[MUSIC PLAYING]
VERNELLE NOEL: We aren't making enough in Trinidad and Tobago.
We value the ability to consume more than we
value the ability to create.
We are consuming, and we need to make.
We need to make, make, and make some more.
We need to become makers first, and consumers second.
CHARLIE BENNETT: You are listening to WREK Atlanta,
and this is Lost in the Stacks, the Research Library
Rock'n'Roll Radio Show.
I'm Charlie Bennett in the studio
with Marlee Givens and Fred Rascoe, who is on the board.
Each week on Lost in the Stacks, we pick a theme,
and then use it to create a mix of music and library talk.
Whichever you are here for, we hope you dig it.
MARLEE GIVENS: Today's episode asked the question,
why is wire bending in the library?
The wire bending we're asking about is--
and I'm quoting the academic work of one of our guests--
"the dying undocumented craft of wire
bending in the Trinidad and Tobago Carnival."
FRED RASCOE: There is an exhibit of design scholarship and wire
bending history in the Georgia Tech Library right now called
Design and Making in the Trinidad Carnival:
Histories, Reimaginations, and Speculations of Computational
Design, a Futures.
CHARLIE BENNETT: That's a mouthful.
FRED RASCOE: It is.
To find out more, though, we spoke
to the curator of the exhibit, along with the library's
exhibitions program manager.
MARLEE GIVENS: So my first guess is
that wire bending is in the library because of making,
and design, preserving history, good old-fashioned educational
context.
Am I on the right track?
CHARLIE BENNETT: I think that's a pretty good first guess.
FRED RASCOE: Sounds good to me.
Our songs today are about wires, match, lines, and carnivals.
And since the Carnival in Trinidad and Tobago
is what started our guest down her scholarly and artistic
path, we'll likewise start today's music
set with the festive Carnival Time by Al Johnson,
right here on Lost in the Stacks.
[MUSIC PLAYING]
CHARLIE BENNETT: That's Carnival Time, by Al Johnson.
And I got to admit, I'm kind of in the mood
to just go find a Carnival now where
they're all drinking wine.
But, no, let's forge ahead.
This is Lost in the Stacks.
And today's show is called Why is Wire Bending in the Library?
Our guests are Dr. Vernelle Noel and Kirk Henderson.
Dr. Noel is a design scholar and director
of the Situated Computation and Design Lab
here at Georgia Tech.
Mr. Henderson is the exhibits program manager
at the Georgia Tech Library, where he manages and catalogs
collections, as well as developing and designing
exhibitions.
FRED RASCOE: We began our interview
by asking Dr. Noel about the Trinidad Carnival.
VERNELLE NOEL: The Trinidad Carnival--
or the Trinidad and Tobago Carnival--
it's previously written as Trinidad Carnival
because the Carnival started before we
were Trinidad and Tobago.
But it's Trinidad and Tobago Carnival.
Carnival started in around the 1780s, it came to Trinidad.
But in the 1830s, in 1834, in particular,
when slavery was abolished in Trinidad,
those formerly enslaved, redesigned--
used the carnival to celebrate their freedom,
to celebrate their aesthetic sensibilities,
to celebrate their creativity.
So while Carnival before that was very European,
it was primarily about fun and frolic.
Those formerly enslaved now used it
to highlight all these things and to showcase their humanity
in the face of these colonial and other systems that
attempted to erase their humanity.
CHARLIE BENNETT: When I was reading about it,
someone wrote that it said that residents
are either in Carnival, thinking about the next Carnival,
or talking about the last Carnival.
Is it that serious?
Is it that fundamental to the life?
VERNELLE NOEL: It is.
And even for those who don't participate, it is.
It happens every year.
It's guaranteed, outside of a pandemic.
We missed a year because of the pandemic.
But it is because as soon as Carnival ends,
preparation for the other one begins
because designers and makers have
to think about what they're going to bring forward
for the Carnival.
The government has to think about funding, about marketing.
