ca. We started farming with little cayuses. One fellow would hold the plow, another would whip the horses, a third would hold them. It might take four men to manage a single plow.

The government commenced to issue food. Beef was killed every Friday. There were few buffalo hides so they issued goods: stoves, scissors, needle and thread. We started sewing garments out of denim and calico. Buckskin clothes went out. Bobechee, recorded by Rupert Weeks. A number of these photographs, however, provide an invaluable testimony to the strong cultural continuity maintained during the early reservation years when dances and ceremonies were still practiced without government interference.

Here, participants in a Wolf or War Dance line up in front of a log structure, to have their photograph taken. Several seem amused at the whole proceedings. Wolf or War Dance, Carl Chittim, ca. A number of those interviewed recalled that Wolf Dances took place in front of the old Agency buildings and that the white paint worn by one of the dancers was typical of that time.

Starr Weed and others note that the dance was originally performed by men only, with the women seated in a circle. Rupert Weeks wrote:. The Wolf Dance costume is one of the prettiest worn by the Shoshones. They wear beaded vests, neck pieces and gloves. Their headdress is made of porcupine quills and feathers. Fastened to the back of their belts is a big bustle of feathers…. At this dance many of the little boys had Christmas tree decorations and sleigh bells on their costumes. Long ago they wore shells to make a noise.

The costume can be just what the dancers or his parents want. Painted horse tied to a wagon, Carl Chittim, ca. According to Starr Weed, this horse, painted with a sunburst symbol, was probably used in the sham battle. Weed recalls that after the battle, horses and riders paraded through the camps pitched outside the dance grounds. Here, tied to a wagon, itself a symbol of changing reservation life, this horse can be seen as a transitional figure, evidence of the old life continuing amidst changing times. Wind River Agency, a center of reservation activity, was established in as a residential and office headquarters for government personnel.

The Indian agent, who took census every year, was in charge of distributing government annuities provided for in the Fort Bridger Treaty. The area around Trout Creek and the Little Wind was close to the mountains and with a relatively warm climate had already served as a preferred camping area in former times. Each one got an army blanket, and you know how scratchy they are! They gave them a blanket, and the rules allowed so many yards of goods….

Nellie Washakie. Agency headquarters were then established in the stone building, known as BIA Building 1, which now houses staff for several tribal programs. Change became evident in both large and small ways. An increasing variety of store-bought fabrics were used in clothing. Wall tents were pitched beside the more traditional teepees. Women brought their beadwork there to sell or exchange for a few groceries, it served as a gathering point for Whites and Indians alike.

Queechen did not see anyone he knew at the office so he wandered over to the J.

Moore trading post where he met and talked with friends he had not seen since his days at the Government school. Rupert Weeks. Shoshones pose at J. Date unknown. The importance of the trading post as a center of reservation life is reflected in the fact that it was used as a backdrop for many photos of reservation residents. When President Grover Cleveland visited the reservation in , his photographer used it to pose Washakie right, on horseback and a group of Shoshones.

Evangelist from Utah, Date unknown. Photo provided by Millie Guina. Two central goals of government assimilation policy were to convert and educate. Several Shoshone, some who had been Rev. Charles had been one of Mr. The work of making these translations was a most difficult task for the reason that the language is not written and many English words have no counterpart in the Shoshone language. Courtesy Beatrice Crofts, Lander. Agency slaughter corrals, Carl Chittim, ca. The government bought cattle but they were killed recklessly. So they built slaughterhouses after that and corrals.

Women dividing entrails at slaughtering pens, Carl Chittim, ca. Winnie St. Clair remembers that beef was killed at the slaughter house for stores at both Wind River Agency and Fort Washakie as well as for individuals and families. Whoever got there first got the larger portions of tripe. Meat drying by teepees, Carl Chittim, ca. At this time from twenty to thirty beefs were butchered by the Agency farmer every two weeks and each Saturday a quarter of beef was issued at each teepee. Every second week flour, coffee, beans, and sugar were also issued. This photo shows the scene as government officials negotiated with tribal member for ten square miles at the extreme northeast corner of the reservation—the site of the hot springs and present day Thermopolis.

Another thing which Queechen learned before long was that the reservation to which he returned in was a smaller one than he had left in Two years after he left the Indians sold the Thermopolis Hot Springs and ten square miles of ground around them to the government for sixty thousand dollars…. Queechen knew about this sale when it was made, for some of the money was paid out in a per capita cash payment and his share of that was sent to him at Carlisle.

Most of the money was used for rations over a five-year period. As the rations agreed upon in the Ft. Bridger treaty were to be issued for a period of thirty years and the first issue was made in , the people were glad to have something more coming from the government. A third agreement, further shrinking the boundaries of the reservation, was negotiated in It opened up land for homesteading, townsites and mineral development, an area known today as the Riverton Reclamation Project. While some provisions were made for compensation and benefits for those affected by transfer of these lands, the steady loss of tribal lands through these treaties and sales left a bitter taste:.

