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I.

THE GIANT MESSAGE

of 187x 100watt floodlightswhrchwill sayalThis work consistsof a giant luminousmessage

period of darknessin between: BURN
a
short
quick,
flashing
sequence
with
ternately,in a
impliesthat youth today,due to the presentdeBABY and DROP OUT. This socialmessage
of thi westernworld, lias only two possiblechoices: eitherto reiectdre pasttotally in
cadence
The lights are
order to constructpositivelya new world, or to drop completelyout of society.
into the soul through the eyes(dedicatedto Lil Picard).
burning the message

2. SOCIETYESCAPESINTO THE BEDROOM

This work hasa floor base3 yardsby 1 yard and two horizontalwhite borders8 incheshigh'
into which are set ten 300-wattfloodlightson eachside.A black vinyl mattressoccupiesthe
spacebetwenthe bordersand the entire structureis mountedon heavysprings.The effectof
through it is threefold.The mattressand springsmake
this work on the spectatorwho passes
it difficult for him to keep his balancewhile walking through it. Visual stimulationis provided in the form of the programmedillumination of the lights,which appearto rnovecont;
Auditory stimulation is provided by the shrill sound of two
nuouslytoward the spectator.
activated
by two electric carpetsplacednear dre centerand near the
alarm bells which are
far end under the mattress.

3. THE LIVING ROOM

God is DeadI Thereforew areLost in a Dark Room,
This is a totally dark room,roughlycircular,with ten openings.Eight of theseopeningsare
falseexitsleadingnowhere- the other two are the entranceand the exit to the room.A loudrepetitionof : < God is Dead>
speakeris placedaboveeachopening.The sound- an endless
- is programmedto movearoundthe room counter'clockwise.
The effect of this is that the
momentthe spectatorentersthe room he loses,completelyand immediately,his senseof orientation.This type of sensorymanipulationis designedto causeanxietyand panic.

4. THE ACCUSERS
Accusser1"
In this work, two 500-wattfloodligh* alternate with two 300"watt floodlights in a slow pulsating rhythm. Not only is the spectatorobliged to passthis obiect at closerange in order to continue through the maze, but his walking is made difficult by the presenceof large pebbleson
the floor. The sound for this, aswell as the other two accusers,cot.tsistsof a sharp, high-pitched, repetitive clicking sound.
Accuser 2
This work consistsof a white panel supporting 12 floodlights placed as follows : four 500-watt
lamps in the center, two l5Gwatt lamps above the center, two 150-wattlamps below the center, two 300-watt lamps ou the left side, antl two 300-watt lamps on the right side. By walking on three overlapping electric mats placed about a yard from the panel, the spectatorwill
first activate the four 150-wattlamps, then the four 300-watt lamps, and finally the four 50&
watt lamps ; all the previous lamps remain lit as the new onesare added.The last carpetwill also
activate a siren (He is first greeteclby a strobe light). This is an endurancetest for the spectator and offers him a choice betwen severalintensities of lisht.

B U R NB A B Y
DROPOUT
(dedicatedto Lil Picard)

Accuser 3.
The floor of this corritlor is trough-shapecl(v+haped). on the wall at the far encl of the corridor, facing the spectator,are two 30Gwatt floocllights which rotate in a spiral, off-axis,movemer.rtin opposite directions ancl at different speeds.The spectatormust walk towarcl the two
moving lights in order to exit from the corridor. This particular situation offers two kincls of
overload: the shapeof the floor makcs it .lifficult to mrintain onels balancewhile walkils
through it, and the two lights, moving ir opposite clirectionsand at rlifferent spee.is,augmeni
the difficulty of concentratingon the task of walking (engineer: Per Biorn - EAT).

