Australian artists Guy Ben-Ary, Nathan Thompson and Matt Gingold have joined forces with neuroscientist Stuart Hodgetts. Combined, they made something amazing — a site-specific installation named Revivification. A tribute to the late composer Alvin Lucier, this ambitious and long-term project takes the form of walks between Yale and nearby cities. He died at 90 in late 2021. Lucier spent half a century creating radical solutions to the conventions of electronic and electro-acoustic music. Interestingly enough, his influence still continues to resonate throughout the artistic community. The installation is now on view at the Art Gallery of Western Australia (AGWA) through August 3, 2025.
Revivification has indelibly recharged Lucier’s artistic energy. It applies an innovative new technology to cultivate a miniaturized version of his brain, an organoid, using his own white blood cells. As the organoid cells continue to grow, they show emerging growth patterns indicative of a developing brain’s cellular architecture. This amazing artifact uniquely combines art with science. The result is a profound testament to Lucier’s enduring legacy. It is a distillation of his ideology that music is inseparably linked to the art of listening.
A Lasting Legacy in Music
Alvin Lucier’s career spanned more than 50 years, marking him as a seminal figure in the landscape of experimental music. His revolutionary piece, Music for Solo Performer, premiered in 1965, using brainwaves to control sound on percussive instruments. That was the kind of innovation that happened with this approach—pushing back against what was established as the norm for composition. It further spotlighted the brain’s extraordinary importance in musical production.
In an interview with ABC Radio National’s The Music Show in 2016, Lucier expressed his philosophy: “My career was all about listening.” This idea rings out loud and clear in Revivification. The project provides new audiences the opportunity to come into conversation with Lucier’s enduring, artistic intent.
“It’s so like him that at the end of his life, he’s just organising a way to keep on composing.” – Unattributed source
The exhibition and installation is a deeply haunting historic aesthetic memorial that reminds us all about the power of art that can cross the chasm of mortality. By using Lucier’s own biological materials, the artists aim to craft an experience that echoes his innovative spirit through audience interaction.
The Technical Marvel of Revivification
At the center of the installation sits a small brain organoid, a lab-grown structure derived from Lucier’s own cells. This organoid isn’t just a scientific oddity, but rather, its development is the result of a dynamic interaction with the environment around it. The installation consists of 20 massive brass plates that pound rhythmically along the periphery of a shadowy, cavernous room. Each plate is equipped with a mallet connected to a motor. This bioengineered motor is powered by the electrical activity produced by the organoid.
Visitors to Revivification can peer into the organoid through a magnifying-glass porthole, experiencing a unique connection to Lucier’s musical creativity. This close and personal involvement brackets participants with impressive look at the intersection of art and science.
“It’s got a life of its own.” – Matthew Gingold
The careful, inventive approach to design maintains the original integrity of Lucier’s work while inviting fresh perspectives and manipulation. By integrating neuroscience with sound art, the artists create an immersive experience that challenges perceptions of both music and mortality.
Collaboration and Communication
The creativity that brought Revivification to life is rooted in a deep admiration for Lucier’s legacy. The artists kept in touch with him through the last years of his life, speaking over Zoom every other week. This continued conversation both shaped their creative process and rooted the project in a way that paid homage to his vision.
Amanda Lucier, Alvin’s daughter, expressed her passionate enthusiasm for the project. She’s sure her dad would have fully supported this effort too. Through their conversations, we learned the origins of Lucier’s positive influence on music and creativity. This realization further enriched the link between the installation and its muse.
“I had this really personal and emotional attachment to Dish 8,” – Matthew Gingold
The emotional weight of Revivification extends beyond its technological achievements. It represents a heartfelt tribute to a composer who dedicated his life to exploring sound and listening. They are intent on honoring and upholding Lucier’s legacy with this project. Their work is indicative of a larger cultural desire to build a sustainable innovation economy in the arts.
