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!!!Sound {br}{br} ---- \|t {cap}'''NAUMAN - RECORDED SOUND'''{/cap}{br}{br}{small}{cap}The first time Nauman gave directions for particular sounds to be incorporated as an element in a sculptural work was in a concept for a piece that was never executed but is preserved in a drawing of 1966. On it he noted :{br} « Cry to me, cry to me, yellow neon at bottom pile of felt pads with letters cut out — neon light at bottom ; if pad is say 5’ or 6’ square, can’t see light at bottom except what light shining up from the holes — (could be lead rather than felt) ; need 7’’ of felt, 5/16’’ per layer, say 22 layers : if 6 sq. cost $8 for 9x12, or $4 per layer, cost $88 for sufficient layer ».{br} Instead of presenting a piece of information, he employed an imperative that could be a fragment of a rock’n’ roll lyric, as he had in ''Love Me Tender, Move Te Lender'', the pun on the title of the Elvis Presley song.{br}{br}In 1968 Nauman realized a piece with hidden sound and described it in a drawing with this notation :{br} ''Concrete Tape Recorder Piece'' — « Tape recorder with a tape loop of a scream wrapped in a plastic bag and cast into the center of a block of concrete : weight about 650 pounds or 240 kg ».{br}{br} The theatrical gesture of the muffled scream offsets the minimal form of this piece. The idea shows similarities with Nauman’s time-capsule pieces, such as ''Storage Capsule for the Right Rear Quarter of My Body'', 1966. A reversal of expectations occurs as the volume of air enclosing the recorded scream is solidified in concrete, giving the piece a sculptural presence. By sealing off the sound, Nauman forces the spectator to imagine the concept and therefore to thing about the piece rather than simply be attracted by its formal qualities. This proposal and another from the same year — for an unrealized stack piece that would conceal memorabilia from his own life, such as photographs and pocket things, between heavy steel plates — bring to mind Marcel Duchamp’s ''With Hidden Noise'', 1916.{/cap}{/small}{br}{small} — (Coosje van Bruggen, Sounddance, In Bruce Nauman, Edited by Robert C. Morgan, Baltimore Mar. / London : The John Hopkins University Press, 2002, pp. 53-55){/small}---- {br}{br}{br}{br}---- [../files/articles/nauman/1968_getout.jpg]{br}{small}Bruce Nauman, Get Out of My Mind Get Out if This Room, 1968{/small}{br}---- {small}''Deux haut-parleurs dissimulés dans les murs d’une salle vide s’adressent au visiteur qui entend quelques bruits de pas, puis deux exclamations répétées inlassablement (« Get out of my mind, Get out of this room »), sur un ton alternativement enjoué et menaçant. Le message intime donc au spectateur l’ordre de sortir de la pièce; prenant ainsi le contre-pied de l’exigence classique de l’œuvre d’art qui requiert d’être contemplée, l’œuvre invite le spectateur à la fuir. Ici encore, la voix est d’autant plus comminatoire qu’elle est invisible et qu’elle joue sur différents registres de tonalités, tantôt douce, tantôt inquiétante.''{/small}{br}{br}----{br}{br}{br}{br}---- ---- ---- {small}{cap}'''Musical Chairs''' (1983){/cap}{/small}{br}---- {small}{cap}« I’ve also used the children’s game « musical chairs » a number of times. The simplest version was Musical Chair (Studio Piece) in 1983, which a chair hanging at the outside edge of a circumference of suspended steel Xs. So, when the Xs swing or the chair swings, they bang into each other and actually make noise — make music. But of course it was more than that because musical chairs is also a cruel game. Somebody is always left out. The first one to be excluded always feels terrible. That kid doesn’t get to play anymore, has nothing to do, has to stand in the corner or whatever. » — (Bruce Nauman){/cap}{/small}{br}{br}---- {br}{br}{br}{br}[../files/articles/nauman/1983_musicalchairs1.jpg] {br}{small}Bruce Nauman, Musical Chairs, 1983.{/small}{br}{br}[../files/articles/nauman/1983_musicalchairs2_430.jpg\|../files/articles/nauman/1983_musicalchairs2.jpg] {br}{small}Bruce Nauman, Musical Chairs, 1983, at Herbert Foundation, 2013.{/small}{br}{br}[../files/articles/nauman/1983_musicalchair_430.jpg\|../files/articles/nauman/1983_musicalchair.jpg] {br}{small}Bruce Nauman, Musical Chair, 1983, Courtesy Sperone Westwater Gallery, New York.