There were nearly a million and a half acres in this tract…. Most of the tribal funds came from this source. Queechen was very glad to find that his tribe had some source of income for he had ideas about how tribal money could be used to improve conditions of the reservation. He felt sure he had learned ways of living and of making money that would help his people.

He found it very hard to suggest them, however, without making both his own family and his neighbors feel that he was an outsider. Changing social and political arrangements called for different structures within the Shoshone community:. They made a policeman out of my husband…to stop people from making trouble. At first he refused but the chiefs talked to him and induced him to accept.

He got along very well with them. He was kept busy talking to people especially about rations. There was a shooting once. One man killed another, they sent for my husband; he finally got him. The man was brought to the agency. They just talked to him for a long while. They said the White man would put him in jail if he committed murder again. And they let him go. Bobechee, as recorded by Rupert Weeks. Shoshone Business Council, ca. An unusually candid shot showing two men casually seated in the main mode of transportation on the early reservation:. We hardly went to town, because we had no cars when I was growing up.

Dawn of Midi. Formed in , the band name was happened upon after Naqvi casually uttered the phrase by chance Ultrabillions DJ set. Floating Points. Talent Floating Points Live Breaking away from making electronic music on his laptop, Sam Shepherd—the DJ, producer and composer otherwise known as Floating Points—engineered his debut album Elaenia while deejaying in cities across the globe and working towards his PhD in neuroscience.

Elaenia draws inspiration Julia Holter. While love songs are familiar fodder in pop music, Holter manages Larry Gus. Combining sample-based ethics and crystal clear psychedelic pop melodies into an infinitely dense Silver Apples. Blood Orange. He has written and produced songs for a wide range of artists including Solange Knowles, Florence and the Machine and Tinashe. Under the moniker Blood Orange, Hynes has released two albums, Coastal His highly praised debut album Communion was released in late Talent Zombi Producing work that is epic in concept, sound, and artistic approach, Steve Moore and A.

Paterra, the masterminds and multi-instrumentalists behind Zombi, have re-imagined the architecture of progressive rock and dynamic instrumentals, carving a niche in underground music distinctly Afrikan Sciences. Talent Afrikan Sciences Afrikan Sciences Eric Douglas Porter stands solidly as one of the most innovative producers to surface in recent times.

Affectionately titled the Rhythm Czar, Porter has steadily become one of the most well respected creators in electronic music. Once described as the love child UV boi. Talent UV boi Hailing from Brisbane, Australia, producer UV boi somehow peppers frantically percussive, ever-shifting drumbeats over chill, almost Foreign Exchange-style keys and vocal harmonies while managing to sustain exciting grooves. Gary Numan.

After joining the punk group Lasers, he formed a new wave band, Tubeway Army, with drummer Bob Simmonds. Miike Snow. Daniel Lanois. He first performed his legendary Sleep Concert in an all-night happening meant to sustain hypnogogic states in sleeping audiences. Rich accesses the trange liminal zone between sleep and wakefulness: the music becomes a thread of consciousness that you can use to guide yourself into a state of half-sleep and notice the way that your brain shifts perceptions into an internal world. The event extends from midnight until AM.

Please bring something comfortable to lie on a sleeping bag! Talent Robert Rich Robert Rich has helped define the genres of ambient music, dark-ambient, and world fusion with dozens of albums across four decades. Rich began building his own analog modular synthesizers in , when he was 13 years old, and later studied computer music at Stanford's prestigious Talent Jlin Jerrilynn Patton, known as Jlin, is a steel mill worker and acclaimed electronic musician from Gary, Indiana.

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Patton began producing music in Later, the song accompanied a Paula Temple. Ryan Hemsworth. Friday , May Soundwalk Limited Capacity full Adding this to your schedule will put you on the waitlist. This excursion asks participants to become mindful to their sonic environment or soundscape , whether indoors or out.

The small group walks together while listening closely to their surroundings, considering all sounds as phenomena worthy of attention. Since then she has created audio art and radiophonic works for extensive international broadcast, installation, or performance in more than 25 countries. She also creates dynamic, atmospheric compositions It has been almost one hundred years since the first wireless broadcasts for entertainment, and radio seems livelier than ever: from AM, to FM, to HAM, to satellite, with internet streaming Suitable for kids and youths, ages 6 - Parents are welcome to attend with their children.

Come for the misguided meditations, stay for the sensory stimulations and mass hypnoses. In this workshop, the Church of Space introduces the theoretical basis for modern magical work, revisiting centuries of shamanistic and sorcery tradition en route to explaining modern magic theory by grounding the occult teachings in a modern science understanding. We expose traditional magical rituals as ways of achieving gnosis through a conscious bypassing of the higher thought observer, letting subconscious thought quantum compute and either READ the aether resonances divination of WRITE to the aether resonances enchantment.