So it really does start as soon as it finishes.
They may get a week off, but you're always
thinking about Carnival.
Those who engage in it every year feel in their bones
when Carnival is coming.
The entire country's spirit, the feel of things,
it's [INAUDIBLE] in preparation for it.
CHARLIE BENNETT: And it seems to echo Mardi Gras in that it
is a community that creates decorations
of costumes, vehicles, and just show off for a while.
Is that how it goes?
VERNELLE NOEL: Absolutely, absolutely.
So the three Carnivals, I would say, coming out
of that are the Trinidad Carnival, Mardi
Gras, and Brazil's Carnival.
I still have to carry out research
on those two other Carnivals.
But the Trinidad Carnival, what sets it apart from the others,
include one, music, so calypso and soca music, which
is unique to the Trinidad Carnival, which as you know,
has spread throughout the world.
So the Trinidad Carnival doesn't mean
it's only practiced in Trinidad and Tobago,
but it's practiced globally.
So it's the calypso or soca music, the steel pan,
or steel drum that was invented in Trinidad and Tobago
in the 1930s, and our masquerade,
which many Carnivals have.
In terms of Brazil, the Trinidad Carnival, we don't have floats,
which I think also happens in Mardi Gras,
where there are these vehicles carrying people and costuming.
But instead, people actually perform and wear
these large dancing sculptures.
CHARLIE BENNETT: So tell me how it
began to become a research concern for you,
how you started to apply an academic eye to Carnival.
VERNELLE NOEL: I always loved it.
I grew up-- my parents would carry me.
Then I got to a certain age, and I didn't want to go anymore.
Then when I got older again, I was like, wow,
this is pretty cool.
CHARLIE BENNETT: That sounds familiar.
[LAUGHS]
VERNELLE NOEL: Right, that was too many of us.
FRED RASCOE: You were a teenager jaded with Carnival.
[LAUGHTER]
VERNELLE NOEL: Exactly, exactly.
And at some point, I began enjoying it.
I never participated in terms of playing it.
I would always go look at it.
I was very much a fan of looking at the events.
And when I got to architecture school, it started in my--
for my thesis that year I did a parliament
where it was attempting to theorize calypso and soca
music through architecture.
But the Carnival kept calling me.
And so when I did my graduate studies, which was a research
degree, I knew that I wanted it to be
something involved in Carnival.
I was learning about computing, and technologies, and design.
And I wanted to apply or think through it within the context
of the Trinidad Carnival.
So that, I knew.
But what I was going to do, I did not know.
And so I went home.
I'm from Trinidad and Tobago, in case I forgot to mention that.
I went home to do fieldwork to figure out
what's the lay of the land, what's happening.
And within that is when I discovered this issue,
this problem of this potential dying practice of wire
bending embedded in the Trinidad Carnival.
And in my research-- conducting research, literature,
et cetera--
there's a lot of scholarship to Trinidad Carnival.
But some of the--
let's say-- highlighting of problems,
scholars haven't looked at it through the lens of design.
So there are people looking at it
through the lens of economics, through the lens of gender,
through the lens of society, culture.
But what I was seeing was, one, that there
are problems in design, and how my design lens might uncover
what those problems are, and attempt to provide solutions,
come up with questions, understand things better,
et cetera.
So that's how I academically got involved.
FRED RASCOE: You mentioned there's
no floats in the Trinidad Carnival,
but I guess costumes are a very important point, which is--
and I think that's what you're talking about when you're
talking about wire bending is the construction
of those costumes.
Can you talk a little bit about the costumes and Carnival?
VERNELLE NOEL: Sure, so historically--
and I use that word knowing that I'm really not saying anything
by using that word to some degree--
but pre-- let's say-- up to the '90s, costumes were very--
what is the word-- articulate, well-constructed.
And many of the literature from the 19--
I think-- '30s, I could be wrong--
but when describing costuming, it
talks about how intricate and detailed the construction
of these costumes were and are.
