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innovative instruments reviewed in philadelphia weeklyJuly 12th, 1995

Musical Objects/Sculptural Sound: Strange music fills Nexus this month. It flows irregularly from the cone of frozen pebbles dripping into Mineko Grimmer's North American Woods-Ash. It rattles from the forest of more than 20 whimsically floral sculptures Dan Senn has scattered on the floor. It rings from the pots and pans deftly played by Wm. Houck in his Wearever Blues AV Black Box. Most of the sculpture in the Innovative Instruments exhibit can be played by gallery visitors, though some pieces are presented with recordings which give an idea of how they might sound. It's amusing to compare Robert Roesch's severely angular Moonharp to Cynthia Norton's loopy Bread Badmitton Blues Rackets. In a video recording her performance on one of her sculpture/instruments, Norton (in the persona of Ninne Naive) is refreshingly unpretentious--as is the best work in this small show. Thru July 28 at Nexus, 137 N. Second St. --Gerald Brown
– Philadelphia Weekly

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innovative instruments exhibit announcementJune 30th, 1995

innovative instruments postcard
– Nexus Gallery, Philadelphia

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silence organJune 30th, 1995

silence organ consoleNexus Gallery in Philadelphia commissioned the Silence Organ for Innovative Instruments, a show of artists’ instruments presented in conjunction with the Philadelphia Museum of Art and Citycircus, a celebration of John Cage.

To exploit rooms full of interesting instruments making interesting noises, I wired the gallery with 13 microphones, each set in a resonating tube tuned to a note of the diatonic scale. The viewer would put on headphones and play a tune on an antique keyboard, in which each note was made of filtered sound from elsewhere in the gallery.

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noise guideJune 30th, 1995

Here’s the original guide from the Silence Organ’s console, showing which note corresponded to which microphone.

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