2012
In her article
“Object/Poems: Alison Knowles’s Feminist Archite(x)ture” (2012), Nicole Woods examines the intermedial and feminist dimensions of Alison Knowles's work. Within this context, Max Neuhaus is identified as a key collaborator in one of Knowles’s most significant architectural and technological projects.
Key Connection: The House of Dust
The primary intersection between Woods's analysis and Max Neuhaus involves the iconic computerized poem, (1967), and its subsequent physical manifestation:
- Aural Collaboration: For the physical structure of —a massive, computer-generated architectural environment—Knowles invited Max Neuhaus to contribute to the experience of the work.
- Acoustic Architecture: Neuhaus’s contribution involved the use of sound to define and alter the perception of the physical space. Woods highlights how this collaboration merged Knowles's interest in computer-generated chance with Neuhaus’s expertise in psychoacoustics and fluid dynamics.
- Intermedial Synthesis: The article frames Neuhaus as part of a network of experimentalists (including Dick Higgins and the Something Else Press circle) who were dissolving the boundaries between poetry, sculpture, and sound.