And there was a bikini and beads aesthetic that
was happening in the Carnival.
So for example, when you think of Brazil's Carnival, part
of it the costume is feathers, bikinis, beads, et cetera.
That's what I mean by bikini and beads aesthetic.
And so I wanted to understand why that aesthetic was
happening in our Carnival.
And so my guess was because of the dying
of our making practices, that one of them being wire bending.
So wire bending was used to make costumes, but also the large,
what I call, dancing sculptures, which
are one person performed them for competition, et cetera.
They could be 20, 30-feet tall.
But these are large sculptures that people dance and perform.
They're, in my mind, at the scale of architecture, which
is also why I'm interested.
But that is what wire bending is used for, for costuming--
or it was used for costuming-- but also
some of its principles and techniques
were used to make these large dancing sculptures.
CHARLIE BENNETT: Our guests today
are Dr. Vernelle Noel of Georgia Tech's School of Architecture,
and Kirk Henderson of the Georgia Tech Library.
MARLEE GIVENS: This is Lost in the Stacks.
We'll be back with more about wire bending after a music set.
FRED RASCOE: File the set under GT 4229.T7T76.
[MUSIC PLAYING]
(SINGING) Jumps on Carnival, Carnival, jumps on.
[BRASS BAND MUSIC PLAYING]
CHARLIE BENNETT: That was History of Carnival
by Attila the Hun.
And music supervisor, if you'll make sure your mic-- yeah,
what's this Raymond Quevedo thing?
FRED RASCOE: Oh, that's Attila the Hun.
It's not actually like Attila the Hun from history class.
CHARLIE BENNETT: I was worried.
FRED RASCOE: That's a name.
CHARLIE BENNETT: I was worried.
I didn't know how many people had been
killed for History of Carnival.
FRED RASCOE: Stage name of Raymond Quevedo.
CHARLIE BENNETT: OK, cool, before that, Carnival Drum Song
by Lancelot Layne.
Those were songs about Trinidad Carnival
by artists from Trinidad and Tobago.
[MUSIC PLAYING]
And you know what?
I should add, Carnival Monday is February 20th this year, 2023,
just in case you were wondering.
FRED RASCOE: Good timing for this show, then.
This is Lost in the Stacks.
And today's show asks the question,
why is wire bending in the library?
We're speaking with design scholar Dr. Vernelle Noel,
and exhibits program manager of the Georgia Tech
Library, Kirk Henderson.
CHARLIE BENNETT: So in the last segment,
we introduced the concept of wire bending.
And I have seen the exhibit, and it's extraordinary,
the fine detail up to these structures.
Can you talk about how you got from being interested in wire
bending in an academic or research way
to the actual construction of your own--
are they wire-bent structures?
What would be the proper noun for them?
VERNELLE NOEL: Good question.
So the first question, how I got interested
in the wire bending part?
CHARLIE BENNETT: Yeah, in particular, yeah.
VERNELLE NOEL: Sure, so after seeing news articles
expressing that this craft is dying, when I went to Trinidad,
I conducted interviews and did site visits
at what we call mass camps, which
are places where people design and make costuming
for the Carnival.
So it involved fieldwork with interviewing people,
examining artifacts, et cetera, to get
a sense of what was happening.
And in several of those site visits in my fieldwork,
I visited Stephen Derek, who was an expert wire bender, Albert
Bailey, who was an expert wire bender,
and interviewed them about the craft,
interviewed them about their techniques,
took photos of their techniques, their artifacts, drew the tools
and steps they were using.
And so a great part of that wire bending knowledge
on my first attempt to address that problem of wire bending
knowledge not being passed on was developing
a computational tool, a grammar, which
described the materials, the steps,
and the computational rules for that craft
so that it could be shared, it could
be passed on, it could be used for education,
for practice, et cetera.
And so by doing that, I also learned--
practiced the craft.
I'm no expert.
I call myself a philosophical wire bender.
