100 modified cars on a LA parking garage for a musical note, involving the cars’ stereo systems, horns, engines, and other noise-producing accessories

“A (for 100 Cars)” was, by turns, a placid deliberation, a thunderous roar, an ambitious lark. A public sound art installation made possible through corporate largess — the performance was part of the first Los Angeles edition of the Red Bull Music Academy festival — it turned negative space in the center of downtown Los Angeles into a sublime womb. All around, tall buildings loomed, while on the performance stage, 100 cars worked

On the roof of a parking lot across the street from Frank Gehry’s Walt Disney Hall, many with their doors open and angled up to the sky. You could listen to the sometimes sharp, sometimes guttural tones that were pealing from their speakers, each a variation on the standard tuning of the note A.

Mr. Ikeda’s composition wasn’t limited to the stereo systems; it also took advantage of the cars’ headlights, horns and roaring engines.

Though in the case of one car, the revving proved to be too much, and a Cadillac DeVille began billowing out smoke from under its hood: Clamps securing a hose to the radiator had blown off.



https://www.nytimes.com/2017/10/17/arts/music/ryoji-ikeda-a-for-100-cars-los-angeles.html
https://www.hemmings.com/blog/2017/10/21/four-links-100-car-symphony-tsc4gt-riled-minitruckers-barris-fire/
https://www.nytimes.com/2017/05/24/arts/music/red-bull-music-academy-festival.html