We reveal some occult information to help workshop attendees learn some basic self-hypnosis techniques. Talent Marc Fleury Marc Fleury was born and raised in Paris, France, where he discovered a passion for electronic music early on. As a solo artist, he embraces the more mature, cerebral, and avant-garde forms of electronic music. Currently based in the US, Marc focuses on playing rare modular synthesizers Sheba Love In addition to his artistic work in electronic music, "Sheba" is also a board certified psychiatric rehabilitation practitioner, trained and certified in cognitive behavioral therapy by the grandfather of CBT himself, Dr.

Aaron T. Beck, and is trained in guided meditation and hypnotherapy Uli Sigg Uli Sigg has worked in a variety of media, including sculpture, installation, film, video, and photography, but he is also a curator and collector. Learn to bring video game graphics into the live visual world. Take live visuals beyond video playback and effects into interactive and modular systems. Participants may download fully functional demo of Resolume and a free version of Unity in advance if they so choose. The Future of Our Species Taking an active part in our own biological evolution is no longer a theory, but an option.

Literal cyborg Neil Harbisson leads this panel discussion on Becoming Technology, and asks the questions, can we have additional organs and senses beyond the ones confined to our species. Are we prepared to become the designers of our own body and perception? Will merging with technology increase our survival possibilities in earth and in outer space?

Are we witnessing the renaissance of our species? Rich Lee Black hat transhumanist Rich Lee made headlines in after he successfully implanted headphones in his ears. Rich is a prominent figure in the biohacking subculture known collectively as "the Grinders. His areas of interest include animal behavior, cognition, and sensory perception. He has a personal fascination BJ Murphy B. Murphy is a futurist, techno-philosopher, poet, and author. He's an Ambassador for the robotics Lead by Alexander Randon, creator of the best selling iOS apps Fugue Machine and Arpeggionome, this workshop alleviates the anxiety around creating your own tools for iOS devices.

Participants explore how to create a sandbox for experimentation with audio and midi, make some fun noises, and gain insight to the world of creating tools for sonic exploration for iOS devices. This workshop is for beginner to intermediate programmers who are interested in building applications for iOS devices. Bring an Apple laptop to participate. With a passion for music technology as both a developer and musician, creating music software is simply part of his music-making process.

Countless prototypes A collaborative video-making workshop providing participants with the opportunity to learn the basics of modular analog video synthesizers in a creative play space. Led by Jennifer Juniper Stratford with Los Angeles-based synthesizer technician Stephi Duckula, this workshop delivers a hands-on experience and invites all levels of skill, focusing on play, experimentation and improvisation.

In she established Telefantasy Studios, an analog media lab and practical effects studio dedicated to Stephi Duckula is an experimental audiovisual artist with a passion for exploring past and present synthesis technologies, while channeling her own brand of nostalgia and ornithomania into surreal variegated mindscapes. Working with electronics and synthesizers for over fifteen years Modular Marketplace An electronic pop-up shop showcasing the latest and greatest from a lineup of innovative instrument makers.

Founded on , Switched On has become a destination for musicians worldwide offering the best of new and vintage audio tools for music professionals and enthusiasts alike. Switched On provides not only world-class Presented by Red Bull Music Academy. Acoustic Metamaterials Humans interact with sound in many ways, and our ability to control sound—including generating it, steering it, and absorbing it—is essential in many applications. Conventional, off-the-shelf materials offer rather limited ways to do this. Steven A. Cummer Professor, Electrical and Computer Engineering Department, Duke University will talk on the science and application of acoustic metamaterials, or artificial materials for sound, which enable us to create engineered structures to manipulate and control sound waves in ways that are not possible with ordinary materials.

This includes creating acoustic holograms that can project a sound field with an almost arbitrary physical shape, and designing acoustic cloaking materials that can make an object effectively invisible to sound. Talent Steven A. Cummer Duke University Steven A. He received his B. In this presentation, you will see and hear where the cutting edge of technology, from on-body sensing to massive immersive environments, is taking our senses as we enter the age of human-centered smart environments.

Artists create sculptures to visualize parallel computing and create environments to experience the coastal estuaries of North Carolina without getting sandy. Talent R. For more than 20 years, Dr. Knapp has been working to create meaningful links between human-computer interaction, universal design, and Within an event space transformed as a multi-channel low-watt radio installation — with a sonic basis of manipulations of the atomic clock — four artists provide commentary on how the traditions of radio inform the modern application of sound: radio artist and composer Anna Friz on the historical theory and practice of the art of radio transmission; transmission artist Jeff Kolar on using current considerations for radio as an apparatus for sonification of the electromagnetic spectrum; screenwriter and radio producer Sharon Mashihi on the performance of audio narrative; and audio artist Kaitlin Prest on theoretical possibilities for podcasting as an art form.