But those are the techniques that I practiced, tested,
and used technological approaches-- so software,
digital fabrication, et cetera-- to think
of new ways of thinking about the craft
beyond the traditional practice, so how
we think using technology in ways that broaden how we define
the practice that would also include technological means
and processes.
CHARLIE BENNETT: Our exhibit in the library
is maybe a history, or a rendering, of years and years
and years of research and work.
This has been-- there's been a lot going on here.
Did you have the exhibit in your mind
when you came to the library?
Or did our other guest, Kirk, start working with you right
away to develop the exhibit?
Tell me about the purposes and the process with the exhibit.
VERNELLE NOEL: Sure, so I won a Graham Foundation
Grant, which supported work, and an exhibition
is what I wanted to do.
And so when I got to Georgia Tech, I had to have--
part of the grant was making sure
that I had a space to house the exhibition.
And I reached out to many in architecture,
eventually met Kirk for us to discuss the library
space as the place that the exhibition would take place.
And that's where I met Kirk for the first time.
CHARLIE BENNETT: Kirk, can you give us
your first impressions of the work when you
were drawn into this process?
KIRK HENDERSON: Well, the way we usually
start these kinds of projects is that the person
who will be the curator, or the project--
the person who drives the project
comes to us with a proposal.
We have them kind of make a pitch in a standardized format
to understand, what will this be about?
How will you do it?
What are the audiences that will be brought into the exhibit?
And how does this align with align
with Georgia Tech's intellectual goals and the library's goals
too?
And what we saw in Vernelle's proposal
is something that really made sense to us.
And our exhibits program is still in its early stages.
And Vernelle's exhibit is one of the second exhibits--
only the second exhibit, I think,
that we've actually had a guest curator be in charge of that.
And so what we saw in Vernelle's exhibit
was a way to amplify her research,
and to explore the cultural connections that
were a part of her research.
And when I say, "amplify her research,"
one of our objectives in the exhibits
that we do in the library is not only to showcase
unique, special collections, materials
that the library or the archives holds, but also
to feature our faculty, our students who are doing research
at Georgia Tech.
And Vernelle's exhibit was unique and interesting
in that it was an example of showcasing her research,
how she had taken a great deal of time and effort
to explore the topic of wire bending, the relationship
to the culture that it came out of, but also connected really
in a social history way to that culture.
And so it was an exhibit that had
all kinds of potentials to have different facades of what
it was looking at.
Part of it is academic, abstracting
the forms and the way that things
were made into digital media, which
is all about Georgia Tech.
But it also looked at the people who began this craft
and really were experimenters and designers who
were working outside of a formal education in design,
and architecture, and those kinds of things,
but doing things that were meaningful.
So the exhibit made all kinds of sense
in terms of what we thought we could bring into it.
And, again, our role in this kind of case
is to facilitate the production of the exhibit,
and to guide, and support, and lend resources
where resources are needed.
CHARLIE BENNETT: So to finish off the segment--
we're running out of time here--
can you remember one particular problem
or question that you had to answer in creating the exhibit?
KIRK HENDERSON: I think we were a pretty good team in terms
of--
because one of the other aspects that I'll
mention in terms of Vernelle's practice
is that we were doing an exhibit about making and craft.
And part of doing an exhibit is also
thinking-- doing problem solving-- about making things,
and crafting things, and whether you're going to have it done.
CHARLIE BENNETT: Oh, no, it's [INAUDIBLE]..
KIRK HENDERSON: Or you have to make it yourself.
And so one of the goals that Vernelle had was,
you have these unique sculptural elements
that are basically wire forms, three-dimensional linear,
formal form structures, and that one way to broaden
the experience of those kinds of things
is the way you can light them because those linear forms
create shadows that create a broader dimensionality to what
the artifact is doing.
And so that was one thing that we worked hard
on to try and figure out ways to do that,
and to do it within the budget that we had,
and the constraints that we had in terms of the space
that we were building this in.
CHARLIE BENNETT: Yeah, I noticed that there's
a note that repeats throughout the exhibit, watch
how this interacts with the light, which
I found pretty compelling.