5 . T H E C O N F E S S I O N A LC O F F I N
Symbolic Death for Rebirth
As the spectatorenters the mausoleum, the flocrs and walls of which are coveredwith wreaths
of flowers, he seesan opcn coffin with a seriesof powerful ligl.rtsin movement. From the coffin, a voicerepeats,< Confess,confess,confess...>>The person may then, if he wishes, enter the
coffin ancl lie on a mattresswhich is placed on the bottom of tlie coffin with the foot sliglitlv
liigher than the head.The licl is then closedand the personfirst expcriences
i l/2 minuf,s oi
total clarknessaccompaniedby the sound of the voice. This is followed. as the voice continues.
by 1 1/2 minutes of 56 programmed floodlights of 100watts each,place.l as follow : in 4 rows
of 6 lights each 25" above the head of the spectator,frorn the heal to rbout the mid.lle of the
coffin ; 2 rows of 6 lights eachon cach side of the coffin placedat a height slightly abovethe
heacl of the spectatorancl parallel to the lights above the head of the spectator; ancl, at the
middle of the coffin in front of the spectator (ancl at the same height as the two side rows)
two rows of 4 lamps each. The lamps are programmeclto appearto move away from the spectator, thus giving him the impression he is falling backwarcl.This is followed by l/2 minute
of total darkness.The lid of the coffin is then opened,allowing the spectatoi to come out or
to start a secondcycle. The general effect of this work is to cause great anxiety to the person
experiencingit. He may also cliein the process.

6. THE HOAX
Tliis is a panel supporting 4 x 300-wattfloodlights which will flash for one seconclevery 12 seconds.The panel is placed in a long rectangular box with a peephole to allow the spectatorto
look irto the box ancl face the 4 lamps. A demoniacal laugh will serve ro artract the spectator
to the peephole.Wtih this absurclity,I mean to imply drat thc entire exhibition and evcrything,
ls an aDsurolty.

A R T = R E L I G I O N= C U L T U R E- H A - H A - H A
We must think again die totality of the humain problem,
keeping in mincl the greatestpotentiality of Man's
development (not his exploitation), ancl usirg new methods.
To do so, we must first destroy the < Culture >,

THE BEDROOM

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I h a v e k n o w nJ e a nT o c h e s i n c e O c t o b e r1 9 6 5w h e n
w e m e t a t t h e B o n i n oG a l l e r y .H i s d e e p c o n c e r n{ o r
h u m a nd e s t i n y ,h i s p a s s i o n a t ef e e l i n go { E x i s t e n t i a l
e n g a g e m e n t r, e p r e s e n t st h e b e s t t r a d i t i o n o f t h e
q u a s i - G a l l i ci n t e l l e c t u a l .
T h i s h u m a n i s t i ct r a i t - - w h i c h , t o o u r d i s h e a r l e n m e n t , i s h a l f f o r g o t t e ni n t h e f l o u r i s h i n gb u b b l e o f
t h e u p t o w na r t b u s i n e s s- p e r v a d e sT o c h e ' s w o r k
a n d t h i n k i n g ,a n d i s c o m b i n e d ,d i a l e c t i c a l l yo r i r o n i c a l l y ,w i t h t h e ' r e r y p r o d u c t o f t h e f l a s h y n u p t o w n ' t e c h n i q u e. . . l i g h t .
S p e a k i n ga s o n e o f { h g " p r a c t i c i n gl i g h t a r t i s t s" ,
r n a n y l i g h t a r t w o r k s c u r r e n t l yb e i n g s h o w n a r e
o f t e n t o o * s w c e l " a n d " d e c o r a t i v e" . T h i s b e i n g
t h e c a s e , T o c h e ' s c o n s c i e n t i o u sa n d a g g r e s s i v e
on a muggy
l i g h t a r t s t a n d so u t i i k e a t h u n d e r - s t o r m
s u m m e ra f t e r n o o nH
. i s w o r k i s b a s e do n t h e s c i e n t i f i c s t u d yo f b e h a v i o r i s ma n d p s y c h o l o g i c asl t r e s s ,
w h i c h b r i d g e s h i s p h i l o s o p h i c a cl o m m i t m e n ta n d
a v a n tg a r d e t e c h ni q u e .
H i s p r o j e c t* a s e r i e so f l i g h t r o o m sa n d c o r r i d o r s ,
o f v a r y i n g i n t e n s i t y ,c o n s t e l l a t i o nc, o n s t r u c t i o ni s a s o r t o f n e g a t i v eK a t s u r aR i k y u .K a t s u r aR i k y u ,
t h e m o s t f a m o u sg a r d e ni n J a p a n ,a n d d o u b i l e s s l y
o n e o f t h e e a r l i e s te x a m p l e so f m i x e d m e d i a t e m p o r a l e n v i r o n m e n ts, e r v e s t o c a l m a n d m o d e r a i e
t h e m i n d o f t h e m i d d l e - a g e dn o b l e a s h e s t r o l l s
t h r o u g hi t . T o c h e ' s l i g h t g a r d e na m p l i f i e so u r a g o n y , s t u p i f i e so u r s e n s i b i l i t i e sd,i s o r i e n t so u r d i r e c l a y , i t d i s c h a r g e so u r
t i o n ; b u t i n a p a r a d o x i c aw
n a t u r a l a g g r e s s i v ed r i v e s , o u r w a r i n s t i n c t , a n d
I e a d st o a n A r i s t o t e l i a nc a t h a r s i s .
ln the latter days of the twentieth century - after
H i r o s h i m aa n d K o n r a d L o r e n z- K a t s u r aR i k y u ' s
t r e e s , b r o o k s ,a n d r o c k s s h o u l d b e t r a n s l a t e di n t o
1 8 7 X 1 0 0 - w a t if l o o d l i g h t s ,a w h i t e - n o i s ec o f f i n ,
a n d a g i a n t l u m i n o u sm e s s a g e .
NAM JUNE PAIK

