Our perception of space depends as much on what we hear as on what we see.--Max NeuhausNeuhaus died last Tuesday at 69. He was the creator of site-specific works of sound sculpture. On the "audio and video recordings" page of his web site, you can click on a link and watch a wonderful eight-minute video about his famous piece, Times Square, which is installed under a street grate where Broadway and 7th Avenue converge. Seems to passersby like a steeam hatch, but as you walk over it you hear a deeply resonant and wavery body-piercing drone.
Here's a little bit of Neuhaus on Ubuweb.
The Times obit, facing its apparent responsibility to say something about Neuhaus' childhood, quotes his sister thus: "He was a pot banger from an early age."
"I teach horizontally, meaning that while I might begin with a fixed idea of what I'm going to teach that day, I let it drift rhizomatically way off topic, often pulling it back when it gets too far. I rely on non-fixed materials to teach this way; the whole world is at my fingertips. Should I go off on a tangent about John and Rauschenberg and their love relationship as expressed in Rauschenberg's bed, an image of that bed is always a click away. From there, we can head anywhere into the non-fixed universe, be it film, text or sound. And of course, that always takes us elsewhere. As Cage says, 'We are getting nowhere fast.'" 
that anyone has yet got the imaginative measure of that terrifying day six years ago. Certainly our Tolstoy has not crawled out of the rubble. The closest we have, Don DeLillo, succeeded as an essayist-journalist ("In the Ruins of the Future: Reflections on Terror and Loss in the Shadow of September,” Harper’s, December 2001) but, to my mind, failed as a novelist ("Falling Man"). One reason, perhaps, is that the remembered emotion was instantly buried under a pile of cultural junk.' - Tod Gitlin in his review of Susan Faludi's The Terror Dream (written for 