Was there anything else that you felt
like you had to tell the exhibit viewer
to give them an explanation, something that they might not
have thought about when it came to the exhibit?
VERNELLE NOEL: For me, setting up
the timeline of the exhibit--
or the timeline of the entire thing from both ends--
was important, and the opening the outside of the exhibition,
some ability to see about the Carnival,
or the things that I'm talking about in the Carnival,
then going in, understanding the timeline.
I think what's important for me here
is in all of our discussions-- in my research
and in the exhibition-- in all our discussions
about technology, let's not forget
the histories and the cultures from which these things come
from.
Because sometimes, we truncate history,
and we start from today when all the hard work
of these histories, these contentions,
all these social things that make things
survive or not are hidden.
And I always want to make sure that we never forget
the faces, the people, the names that these things come from.
CHARLIE BENNETT: Our guests today
are Dr. Vernelle Noel of Georgia Tech's School of Architecture
and Kirk Henderson of the Georgia Tech Library.
MARLEE GIVENS: You're listening to Lost in the Stacks,
and we'll talk more about wires and lines
on the left side of the hour.
[MUSIC PLAYING]
(SINGING) 1, 2, 1, 2, 3.
JOELLE DIETRICK: Hi, I'm Joelle Dietrick,
and I'm an artist that makes work about moving around.
You are listening to Lost in the Stacks on WREK Atlanta.
(SINGING) When you were a child, you were touched by the muse.
And she said, you're on fire from your head to your shoes.
CHARLIE BENNETT: Today's show is called, "Why is
Wire Bending in the Library?"
Dr. Vernelle Noel, a professor in Georgia Tech's School
of Architecture, curated the library exhibit, Design
and Making in the Trinidad Carnival:
Histories, Reimaginations, and Speculations of Computational
Design Futures.
This is from the program for that exhibit, written
by Dr. Noel.
"Line as corporeal movement.
Most cultures carry their histories, memories,
creativity, and emotions in their bodies.
The Western move to separate mind from body,
thinking from doing, has influenced
the erasure of bodily expression, emotion,
and contributed to the dehumanization of individuals
and communities.
I challenge this separation and erasure,
as wire benders think with and through their bodies,
while making creative expressions in wire."
File this set under RK 527.N35.
[MUSIC PLAYING]
FRED RASCOE: That was Walking Wires by High Vis,
kind of resonated with you a little bit, Charlie, right?
CHARLIE BENNETT: A lot with me.
FRED RASCOE: And before that, another of Charlie's favorites,
Down to the Wire by Neil Young--
I guess, technically, Buffalo Springfield.
But, anyway--
[LAUGHTER]
--those were songs about the vitality--
CHARLIE BENNETT: Stephen Stills is so mad at you right now.
FRED RASCOE: --of wires.
[MUSIC PLAYING]
MARLEE GIVENS: This is Lost in the Stacks.
And today's show asks the question,
why is wire bending in the library?
We're speaking with a design scholar, Dr. Vernelle "Nowell"
["EWW" SOUND] Dr. Vernelle Noel.
I knew I was going to do that.
CHARLIE BENNETT: This is what happens when we write it out.
MARLEE GIVENS: I know.
CHARLIE BENNETT: The script will get you.
MARLEE GIVENS: I know.
And exhibits program manager, Kirk Henderson.
CHARLIE BENNETT: Vernelle and Kirk
are discussing the Georgia Tech Library exhibit, Design
and Making in the Trinidad Carnival:
Histories, Reimaginations, and Speculations
of Computational Design Futures.
When you look at the exhibit, do you see a story?
Do you see a class, a here's an instruction session?
Do you see an experience?
How do you frame it for yourself what
you're doing with the exhibit?
KIRK HENDERSON: One of the things,
I think, that when we do an exhibit is, sometimes
there's a particular story that we want to tell,
that there's a narrative there.