These analyses are supported through performances by these artists in pairs, exhibiting the cross-disciplinary aspects of radio practice: Friz and Kolar perform radio as instrument, giving subtle treatment to the airwaves and unstable circuits from which highly detailed landscapes emerge; and Prest and Mashihi perform radio as theatre to launch an investigation into sound, object, and the ways that human beings torment themselves.

Her work with The Heart has been featured on Australian His work often activates Kaitlin Prest Kaitlin Prest is an audio artist working in radio, performance, and installation and the host of Radiotopia's The Heart Podcast. She works creatively directing independent podcast projects and does public speaking and private consulting about storytelling with sound Third Coast International The Wifi Whisperer: A Conversation Every day we reveal our lives through our data, to friends and foes alike. Our smartphones constantly leak data as they search for WiFi and Bluetooth connections and reveal past network connections, geolocation info, and even your name.

This data can be collected when an internet provider decides to monitor or manipulate your activity, but also when individuals track and even trick your device into telling them more than it should. The WiFi Whisperer is an art installation that was created into order to explore and expose this phenomenon. In this conversational workshop, artists and engineers Kyle McDonald and Surya Mattu explain the technology and investigate the social implications of the project, while creatively interpreting data captured from the air in real-time. Moderated by Gail Marie. Program Themes Hacking Sound Systems The resurgence of a technological Maker Culture is undeniable, and Moogfest is a gathering for all those enthused by new tools for creative expression.

Technoshamanism: A Very Psychedelic Century! Join paleo-ecologist turned multimedia performer Michael Garfield for a playful, deep-as-hell discussion on the major transformations just around the corner — and a lesson in how you can harness the momentum of this change! Get ready for a very psychedelic century! As our technologies evolve to be much smarter and more omnipresent, we will have to find a different paradigm to handle the dissolving boundary between the "made" and "born," the "natural" and "artificial.

Maybe there is something to the notion that the insights of indigenous medicine traditions are just what we require to navigate this brave new digital society. Where cybernetic science meets the psychedelic revolution — where techno-telepathic art collectives jam with internet-connected whales and robots — this is where you'll find the bleeding edge of techno-shamanism.

And you are invited. Talent Michael Garfield Paleontologist turned cyber-acoustic guitarist and psychedelic performance philosopher, Michael Garfield's mind-expanding work maps the evolutionary landscape and our place in it. Masterclass with Daniel Lanois and The Orb. Commission Possible Limited Capacity full Adding this to your schedule will put you on the waitlist. What is the code of conduct? How is this all shaking out? Song Exploder is a podcast where musicians take apart their songs, and piece by piece, tell the story of how they were made.

Using the isolated, individual tracks from the recording, host Hrishikesh Hirway asks artists to delve into the specific decisions that went into creating their work. Talent Song Exploder with Hrishikesh Hirway On Song Exploder, musicians take apart a song, and piece by piece, tell the story of how it was made.

The show is produced and edited by Hrishikesh Hirway. His own background as a songwriter, producer, and arranger with his project The One AM Radio led him to doing remixes for other Discuss with Andrew Kilpatrick how both crowdfunding and micro-manufacturing has helped Kilpatrick Audio grow into a successful business with a worldwide presence. Talent Andrew Kilpatrick Andrew Kilpatrick is a skilled and dedicated electronics designer with years of professional experience in both hardware electronics and software design.

In addition, Kilpatrick is a classically trained vocalist and skilled multi-instrumentalist. His passion for both music and electronics Learn what it takes to do live visuals and live music in this workshop. In this collaborative session, participants are guided through a rapid design ideation session lead by the IBM Watson Ecosystem lead designer, Maya Weinstein. Be prepared for a fun, interactive, hands on session. She combines design thinking and agile methods to help partners mitigate risk and get to market faster.

She has worked at IBM Watson for three years teaching and facilitating design thinking workshops both internally Seismic Performance Moon Ribas is a co-founder of the Cyborg Foundation, an international organization that aims to help people become cyborgs, defend cyborg rights and promote cyborgism as an artistic and social movement. With two cybernetic implants in her arms, Moon is developing the seismic sense, perceiving the movement of real-time earthquakes all around the world, small as 1 in Richter scale.

Her implants allow her arms to to sense real-time earthquakes and moonquakes. Moon translates this perception into dance: the Seismic Performance. Talent Moon Ribas Moon Ribas May 24th, is a Catalan contemporary choreographer and the co-founder of the Cyborg Foundation, an international organization that aims to help people become cyborgs, defend cyborg rights, and promote cyborgism as an artistic and social movement. Moon graduated in Polyrhythmic Loops with 4MS Dan Green of 4ms Company demonstrates and explains techniques using clock, timing, and delay modules to produce poly-rhythmicloops.

