1966
Although the San Francisco Tape Music Center (SFTMC) and the artist Max Neuhaus were influential figures in experimental music in 1966, there is no record of a collaboration or performance between them in January of that year. The SFTMC was, however, featured at the Trips Festival in San Francisco that month, a significant multimedia event.
Max Neuhaus in 1966
In 1966, Neuhaus was based in New York and was actively transitioning from a career as a percussionist to that of a conceptual sound artist. His work that year was focused on pioneering site-specific electronic sound installations, which did not involve a collaboration with the SFTMC. His 1966 projects include:
- : An event in which the sounds of a concert were processed to produce a new object.
- >em class="eujQNb" jscontroller="yHWXO" jsuid="zkP0F_16" data-complete="true">American Can: An installation at the 4th Annual New York Avant-Garde Festival where visitors bounced and slid aluminum cans.
- Public Supply I: A live, two-hour radio performance on WBAI-FM in New York, where listeners could call in and contribute sounds.
- Concert Listen: A guided listening walk through specific urban sound environments, marking an early exploration into his site-specific works.
Max Neuhaus and the SFTMC
- A shared creative spirit: Both Neuhaus and the SFTMC were influential in the development of electronic and experimental music. Their creative circles overlapped, with both drawing heavily from the indeterminate tradition established by John Cage.
- Different geographical focus: The lack of collaboration in January 1966 was likely due to the artists' differing geographical focus during this period. The SFTMC was a collective of San Francisco-based artists, while Neuhaus was immersed in the New York avant-garde scene