At the University of Illinois at Urbana -Champaign (University of Illinois at Urbana-Champaign) Amacher wrote a thesis on acoustics and computer science.
Maryann Amacher was born in Kane, Pennsylvania (Kane, Pennsylvania), February 25, 1938 - th. She was the only child of an American nurse and an employee of the Swiss railway brigade, serving freight trains. As a child Amacher learned to play the piano. She left Kane to go to University of Pennsylvania (University of Pennsylvania), where earned a Bachelor of Fine Arts in 1964. As a student Marianne studied composition with George Rochberga (George Rochberg) and Karlheinz Stockhausen (Karlheinz Stockhausen). At the University of Illinois at Urbana -Champaign (University of Illinois at Urbana-Champaign) Amacher wrote a thesis on acoustics and computer science.While at the University of Buffalo (University of Buffalo) in 1967, Amacher came up with the project `City Links: Buffalo`, which, no doubt, can be considered an early example of telematics that preceded the more famous works by Max Neuhaus (Max Neuhaus). `City Links: Buffalo` was only a part of the project ` City Links`,but in each case it used Amacher audible range 0-15,000 Hz connection in one place different points of the sound environment.
Amacher used a set of speakers to create a ` shumov` structure, which is nothing other than a modification of the ` board zvuka`. With the help of sound from diffuse sources Marianne has created the illusion of psychoacoustic audio forms, working with ultrahigh frequencies. Her early works are best represented in three series of multimedia installations, developed in the United States, Europe and Japan. We are talking about `CITY LINKS` (since 1967) , the audio series ,implying telecommuting ; ` Arhitekturno` sounding ` MUSIC FOR SOUND JOINED ROOMS` (from 1980) and a new multimedia project `MINI-SOUND SERIES`, again in serial form and a unique ` arhitekturnym` structure.
Marianne worked with saline (not psychoacoustic) phenomenon called ` otoacoustic emissiya` ,at which the ears themselves act as a sound generating device. Amacher describes this phenomenon : ` When the music is played at the right level of sound, and a fairly high waves, the tones of the music lead to the fact that the ears are beginning to act as a tool neyrofonicheskogo emitting sounds as it would seemissued directly from your golovy`.
Amacher continues: `. .. (my audience) discovers that reproduces the tonal dimension muzykikotoroe interacts melodically, rhythmically and space with the sounds in the room. ` Tanets` colors directly in the area of their bodies around him, as if the sound shell ,Cascade (sound) inside the ears and the cosmos in their eyes. .. For no reason to panic ! Your ears do not behave strange and not damaged. .. These virtual colors - natural and very real aspect of auditory perception, like the merger of the two images to a third three-dimensional image in binocular perception. .. I want to release this music ,which is created by the listener. .. `.
In 1988 Amacher has received a grant from the Foundation for Contemporary Art (Foundation for Contemporary Arts), and in 2005 received the prize `Prix Ars Electronica` in the field of electronic and interactive art for his project ` TEO! A sonic sculpture`.
At the time of his death, she worked on request EMPAC Center in Troy, New YorkNY (Troy, New York).
Once in the early 1960s, Marianne worked as a typist, she never devoted full-time employment, and until his death lived in a two-room rundown little house in Kingston, NY (Kingston, NY). The last ten years of his life preparing Amacher future Masters of Fine Arts in Bard-College (Bard College)