1983
Around 1980, Max Neuhaus used a digital sound generation system with remote control via a cathode ray tube (CRT) monitor, a battery-powered portable TV, and an optical pen as part of his approach to creating “site works.” This tool allowed him to draw sounds and manipulate their diffusion in space, extending and refining the computer-controlled sound palette he had previously developed.
Features and use of the system
Technological innovation for art: The use of a light pen to “draw” sounds on a monitor was a futuristic technology for the time, allowing Neuhaus to visualize and manipulate sound in an intuitive and creative way.
Mobile design: The use of a portable battery-powered monitor gave Neuhaus the flexibility to test and modify his sound compositions directly in the field, in real locations such as squares or open spaces.
System evolution: Neuhaus started with a monitor connected to a long cable, but later expanded and improved the system. Beginning in 1986, he began using a network of independent computers for sound generation, each controlled by a central computer that distributed the programs. This allowed the system to be expanded at will, with each module autonomously managing its own part of the sound.
Field testing: Neuhaus used this system to test and refine the sound of large-scale projects, such as his work for the police siren in 1984. He traveled with the monitor and synthesizer to conduct field tests, adjusting sounds based on movement and perception.
Significance in Neuhaus's work
This system was fundamental to Neuhaus's working method, which focused on creating precise and immersive sound architectures. The technology allowed him to transform sound into a sculptural, malleable, and measurable material that could be precisely shaped to redefine the perception of places. The use of the optical pen and monitor is an emblematic example of how Neuhaus combined artistic creativity and technical rigor to explore new possibilities in the field of sound art.