1978
In 1978, Max Neuhaus developed a computer-controlled sound palette as a tool for designing and creating his permanent “site works.” This system was used to design sound installations such as Times Square (1977) and his installation at the Museum of Contemporary Art in Chicago (1979). The computerized sound palette allowed Neuhaus to manipulate and refine the physical structure of sound to precisely suit specific environments.
Objectives and functionality
Shaping the acoustic environment: Neuhaus used the system to model the physical structure of a real acoustic environment, allowing him to modify, develop, and layer sound in ways that were not possible with traditional instruments.
Creating sound architecture: In an installation such as the one in Times Square, the sound palette was used to deduce and design a complex sound topography that could coexist with the ambient noise of the city.
Sound experimentation: The tool allowed Neuhaus to explore the relationship between sound and perception, subtly and interactively altering visitors' perception of the place.
Developing “site works”: Neuhaus defined his practice as the creation of “site works,” where the site itself is the work of art and sound is the catalyst. The computer-controlled sound palette was fundamental to this approach, as it allowed him to work precisely with sound as a material.
Context and meaning:
The development of this system demonstrates Neuhaus' interest in cutting-edge technology in the service of his artistic research. The artist did not limit himself to creating electronic works, but used technology as a tool to overcome the limitations of music and create new art forms based on the auditory experience of space. This approach anticipated many of the practices of contemporary sound art that use sound to redefine the boundaries between music, sculpture, and public art.