<oai_dc:dc xmlns:oai_dc="http://www.openarchives.org/OAI/2.0/oai_dc/" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.openarchives.org/OAI/2.0/oai_dc/ http://www.openarchives.org/OAI/2.0/oai_dc.xsd"><dc:identifier>doi:10.7916/17rs-yv83</dc:identifier><dc:title>Oral history interview with Harold Hodges, 2014</dc:title><dc:creator>Hodges, Harold</dc:creator><dc:format>oral histories</dc:format><dc:type>mixed material</dc:type><dc:subject>Technology in art</dc:subject><dc:subject>Technology in art--Exhibitions</dc:subject><dc:subject>Performance art--United States</dc:subject><dc:subject>Hodges, Harold</dc:subject><dc:subject>Rauschenberg, Robert, 1925-2008</dc:subject><dc:subject>Bell Telephone Laboratories</dc:subject><dc:subject>Bell Labs</dc:subject><dc:description>In this interview, he describes working with Klüver to assemble Rauschenberg's Oracle, which contained five concealed radios that operated when the piece was activated. He discusses consulting for Rauschenberg's piece for 9 Evenings, Open Score. In addition to his assistance with Rauschenberg's technically complex projects, Hodges discusses his work on several of the performances included in 9 Evenings: Theatre and Engineering, including Deborah Hay's Solo and Öyvind Fahlström's Kisses Sweeter Than Wine. He discusses the technical issues confronted by the Bell Labs engineering team in their work on pieces or 9 Evenings, as well as more general recollections about the unique culture of Bell Laboratories that allowed for wide ranging collaborations between artists and engineers</dc:description></oai_dc:dc>