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Ill
I. LE MESSAGEGEANT
Il s'agit d'un messagelumineux gdant (187 lampes de 100 wath), qui fera apparaitre alternativement, dans un
rythme rapide, entrecoup6 de p6riodes d'obscurit6 : BURN BABY, et DROP OUT. Par ce messagesocial,
j'implique que la jeunessed'aujourd'hui n'a le choix qu'entre deux posibilitds, vu la cldcadenceactuelle du
monde occidental : ou bien le rejet total du passl, si I'on veut construire positivement un monde nouveau, ou
alorsle dltachement complet vis I vis de la soci6t6.Les lampes brilent le messagedans le subconscientd trauers
les yeux (d4.th4i Lil Picard).

2 . L A S O C I E T ES E R E F U G ED A N S L A C H A M B R EA C O U C H E R
Nous avons ici un parquet de 3 m de long sur 1 m de large, encadr6de deux borclsblancs, de 20 crn de haut,
clanslesquelssont encastrds10 lampes de 300 watts chacunesde chaque c6t6. Un matelas en vynil noir occupe
I'espaceentre les cleux borcls blancs et le tout se trouve mont6 sur ressorts.Le spectateurqui s'aventure sur
le matelas 6prouve les trois sensationssuivantes: le matelaset lesressortsrendent sacldmarcheclifficile lors de la
traversie; une stimulationvisuellesousla forme d'une programmationlumineusequi donne l'impressionque
les lumidress'avancentsansarrt vers lui; une stimulationauditive,sousla forme de deux sonnettesd'alarme
puissantes,actionn6espar deux tapis dlectriques,plac6ssousle matelas,vers le milieu et l'extrdmitd cle ce matelas.

3. LE LIVING ROOM
Dieu est mort; d'oi nous errofls, pcrdus, dans une chambre obscure.Notss avorrsici une chambre eompldtement noire, presquecirculaire, avec clix ouvertures.Huit de ces ouvertures sont de faussessorties ne mnant
nulle part. Un haut-parleur est placd au dessusde chaqueouverture.Le son,une rdp6tition incessantede < Dieu
est mort >>,est programmd de faEon ) se mouvoir autour de la pidce,clansle sensoppos6d'une montre. Dds que
le spectateurentre dans cette pidce, il perd imm6diatement, et de faqon compldte, tout sens de direction. Ce
type de manipulation sensoriellea pour effet de provoquer de I'anxidtd et dc la panique.

