6 (a) Book (chapter)

Cooke, Lynne. “Locational Listening.” In Max Neuhaus: Times Square, Time Piece Beacon, 29-44. New Haven: Yale University Press, 2009.

Profiling a shift from “musician” to “artist,” this text outlines Max Neuhaus’ interest in sound as “material,” and the way in which this connects his practice with social, physical and architectural forces to generate experiences of “place” and “moment” in public spaces. These two terms are important to Neuhaus and can be used to dissect the majority of his permanent installations. Times Square is a static work that does not develop over time, providing a connection to “place.” Neuhaus regards participants who experience the work as constituting variation through their own interaction and engagement. The work itself remains technically fixed, like a painting or sculpture. Inspired by public bells, “moment” works such as Time Piece Beacon replace the momentary attack of a chime with a slowly rising tone, eventually reaching a peak then disappearing entirely on a consistent, cyclical basis.

6 (b) Journal Article

Mouffe, Chantal. “Artistic Activism and Agonistic Spaces.” ART&RESEARCH: A Journal of Ideas, Contexts and Methods, Volume 1, No. 2 (Summer 2007).

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