By using clocks to modulate clock division and multiplication amounts of other clocks, as well as delay time and clock phase, a variety of complex yet repeatable rhythmic patterns can be created. Talent Dan Green Dan Green has been designing and building electronics since As 4ms, his work ranges from innovative guitar pedals to ground-breaking synthesizer modules in the Eurorack format.

Rather than replicate concepts from the past, he strives to turn unique ideas into playable tools Talent Laura Baverman Laura Baverman is the editor of ExitEvent, an online news and information site covering early stage startups and entrepreneurship in the Triangle region and throughout North Carolina. ExitEvent's mission is to tell stories about the entrepreneurs and companies in the region through Gart Davis Gart is past president of Lulu. Aly and Beth Khalifa Aly is a design entrepreneur specializing in invention development. He previously worked Keynote: The Future of Creativity What does the not-too-distant future look like when cyberconsciousness becomes part of our daily lives?

Talent Dr. Martine Rothblatt Martine Rothblatt, Ph. When her daughter was diagnosed with a rare disease, Martine left Sirius to search for a cure. She founded Using a small Dr. Blankenstein synthesizer kit that will be provided to you, Drew Blanke will bestow upon you both a crash course in the art of soldering, as well demonstrating the basic principles of how a simple oscillator becomes a voltage controlled synthesizer. We do this together by building a small but powerful and highly customizable mini 8 note stylus synthesizer.

Everyone will leave the workshop with the experience and skill of soldering a printed circuit board, a fully functional voltage controlled mini stylus synthesizer they built themselves, and, most importantly, the understanding that they are always just a handful of electronic components away from making a fun and creative synthesizer! Basic proficiency in soldering is helpful, but not required. Please bring a 9 volt battery and a love of synthesizers. Blankenstein Back for his third consecutive Moogfest, Drew Blanke is a New York-born synthesizer and effects designer, circuit bender and multimedia artist.

Better known as Dr. Blankenstein, but you can call him Doc. Now based in Queens, New York, he owns and operates his boutique audio synthesizer Interspecies Collaboration with Data Garden Limited Capacity full Adding this to your schedule will put you on the waitlist. The atmosphere of the workshop is an open studio. Guests are encouraged to bring instruments to record and contribute to the evolving soundscape. Talent Jon Shapiro Jon Shapiro is an artist exploring the intersection of music and biofeedback. He collaborates with engineers and musicians to develop new ways for plants to produce music Two free drinks for the first 50 to arrive.

Sound Art and Sonification Limited Capacity full Adding this to your schedule will put you on the waitlist.

Sound art is a vast territory that probes experimental music and sound design. This workshop explores ways in which visual media can be interpreted, generated, processed, and sonified as sound and music for performances and exhibitions. Using image editing software and tools available on the internet, we synthesize sounds from photographic imagery including images of the natural world, cityscapes, industry, and computer graphics. We also navigate through the possibilities of visually altering spectral analysis to process sound in unique ways. In addition, we extract MIDI notes from the sounds created to produce generative music.

No prior software knowledge is required to participate, but a basic understanding of audio production is assumed.. Bring your own digital photos to sonify. Some of the other applications used will include Photosounder and Max from Cycling ' Their performance draws on an immersive installation to explore the interface of the human and the digital, exploding individual and collective perceptions of reality. Anderson EMA is a musician and multimedia artist. After becoming fixtures in the west coast experimental She's glad she grew up without a lot of money but sometimes wishes she had some now.

Hunter studied classical music, released several solo albums, regularly contributes to other artists' work, and now plays in the band Lower Dens Synth Design Icon Tatsuya Takahashi discusses his first encounters with sound, and the journey from monotron to minilogue, since joining Korg. Takahashi also touches on the concepts of democratisation of synthesis, modular synthesis, and open source hardware. He aims to provide insight into a cross-section of what is involved in building synths at Korg, and the people who do it.

Raised in London, he has been with Korg since moving to Tokyo in late His roles consist of product planning, hardware engineering, and project management. He successfully launched the first analog synth from In discussion with author David Katz and journalist Angus Taylor, these dub innovators explore the transformative power of dub reggae and sound system culture as sonic sites of resistance and subversion. Since launching I Grade Records in , Tippy I has produced, recorded, and mixed over 30 albums with a range of roots reggae artists including He moved to the Crown Heights section of Brooklyn at the age of He is also an accomplished painter Ras Kush Selector Ras Kush has been an active part of the sound system culture since the early s.

