1967
DRIVE IN MISIC(S), SUNYAB 1967 - ARTPARK 1975
A sound Installation for people in Automobiles, Max Neuhaus 1966
(first Drive In sound installation)
1967
Poster Drive In Music, Max Neuhaus
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Artist in residence, Lewiston State Arts Park, Lewiston, NY
DRIVE IN MUSIC(S) 1967
A series of sound installations for people in automibiles, heard through car radios. In each of these works the listener determines the piece for himself and himself only. By choosing his routes and/or speeds he assembles these sounds, which have been placed in space, into time.
Max Neuhaus
MNE-TEXT DRIVE IN MUSIC(S). By Max Neuhaus 1967
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The location I chose was a broad, tree-lined avenue called Lincoln Parkway. The work began at the main entrance of the Albright-Knox Art Gallery and ran south for a half a mile. The trees along the roadway provided a good location for mounting the transmitters and antennas. I began gradually.
The first work that could be called an installation was actually entitled Drive-In Music. I had the opportunity – I was invited to a centre for contemporary music in a city outside New York City in Buffalo, New York, and because I was well-known as a performer I was given a certain amount of latitude, although they really couldn’t understand what I was talking about when I proposed making a sound work for people in automobiles that they would hear over their car radio as they drove along a certain street. The idea of car - in many American cities, nobody walks; everybody drives, so it was a way of dealing in fact, with the public at large. I realized it with seven low-power radio transmitters, each one transmitted a different sound. I created a topography of sound by configuring their antennae into different shapes. So I literally shaped sound in space; I made a topography out of sound which people drove through. Each listener exposed its elements for himself through his car radio as he drove through it. You could drive through it in two directions, you could drive through it fast, you could drive through it slowly, you could stop… putting sound in place and putting time in the listeners’ hands.'
Max Neuhaus
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It grew out of Drive-in Music. There I was thinking of placing sound in spatial configurations and letting people put it in their own time, building a work where there were different sounds broadcast in different areas, and letting people pass through it. But at the start of it I thought of it as music – that in fact the car going along the road in either direction 'played' the piece, the driver played the piece, a succession of sounds for each car according to its direction of passage and speed. The reason that it's not a place work is that there is only one path, so it becomes a passage for me. There it is a fixed succession.
Excerpt from Interview, Excerpt from a conversation with Greg des Jardins, Summer 1994
Drive-in Music [1967/68; 1975]
Image in:
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...There I was thinking of placing sound in spatial configurations and letting people put it in their own time, building a work where there were different sounds broadcast in different areas, and letting people pass through it. But at the start of it I thought of it as music – that in fact the car going along the road in either direction 'played' the piece, the driver played the piece, a succession of sounds for each car according to its direction of passage and speed. The reason that it's not a place work is that there is only one path, so it becomes a passage for me. There it is a fixed succession.
Max Neuhaus
From: max-neuhaus-and-gregory-des-jardins-excerpts-from-a-conversation-between-ischia-summer-1995
Book Published on the occasion of an exhibition on view at the UB Art Gallery, Center for the Arts, Buffalo, N.Y., Sept. 25-Dec. 18, 2010:
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