Sounds Like an Art Opening

Elff orchestrated the piece, titled "Re.Sound," via a Macintosh G4 tower placed behind mysterious black curtains. Using Max, a graphical programming environment for music and media applications, he allowed the G4 to autonomously translate the ambient noise generated by movement and sound into musical responses.

The result: a witty, spontaneous interpretation of the self-conscious social dynamics of a New York City art opening. Gallery openings are often conceived of as intimidating, see-and-be-seen events.

Elff's ever-changing sound sculpture, to be featured through Jan. 31, addresses our collective indifference toward music. It also provides a forum in which artists and critics can express their views on conceptual media art -- particularly those that center on sound and music.

Elff feels music has grown so increasingly ubiquitous, from jingles on TV to Muzak in elevators, that we've grown immune to its effects. In fact, at the opening, Elff often disappeared behind the black curtains to jack up the volume.

"I don't want anyone to start ignoring the sound sculpture," said Elff. "If people think they're here for a social event, they're missing the point."

The energy in the high-ceilinged gallery was palpable as microphones picked up noise that, when compressed, triggered corresponding sound files stored on the computer's hard drive.

Low sub-tones throbbed from large concert-quality speakers as people mingled. The deep sounds swelled loudly as more attendees arrived -- making each entrance theatrical and causing the floor to vibrate slightly.

The digitized sound of piano keys and conversation tinkled from small, wall-mounted speakers, as in a well-timed soundtrack.

And two real cymbals, the only physical instruments utilized in the production, sounded without ever being struck.

Signals from software engines flowed to a simple software oscillator, generating a tone below the range of human hearing. The tone was slowly fed to tiny speakers mounted against each cymbal -- hung on ceiling lights -- causing the cymbals to shake as if possessed.

A colorful projection of a digital spectrograph -- a standard imaging tool that measures frequency analysis -- was cast onto the gallery's floor. A last-minute decision by Elff, the image served as a reminder to attendees that the musical responses were live.

Elff seemed slightly disappointed that one of his speakers blew right before the event started.

"Equipment failure is a risk with multimedia art," he said with a sigh. "That's reality."