4, LES TROIS ACCUSATEURS

1
L'ACCUSATEUR
Deux lampes de 500 watts alternent dans une pulsation trds lente avec deux lampes cle 300 watts. Non seulement le spectateurdoit s'approchertrds prds de cet objet pour pouvoir continuer dans le labyrinthe, mais sa ddmarche est renclue difficile par des galets trds larges pos6ssur le sol. Le son pour cet accusateur,ainsi que pour
les deux autres,consisteen une haute frdquencetrds aigue, r6pdt6edans un rythme trls rapide.

L.ACCUSATEUR
2
Il s'agit ici d'un par.rneaublanc supportant 12 lampes plac6escle la faEonsuivante : 4 lampes de 500 watts, au
milieu; au clessus,
deux lampes de 150 watts; en dessous,deux lampes de 150 watts; sur le c6td gauche,
deux lampesde 300 wans;sur le c6td droit,6galementdeux lampesde 300 watts. En marchant sur trois tapis
superpos6s,et plac6s i environ 1 mdtre du panneau, le spectateur allumera successivementles 4 lampes de
150 watts, puis les 4 lampesde 300 watts, et enfin les 4 lampes de 500 watts, jusqu') ce que le tout soit
allum6. Le dernier tapis actionneraen m6me temps une sirlne de police. Ceci est un test d'endurance pour le
spectateur,(qui est cl'abordaccueilli par une lumidre stroboscopique)et lui offre un choix entre plusieurs intensitdsde lumidres.

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REFERENCES
O N A G G R E S S I O N: D r . K o n r a d L O R E N Z ( D o c t o r a t
t h e M A X - P L A N C KI n s t i t u t ef o r b e h a v i o r a l
p h y s i o l o g yi n Ba v a r i a ) .
T H E Y E A R 2 . 0 0 0 : D r . H e r m a nK A H N ( D i r e c i o ro f t h e
H u d s o n I n s i i t u t e )a n d A n t h o n yJ . W I E N E R
( C h a i r m a no f t h e H u d s o nI n s t i t u i e ) .
S E N S O R YD E P R I V A T I O NS: y m p o s i u m
h e l da t t h e
H a r v a r dM e d i c a lS c h o o l ,L i b r a r yo f C o n g r e s s ,
Card N" 61 - 6353.
P S Y C H O L O G I C A LS T R E S S : M o r t i m e rH . A P P L E Y ,
( D e a n o f Y o r k U n i v e r s i t yT
, oronto) and Richard
T R U M B U L L( D i r e c t o or f t h e P s y c h o l o g i c S
a lc i e n c e D e p a r t m e n tO
. f f i c e o f N a v a l R e s e a r c h ,W a s hi ng l on ) .
T H E S T R E S SO F L I F E : H a n sS e y l e ,M D ( D i r e c t oor f
t h e I n s t i t u t eo f E x p e r i m e n t aM
l e d e c i n ea n d S u r gery; l\4ontreal).

CREDIT
ARCHITECTand COORDINATOR: Jean Philippe
C O UN A R T ,
E N G I N E E R: -

CesarPUTZEYS,
G e e r dS E E G E R S ,
P e r B I O R N( E a t ) .

P H O T O G R A P H Y :J u l i eA B E L E S( c o v e r t, h e B e c J r o o m ,
' fh e A c c u s e r ) .
H e n r i K E S S E L S( T h e m e s s a g e i,h e c o f f i n ) ,
E L E C T R O N I CE O U I P M E N T:
Time-O-lVatic
a\^ ^ i+^| Q+^^^

ti^L+i^^

A BC O
BLOCS: TALLON
: J. VERMAUT,
PRINTER

W EW I S HT O A K N O W L E D GOEU RG R A T I T U DTEO T H E C I T YO F B R U S S E L S
F ,O R I T S C O O P E R A T I O N ,

J e a nT O C H E i s b o r n i n B r u g e si n 1 9 3 2 ,
and livesin New York since 1965.

HOSTILE
\^/ORKSHO