{"id":1914,"date":"2023-12-03T18:21:49","date_gmt":"2023-12-03T23:21:49","guid":{"rendered":"https:\/\/resources.culturalheritage.org\/emg-review\/?page_id=1914"},"modified":"2026-02-22T18:03:31","modified_gmt":"2026-02-22T23:03:31","slug":"perfect-sound-forever-addressing-intermittent-functionality-in-the-permanent-installations-of-max-neuhaus","status":"publish","type":"page","link":"https:\/\/resources.culturalheritage.org\/emg-review\/volume-6-2019-2020\/perfect-sound-forever-addressing-intermittent-functionality-in-the-permanent-installations-of-max-neuhaus\/","title":{"rendered":"Perfect Sound Forever: Addressing Intermittent Functionality in the Permanent Installations of Max Neuhaus"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\">Meaghan Perry and Sarah Thompson<br><em>Electronic Media Review, Volume Six: 2019-20<\/em>20<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">ABSTRACT<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Pioneering sound artist Max Neuhaus (1939\u20132009) was known for his innovative \u201csound installations,\u201d nonvisual artworks that use aural perception to alter the qualities of a specific space. Prior to his death, Neuhaus was exploring new technologies, such as automatic gain control and website-controlled calibration systems, that he believed would allow his software-based audio works to self-regulate indefinitely.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Despite the artist\u2019s efforts, several of these works became only intermittently operable within a few years of their installation. Building upon the work discussed by Brad Epley and Sarah Thompson at the AIC Annual Meeting in 2018, this presentation follows the continued process to conserve the Menil Collection\u2019s <em>Sound Figure <\/em>(2007), and explores the cultivation of collaboration across disciplines and between institutions charged with the care of related works. Menil Conservation enlisted the expertise of programmers, engineers, and other consultants to address technical aspects of <em>Sound Figure<\/em>\u2019s treatment, including code resituation and disk imaging. Concurrently, interinstitutional collaboration enriched the understanding of <em>Sound Figure<\/em>\u2019s significance within Neuhaus\u2019 larger body of work and informed further treatment decisions. Treatment outcomes, documentation strategies, and improvements to the Menil\u2019s digital preservation policies will be discussed, as will forthcoming plans to further scholarship of Neuhaus\u2019 software-based audio installations.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Meaghan Perry<br>Assistant Objects Conservator<br>The Menil Collection<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Sarah Thompson<br>Conservation Coordinator<br>The Menil Collection<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Meaghan Perry and Sarah ThompsonElectronic Media Review, Volume Six: 2019-2020 ABSTRACT Pioneering sound artist Max Neuhaus (1939\u20132009) was known for his innovative \u201csound installations,\u201d nonvisual artworks that use aural perception to alter the qualities of a specific space. Prior to his death, Neuhaus was exploring new technologies, such as automatic gain control and website-controlled calibration &hellip; <a href=\"https:\/\/resources.culturalheritage.org\/emg-review\/volume-6-2019-2020\/perfect-sound-forever-addressing-intermittent-functionality-in-the-permanent-installations-of-max-neuhaus\/\" class=\"more-link\">Continue reading<span class=\"screen-reader-text\"> &#8220;Perfect Sound Forever: Addressing Intermittent Functionality in the Permanent Installations of Max Neuhaus&#8221;<\/span><\/a><\/p>\n","protected":false},"author":341,"featured_media":0,"parent":1730,"menu_order":14,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-1914","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/resources.culturalheritage.org\/emg-review\/wp-json\/wp\/v2\/pages\/1914","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/resources.culturalheritage.org\/emg-review\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/resources.culturalheritage.org\/emg-review\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/resources.culturalheritage.org\/emg-review\/wp-json\/wp\/v2\/users\/341"}],"replies":[{"embeddable":true,"href":"https:\/\/resources.culturalheritage.org\/emg-review\/wp-json\/wp\/v2\/comments?post=1914"}],"version-history":[{"count":0,"href":"https:\/\/resources.culturalheritage.org\/emg-review\/wp-json\/wp\/v2\/pages\/1914\/revisions"}],"up":[{"embeddable":true,"href":"https:\/\/resources.culturalheritage.org\/emg-review\/wp-json\/wp\/v2\/pages\/1730"}],"wp:attachment":[{"href":"https:\/\/resources.culturalheritage.org\/emg-review\/wp-json\/wp\/v2\/media?parent=1914"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}