ABSTRACT

Stephan von Huene is recognized for his acoustical sculptures that combine movement and sound with the flip of a switch. This paper will focus on his Tap Dancer (1967) composed of cropped legs in pants and shoes on a wooden base that perform a 30-second tap dance at regular intervals. The movement and sound are controlled by integrated circuit boards wired to valves, a vacuum and recycled musical components. The condition of the wiring and circuitry is critical to allow the performance, which is intended to be random by way of an erasable programmable read-only memory (EPROM) and timing circuit. Von Huene's sculptures have conservation issues when exhibited and plugged in for action. Challenges arose during the exhibition of Tap Dancer at the J. Paul Getty Museum in Los Angeles leading to conservation interventions including the adaptation of EPROM data to a solid-state controller. After exhibition at the Getty, the temporary solutions were replaced with a full restoration of the original circuit boards repairing wiring or damaged chips as needed. The history of Tap Dancer has shown that with the desire to exhibit von Huene's works as intended, the endurance of their structures is inevitably at risk.

摘要

斯蒂芬·冯·休恩（Stephan von Huene）因其声学雕塑而闻名，该雕塑将运动和声音与拨动开关相结合。本文的重点是他的《踢踏舞者》（《Tap Dancer》，1967），它是在木质底座上的裤子和鞋子上剪裁成的双腿，每隔固定的时间进行30秒的踢踏舞。运动和声音由连接到阀门，真空和可回收音乐部件的集成电路板控制。布线和电路的条件对于确保性能至关重要，通过可擦除的可编程只读存储器（EPROM）和定时电路可以达到预期的性能。冯·惠恩（Von Huene）的雕塑在展出并投入使用时存在保存方面的问题。踢踏舞表演期间的挑战在洛杉矶的J.保罗·盖蒂博物馆（J. Paul Getty Museum）进行保护干预，包括将EPROM数据改编成固态控制器。在Getty展览之后，临时解决方案被完全修复的原始电路板所取代，可根据需要修复布线或损坏的芯片。《踢踏舞者》的历史表明，渴望按预期展示冯·休恩的作品，其结构的耐用性不可避免地会受到威胁。