John Kannenberg is an artist, researcher, teacher, performer, storyteller, and writer.
He is also Director & Chief Curator of The Museum of Portable Sound.

Collections: UMMA

Collections: UMMA

Collections: UMMA is a site-specific video score I constructed from images and video I took of the architecture of the University of Michigan Museum of Art, and was performed multiple times inside the museum on 20 November 2010.

Justin Crowell (prepared guitar)
Mike Hallenbeck (real-time audio processing)
John Kannenberg (bells)
Collin McRae Leix (violin)
Stephen Rush (piano, flutes, toys)
James Warchol (processed guitar)

Rachel Esslinger & Emilia Javanica

James Rotz

Stream or download a recording of the entire performance:

Watch one complete take, in the museum's apse:

The original video score, with text instructions for the performers listed below:

Instructions/suggestions to the performers:

1. Follow the images and their duration. Make your sound match the representational space as best you can. Your sound should complement the physical space rather than overwhelm it.

2. Be mindful of overlaps, intersections and directions.

3. When you see a bench, rest.

4. If you can read any signs or indicator lights, do your best to obey them.

5. The soundmaking objects and/or instrumentation are at the discretion of the performers.

Rules for Staging the Performance:

The performance should take place in the apse space on the ground floor of the original UMMA building. If possible, it should also be performed in the Vertical Gallery of the Frankel Wing addition.

In the two-channel video, the images on the left are sourced from the museum's original building, while the images on the right are sourced from the Frankel Wing. There should be an equal number of performers assigned to the two halves of the video, each performer following only either the old building or the new building.

Two additional performers should circle the upstairs apse of the old building (as well as the railing spaces in the Vertical Gallery) during the performance, striking the rungs of the railings in such a manner as to complement as best they can the rest of the sounds being generated by the other performers. These performers should begin at opposite ends of the railings and make one revolution around the space in the time it takes for the entire video to be played.


A documentary on the making of the score by Emilia Javanica:

Nydia in Dust

Nydia in Dust

A Canticle for Leibowitz

A Canticle for Leibowitz