Max Neuhaus

1966
Drive In Music, 1967

A sound Installation for people in Automobiles, Max Neuhaus 1966
 (first Drive In sound installation) 

'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.'mn

hans-ulrich-obrist-interview-with-max-neuhaus-2005







Image: Max Neuhaus Drawing 

Drive-In Music (1967). Drawing by Max Neuhaus.

Drive in, Plan of Broadcast Area Showing the Configuration of Antennaes (Colored Lines) Trasmitting the Work's Seven Sound Component.

Sound reference Installation,  Public Highway, Buffalo, NY,1967

© The Estate of Max Neuhaus


With Drive-In Music, Neuhaus had created a sound work that could intersect seamlessly with everyday activities. Drive-In Music could be experienced continuously while performing an everyday task; it had no conspicuous beginning or ending (the work “ended” when the batteries used to power the transmitters died); it was indeterminate, interactive, and, most importantly, it could be happened-upon by chance instead of being consciously consumed as a work of art.

In the late 1960s, Neuhaus coined the term “sound installation” in order to describe works like Drive-In Music, in which sounds were placed “in space rather than in time.  In the following interview 1982 with Gregory des Jardins, Max Neuhaus, Sound Works, Volume II.

UNIVERSITY OF CALIFORNIA, SAN DIEGO
Sound Art and Spatial Practices: Situating Sound Installation Art Since 1958
A Dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Music
by Gascia Ouzounian

Copyright Gascia Ouzounian, 2008