He emigrated from his native Angus Taylor Angus Taylor is a writer specializing in Jamaican music. Taylor is a contributor of interviews and articles to a variety of other online and print At Moogfest, Tara Busch will play live the scores of three of their films, on vocals and an array of analog synths playing against screening ofGagglebox, The Silence, Zombies Their short films include the UK filmed sci-fi thriller "The Silence Creating Music Tech with Kickstarter The history of musical instruments includes many notable examples of designers collaborating with musicians to create tools that fulfill their sonic needs.

The growth of creative communities online has greatly expanded the possibilities for this kind of collaborative approach — allowing instrument creators to test ideas and get feedback from music makers as part of an open development process. His own creative work features musical robots and he has exhibited his interactive sound work internationally.

He's an alumnus of, and adjunct Of particular focus is importing and integrating multidimensional data and rendering it spatially in real-time. LBAP and D4 have been successfully tested with configurations of up to loudspeakers and up to 1, concurrent bit 48KHz audio streams with sub 22ms latency. Party Illegal DJs. First 50 attendees. One drink maximum per person.

Generative techniques are being embraced throughout contemporary electronic music, whether through chaotic modulation of analog synths, or randomization options in digital sequencers. Deliberate unpredictability can be a powerful tool for creating complex sound design or musical themes and variations.

Taking inspiration from research in musicology, perception, and behavioral modeling, Patter proposes a model for studying and generating music which enables complex yet intuitive arrangements. Participants get hands-on with a simple generative Max patch ready to be expanded upon by savvy Max patchers. Throughout, we discuss the effectiveness and desirability of various methods as we challenge ourselves to invent new ones. Be prepared to make music by accident!

A laptop computer with Max 7 installed and any hard or soft synth to drive with it are required to participate. Talent Adam Florin Adam Florin is a creative technologist exploring languages and computer systems for storytelling and expression. By day he produces data visualizations for Scientific American, Facebook, and Additionally, a selection of Richard Smith's collection of Don Buchla instruments and memorabilia — the most complete collection ever assembled — is on view daily during Moogfest in the Durham Arts Council Foyer.

Talent Suzanne Ciani While the union of classical music and more popular sensibilities often produces works of massive scale and operatic aspirations, Suzanne Ciani has across decades and innumerable platforms mined the genius latent in the incidental, the occasional, and the ephemeral. Born in Italy Alessandro Cortini Italian-born composer and performer Alessandro Cortini is a musical voyager.

Having spent considerable time performing lead electronics in addition to revisiting his initial instrumental forays in guitar for Nine Inch Nails and How to Destroy Angels, as well as continuing a solo project Sarah Davachi As a composer of electronic and electroacoustic music, Davachi engages in practices of analog synthesis, psychoacoustic manipulations, and studio composition.

Her work focuses on the experience of enveloped sonic dwelling, often utilizing extended durations, gradual transformations Morton Subotnick Morton Subtonic is a pioneer in the development of electronic music and an innovator in works involving instruments and other media, including interactive computer music systems. Our answer… giant beach balls as a gestural musical interface controlling a generative soundscape!

Come learn design skills and hack our installation! No specific technical expertise needed, the session is open to all. Join Kamil Nawratil, Creative Director of VolvoxLabs [VVOX], for a discussion of how interactive technology and responsive systems will change the way live performance and stage design evolve in the industry. Participants should have understanding of Ableton and TouchDesigner. Driven by motion and the unpredictable, chaos and equilibrium, between the organic and artificial, the tangible and abstract, his inspiration is manifested through digital sculptures VIPs only.

Rooftop will open up to artists and press at 6pm. Traditional job fairs are constrained by definition; they only appeal to people who are looking for a job. The Big Top appeals to a broader pool of those who might be curious to see what else is available to them. Typical job fairs are also filled with angst for those who are not networking enthusiasts as well as the recruiting teams who sit behind tables receiving resumes while the room remains hushed in muted conversation.

The Big Top changes all of that with an informal event that brings out the best in everyone and provides each participant an opportunity to peek inside either the personality of the individual or the culture of the company. At the Big Top we use a circus theme to create a relaxed and most importantly engaging environment for everyone.

The Well-Sequenced Synthesizer: Exploring Music Through Interactive Design and Computation Luisa Pereira shares the story of creating The Counterpointer and its sibling devices: from her fascination with Bach, through the first cardboard and breadboard prototypes, to algorithm design, custom PCBs, and polished fabrication. In every era, composers and instrument builders have explored music through the lens of new technologies. The preludes and fugues in J. In our century, independent designers and engineers like myself have access to hardware and software platforms and digital fabrication tools that allow us to create our own intelligent devices.

Mastery is Dead Mike Butera of Artiphon talks on the concept of virtuosity in the digital age. Traditional instruments with prescriptive, perfectible techniques have increasingly been replaced by new tools and methods in music production that do not presuppose a "right" way to play. From nonlinear looping to expressive grid controllers to modular synthesis iPhone apps, we're seeing instead the rise of open systems of expression and the dangerous?