And I think we invoke that to a certain extent
in the timeline and the framework
that there's a culture and a practice out
of which all of this has grown.
And so that's one side of it that's very much connecting
to a narrative.
And on a different perspective, one
of the things that I think the exhibit accomplishes
and that it asks the viewer is less about a story
and more about a seeing, how things are seen,
and the idea of the fundamental element
that is the line being this--
it's the start of everything.
You draw lines on a piece of paper,
and you draw them in a certain way.
And eventually, you say, this is how
you build something that is shelter or a place to meet.
And so I think it's interesting the way
Vernelle and the exhibit asks people to look at the line,
to think anew, or think more deeply about what do lines do?
They're everywhere in our culture.
I mean, the typography that we read and what we write
is a set of a certain kind of lines.
And so you could make all kinds of arguments
about the fundamental nature of the line.
And I think one thing, one opportunity,
an exhibit context offers is to create
a space in which to just meditate
on what you may see every day, but you don't necessarily think
deeply about every day.
CHARLIE BENNETT: And I saw that you gave the attendees--
the exhibit goers--
a way to tell you what they think.
You have a prompt in there.
I don't want to ruin a surprise, so I'll just
say there's a way that people can tell you
what they think in response to these questions about lines.
Where did that come from?
And what do you want to do with those responses?
VERNELLE NOEL: Sure, with that, so I'm
obsessed with lines, as might be clear from the exhibition,
I'm not sure.
[LAUGHTER]
So I love lines.
But as Kirk touched on, it's a way, I think,
for us to think together, and interdisciplinarily
to think conceptually and otherwise,
to think corporately.
And so what I'm going to do with them,
one, I want people to actually think about these questions
because sometimes you don't think
about something unless you're asked,
but also to get an understanding of how people might think
about lines, move through lines, what
they might say about lines.
It interests me, just interests me.
Lines are just the coolest thing ever.
CHARLIE BENNETT: Well, now I have to ask you,
Kirk, has your conceptual idea of a line been challenged?
Is there anything that you're taking from this?
KIRK HENDERSON: Well, one of the ways
that I think about this idea of the line--
and I think I was hinting at it when
I was talking there before about, oh, there's
this structural element that's the baseline baseline.
It's a starter point for a lot of stuff.
And being something of a musician
myself, I liken it to like in music, the idea of pitch
and sound is this fundamental--
the idea of pitch and sound is this fundamental element
of that's where you start from.
And from that base, you build all this stuff.
In sound, you create pitch.
You create harmony.
You create rhythm.
Other things emerge from that fundamental element of,
it's a sound, it's a pitch.
And I think in the visual and physical world, I liken--
lines are in the same category of,
well, that's the starter kit.
You draw more of them, you get something else.
You join them together in particular ways.
You say that these lines represent something
that's three-dimensional.
Then you continually increase the complexity and interest
of what's going on.
And then you're actually able to fashion
things that you need, like shelter,
or a way to fly airplanes, and things like that.
[CHUCKLES]
So I mean, that's kind of--
I guess, maybe it's my own perspective of,
oh, I see what's going on here.
The line is like this to the physical and visual world
where as to the audio aural world, pitch and sound,
and taking those down, and then creating a set of notation,
just build other structures, you get music.
So they're both in a category--
I hate to say the word "building blocks,"
because they're not blocks because you
need to draw several lines.
[LAUGHTER]
CHARLIE BENNETT: Nice.
Unfortunately, we're running out of time.
So I want to finish with a very particular detail
of the exhibit, if you can talk a little bit about the note
cards that are displayed in the exhibit.
They're very compelling black ink drawings,
and text, and doodles, and that kind of thing.
And there's a lot of them.
And it seems like it's just a tiny glimpse into some kind
of history of work.
So what's going on with the note cards?
VERNELLE NOEL: Yeah, so I have several of them,
hundreds of them.
What's exhibited are but just a few.
And they speak to my--
when did I start them?
I'm a drawer.
So I've been drawing for years.