{/small}{br}{br}----\|t \|t \|t \|t \|t \|t \|t \|t [../files/articles/nauman/1968_concrete.jpg]{br}{small}Bruce Nauman, Concrete Tape Recorder Piece, 1968{/small}{br}{br}{br}{br}---- {small}{cap}Nauman has always been interested in the potential of sound to act as an art piece - one early work is just the sound of his voice in a room empty other than a speaker that conveys it.{br}— ''Get Out of My Mind Get Out if This Room'' (1968) presents those words and nothing else, the tone changing in a properly tragic reflection on the borders between subject - the auditor is both called on to leave and called upon as listener to attend to the internal workings of the mind as expressed audiospatially in the room. ^[…^] Several of the early films and all the videos ^[by Nauman^] feature sound as part of their making, a function of the recording process - it is « just there ». Nauman asserts that both film and video were methods of displacing the need for live performance and a way of presenting such « as it happened ». ^[Nauman’s^] interviews are liberally seasoned with references to his attachment to Philip Glass, La Monte Young, Steve Reich and Terry Riley ^[for instance in ''Please Pay Attention Please'' - Bruce Nauman's Words, Writings and Interviews, edited by Janet Kraynak, MIT Press, 2003 - ^[[pdf download\|http://www.lavgg.com.ar/img/texts/pdf/please_pay_attention_please_bruce_naumans_words_writings_and_interviews.pdf]^] ^], whose repetitive exploration of infinitesimal change seems to have suggested a methodology for his videos as well as his other installation work. Nauman also looked towards composers such as Bela Bartok and the pioneering free improviser Lennie Tristano. These repeated claims of musical influence surface directly in the violin piece of 1968, but also indicate the importance of sound as a temporally structuring device - minimalist music was the first music, other than some experiments by Erik Satie and John Cage, to take its structuring of time as mission ^[…^]. Nauman would maintain the sound portion of his video recording as a vital marker of rhythm, and this sound would also spatialize the monitor installation.{/cap}{/small}{br} — {small}(Paul Hegarty, Rumour and Radiation : Sound in Video Art, chapter two - Bruce Nauman and the Audiospatial, Bloomsbury Academic, 2015, pp. 34-35){/small}----{br}{br}{br}{br}---- ---- ---- {small}{cap}'''Days''' (2009){/cap}{/small}{br}---- {small}{cap}Bruce Nauman’s ''Days'' (2009) was created for, and debuted at, the 2009 Venice Biennale, where the artist represented the United States with the solo exhibition Bruce Nauman: Topological Gardens. ''Days'' is a “sound sculpture” consisting of a continuous stream of seven voices reciting the days of the week in random order. Fourteen suspended speakers are installed in two rows with one voice emanating from each pair of speakers as the visitor passes between them. There are men’s voices and women’s voices, old and young. Some speak swiftly, others with pause, each with his or her own cadence. The collection of distinctive voices produces a chorus—at times cacophonous, at others, resonant—and creates a sonic cocoon that envelops the visitor. The work invokes both the banality and the profundity of the passing of each day, and invites reflection on how we measure, differentiate, and commemorate time.{/cap}{/small}---- —{small} ^[[Source\|http://moma.org/calendar/exhibitions/1057]^] — ^[[Video document (2009)\|https://www.youtube.com/watch?v=jhmWaA0kYdk]^]{/small}---- {br}{br}{br}{br}[../files/articles/nauman/2009_days1.jpg] {br}{small}Bruce Nauman, Days (installation view - Photo Stephen White - ICA London, 2012), 2009. One audio source consisting of seven stereo audio files, fourteen speakers, two amplifiers, and additional equipment. Dimensions variable. Audio (fourteen channels). Continuous play{/small}{br}{br}[../files/articles/nauman/2009_days2.jpg] {br}{small}Bruce Nauman, Days and Giorni Two sound pieces (above, “Giorni”) at the Philadelphia Museum of Art, 2009. Photo Jason Wierzbicki.{br}Each consists of recordings of seven people reciting the days of the week and the equipment necessary to make them heard, either in English (“Days”) or Italian (“Giorni”). Both create corridors of sound and deliver epiphanies about time, space and humanity.{/small}{br}{br}[../files/articles/nauman/2009_days3.jpg] {br}{small}Bruce Nauman, Days, studio set-up{/small}{br}{br}---- \| {br}{br}{br}{br}
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