The centuries-old notion that an instrument can be learned and mastered, that there is a goal or plateau of skill and achievement, is vanishing. In place of fingers on strings, musicians are increasingly enlisting automation and black-box software to create and organize the sounds they imagine.

Does this trend threaten our concepts of skill and creativity, displacing them onto the machine? Is the death of mastery an opportunity for more expansive creativity for even more people, or a reduction of musical process to fiddling with predetermined algorithms? And will the still-emerging technologies of 21st Century music production eventually create their own master-able norms, where students of the future will be taught Ableton and grid control techniques with the same specificity as Suzuki violin students of many prior generations?

Eyes Low. Talent Eyes Low Eyes Low is a producer whose work is meant for late nights in dingy dark clubs. Based in Raleigh, NC, Eyes Low's all-hardware live set blends club, house, and techno into cohesive tracks built to burn dance floors. Filled with skittering hi-hats, cracking snares, thumping kicks, infectious As a four-piece led by Jacob Duzsik, the band played its first show after practicing Rival Consoles.

Talent Rival Consoles London-based producer Ryan Lee West, better known under the name Rival Consoles, is notable for making synthesizers sound human and atmospheric. With the release of his Odyssey and Sonne EPs, West has gained a reputation for making thoughtful electronica that spans a wide spectrum Hanz released his first album, Reducer, in on Tri Angle Records as a free download.

Stacked with unpredictable yet groovy rhythms, screwy vocal samples, and eerie chords that Professor Toon. His production harnesses electro-pop and trap influences as well as modern hip-hop. His high energy Sam Aaron. Bob Moses. Talent Bob Moses Occupying the fertile ground between organic band land and an all-electronic production project, Bob Moses draw on the two poles to vividly resonate across both. But a trying background starkly different from the blissful suburban reality of his Talent Trandle Trandle is a producer out of Durham, North Carolina whose beats both reinterpret the history of hip-hop production, from trap to vintage boom bap to 90s ghetto fabulous chimes to chipmunk soul to jazz rap chords, and stammers over the boundaries of hip-hop into the wider electronic Alessandro Cortini.

Talent Alessandro Cortini Italian-born composer and performer Alessandro Cortini is a musical voyager. Daye Jack. Talent Daye Jack While old folks lament the younger generation's disappearing attention span, year-old Daye Jack is busy creating album-length experiences that overflow with vibrant soul and acute focus. Pronounced dah-yay, Daye Jack was born in Nigeria before moving to Atlanta at the age of six Geddes Gengras. Talent M. Geddes Gengras Born in and a year resident of Los Angeles, Gengras has defined his practice with the art of synthesis.

Hieroglyphic Being. She self-released first album, Grouper, on CD-R in In addition to Denzel Curry. His first mixtape was King Remembered Underground Tape —, which came out in He then released a second tape, King of the Mischievous A prominent artist in the L. Bicep Live. Coming up on breakbeats and having taken a stab at nearly all elements, from graffiti to beatboxing, he cut his teeth as a breakdancer and perfected his sense of rhythm and Kyle Hall DJ set.

Robert Hood. Tory Lanez. Talent Tory Lanez Tory Lanez is one of the hottest emerging artist in hip-hop. Darwin DJ set. Talent Darwin Canadian born Darwin cut her teeth in recent years as a resident at the infamous underground Berlin club Griessmuehle. Her sounds span the UK to slicked out, robotic, sci-fi inspired techno, which you can hear on her emerging label SPE:C. The Black Madonna. Talent The Black Madonna A sublime technician behind the decks, The Black Madonna is known for fluent and dynamic vinyl sets, which span from disco to techno.

Her energy, infectious joy, and ability to connect with the room in concert with her skill, has cemented her as crowd favorite at revered venues such Saturday , May Utopian Projections Limited Capacity full Adding this to your schedule will put you on the waitlist. Artists Basma Alsharif and Ben Russell lead this collaborative exploration of the no-space of projection, the only place where Utopia can be fully realized; a temporary site where time becomes space and subject matter can be engaged in an idealized form.

Participants actively engage in a collective discussion on the histories, herstories, limits, possibilities and challenges of Utopia, opening up into the material exploration of their own ideas for Utopia as a place. Subtopics include: bilocation, psychedelia, non-fiction filmmaking, auto-hypnosis, self-identification, trance and transformation. Ben Russell Ben Russell b. Talent Kimberly Drew Kimberly Drew a. Chuck Lightning Chuck Lightning has been integral to recent developments in musical Afrofuturism, behind the boards and, increasingly, in front of them.