It's my creative outlet.
Outside of writing and thinking, I need expression.
And I started doing the notecards,
I feel like it could have been 2014.
I started doing notecards because they were just
small enough that every day I could
engage in a creative practice.
And depending on what was happening
that day or that month, I could also express my thoughts
on the notecards.
And they would be in the form of lines, as you would have seen,
some structured, some unstructured,
some discussing certain topics, my love of writing numbers.
So it's really all they were were a short snippet
of an ability for me to express my creativity,
my creative juices that keeps me going while reading,
writing, and making.
And it was a way for me to share with the world also.
So I would take photos of them, and post on Instagram.
But I have hundreds of them.
And that's what the note cards are about.
So what I chose to exhibit were around certain matters
I think that need to be brought to the fore,
but also so that viewers can get a sense of how
these cards, these lines, connect
to my daily need for creative expression.
CHARLIE BENNETT: Our guests today
are Dr. Vernelle Noel and Kirk Henderson.
Dr. Noel is a design scholar and director
of the Situated Computation and Design Lab
here at Georgia Tech.
Mr. Henderson is the exhibit's program manager
at the Georgia Tech Library, where he manages and catalogs
collections, as well as developing and designing
exhibitions.
MARLEE GIVENS: This is Lost in the Stacks.
And it is time for some music.
CHARLIE BENNETT: Yes, it is.
FRED RASCOE: So file this set under N72.F45K57.
[MUSIC PLAYING]
MARLEE GIVENS: You've been listening to the song Wichita
Lineman by Glen Campbell.
Before that, you heard Bold Lines by Shagreen.
And we started our set with Draggin' the Line by Tommy
James and the Shondells.
CHARLIE BENNETT: I like how you put a little spin on that one.
MARLEE GIVENS: Oh, yeah, songs about being
obsessed with lines.
[MUSIC PLAYING]
FRED RASCOE: Today's show--
boy, it's 1:00 already.
Today's show is called "Why is Wire Bending in the Library?"
And it sounds like Marlee had it right
at the beginning of the show, making and design,
preserving history, and good old-fashioned educational
context.
MARLEE GIVENS: I do sometimes get things right.
[LAUGHTER]
The exhibit is called Design and Making
in the Trinidad Carnival: Histories, Reimaginings, and
Speculations of Computational Design Futures.
And you can find it in the exhibit gallery
on the first floor of the Price Gilbert Memorial Library
through February, 2023.
You can find out more online at Dr. Noel's website vaanoel.com.
That's V for Vernelle, double-A, Noel-dot-com.
CHARLIE BENNETT: And with that, let's roll the credits.
[MUSIC PLAYING]
MARLEE GIVENS: Lost in the Stacks
is a collaboration between WREK Atlanta and the Georgia Tech
Library, written and produced by Charlie Bennett, Fred Rascoe,
and Marlee Givens.
CHARLIE BENNETT: Legal counsel and some very fancy bikini
and bead costumes were provided by the Burrus Intellectual
Property Law Group in Atlanta, Georgia.
FRED RASCOE: Special Thanks to Vernelle and Kirk
for being on the show, to all the wire
benders past, present, and future.
And thanks, as always, to each and every one of you
for listening.
CHARLIE BENNETT: You can find us online at LostintheStacks.org.
And you can subscribe to our podcast anywhere.
It's all over the place.
Podcasts are everywhere.
We know that.
MARLEE GIVENS: On the next Lost in the Stacks,
a triumphant return to the studio by our attorney,
who will--
we think-- will advise us to drive at top speed.
FRED RASCOE: Maybe he'll bring some of those bikini and bead
things.
It's time for our last song today.
And we're going to close with another calypso legend
from Trinidad.
It's an artist that's also frequently passed
on the culture and knowledge of his homeland through his music,
like in our final track of the day.
This is No Place Like the West Indies by Lord Invader,
right here on Lost in the Stacks.
Have a great weekend, everybody.
[MUSIC PLAYING]