Lightning and Wonder have produced music for Grammy Driving Graphics with Modular Synthesis Limited Capacity full Adding this to your schedule will put you on the waitlist. Explore how to create real-time synthesis engines to drive graphics in this workshop with Cullen Millen. Using eurorack and Pure Data, an open-source visual programing environment, participants learn a variety of modular synthesis techniques and ways to communicate with other visual programing environments.

By using control hierarchies, digital signal processing, FFT analysis, and computer networks, participants create richer and more responsive visuals with modular synthesis. All skill levels welcome. Bring a laptop to participate. His formative years, spent in Detroit's lofts and clubs, contributed greatly to the development of his aesthetic sensibilities.

Beckoned by the freak culture prominent in the San Francisco Bay Area, he Software as an Extension of the Creative Process Limited Capacity full Adding this to your schedule will put you on the waitlist. Since the s, artists and technologists have used software for the real-time manipulation of image processing. This workshop is a hands-on demo and studio visit, with Andrew Benson, known for his feedback experimental digital video and animations, is constantly pushing the boundaries of technologies for new ways in which to create work in this expanded media environment.

Andrew Benson is a visual artist and performer based in Los Angeles, working primarily with digital and electronic media. His performances, videos, animations, and internet works are rooted in a material-focused and playful approach to electronic media—pushing the digital form as No Effects is a a longform, conversational podcast, in which he sits down and talks with musicians about their lives and work.

Her singular voice is the centerpiece of Me, her first fully-formed vision of an album, following her previously shorter and more abstract releases as Empress Of. Masterclass: Daniel Lanois Producer, musical ground-breaker, and ambient pioneer Daniel Lanois and his band play and demonstrate in the round. In this intimate setting, the audience gets up close and sees the musicians in close quarters.

Along the way, Lanois takes questions, gives advice, and talks on what takes place both on stage and in the studio. The focus here is on music, thus placed at the center. Shimon can listen to, understand, collaborate with, and surprise his human counterparts. Weinberg discusses the Robotic Musicianship Group at Georgia Tech Center for Music Technology, which aims to facilitate meaningful musical interactions between humans and machines, leading to novel and creative musical experiences and outcomes.

Shimon will perform on the marimba. He has explored his interest in music particularly electronic through an internet radio show, club DJ gigs, and live concerts. Lance is Music in the Brain Limited Capacity full Adding this to your schedule will put you on the waitlist. How is your brain affected by music? How does your brain detect and represent music, distinguish music from other sounds, learn to perform and create music?

Join this fascinating discussion about the effects of music on brain structure and function. This workshop highlights the intersection between artistic and scientific perspectives on this fundamental and aesthetic form of human expression. He studied musicology and Musician, designer, artist, fan—join us to find out about creating in a virtual reality environment.

Armstrong and Ham quickly get you up to speed on the current state of VR and lead you in a hands-on exercise. Over the course of this workshop, participants prototype content using a simple physical kit and then experience their designs in 3D using an Oculus Rift.

The workshop concludes with ideas for adding music and motion to your own VR creation. Find out what the buzz is really about through this practical workshop and lively follow-up discussion. In addition to teaching, Armstrong works as principal of her company. Dub: History and Future Limited Capacity full Adding this to your schedule will put you on the waitlist. Learn how Dub and reggae originated; what reggae looks, sounds, and feels like in the UK; and what the future will bring to the genre.

Mad Professor will also touch on Recording techniques, Black music in England in general, and show an example of a dub mix. At the end, he opens the floor to attendees from questions. Come to this workshop and make your own table-top light sensitive synth and sequencer with littleBits electronic modules. One half player piano, one half drum machine, one half light Theremin — we construct a spinning sequencer that uses color and brightness to playback melodies and control synthesizers. Beyond mere building, we also cover enough kinematics, optics, and music theory to get the most out of the machine — harmony, noise, beats, Bartok.

Designed for all-ages replication, the sequencer uses only basic tools and commonly available materials, without requiring soldering or prior knowledge of electronics or audio. At the conclusion the workshop, a set of littleBits modules is raffled off. Sensory Percussion and The Future of Drumming Tlacael Esparza, Co-founder of the music tech start-up Sunhouse, leads a workshop and demonstration of Sensory Percussion: a new system for electronic percussive expression. Sensory Percussion is a platform for creating and performing music through acoustic control of digital sound.

This workshop includes a technology overview and demonstration of Sensory Percussions capabilities, and includes a demonstration and performance by renowned drummers Ian Chang and Greg Fox. A professional drummer with Moogfest celebrates young fans of electronic music, and invites both adults and children to experiment with new sounds. Talent Emma Coats Emma Coats is a huge story nerd. She's an artist. She's a filmmaker. She's self-taught ask her about homeschooling!

She got her start in story at Pixar, and has since worked with animation studios of all sizes and a number of game companies.