The Morning Line is the most recent realization of the concept of the experimental sound pavilion designed for spatial compositions. Its predecessors include the Philips Pavilion at the Brussels World’s Fair of 1958 and the Pepsi Pavilion for EXPO 1970 in Osaka, but The Morning Line is the only existing example. It has previously been shown at the 3rd Bienal Internacional de Arte Contemporáneo de Sevilla (Biacs) in 2008–9, in Istanbul in the framework of the 2010 European Capital of Culture program, and at Vienna’s Schwarzenbergplatz in 2011 and 2012.
TBA21 has commissioned more than 30 compositions to date specially conceived for the pavilion’s unique sound system. From mid-September, these works by composers from around the world is programmed on a regular basis. The compositions were originally selected by guest curators Florian Hecker, Bryce Dessner, and Russell Haswell for Seville 2008–09; Melih Fereli, Kamran İnce, and Cihat Aşkın (ITU–MIAM, Centre for Advanced Studies in Music, Istanbul) for Istanbul 2010; and Franz Pomassl/Laton and Boris Ondreička for Vienna 2011 and 2012, respectively. These include collaborative works by Bryce Dessner with David Sheppard and Evan Ziporyn, Mark Fell with Roc Jiménez de Cisneros, Jónsi & Alex with Ghostigital, and Zavoloka & Kotra as well as solo compositions by Asfast, Auxpan, Benzo / Richardas Norvila, Alexei Borisov, Batuhan Bozkurt, Cevdet Erek, Christian Fennesz, Bruce Gilbert, Tommi Grönlund & Petteri Nisunen, Carl Michael von Hausswolff, Florian Hecker, Erdem Helvacıoğlu, Kollektiv/Rauschen, Carsten Nicolai, Zsolt Olejnik, Mehmet Can Özer, Finnbogi Petursson, Lee Ranaldo, Terre Thaemlitz, J. G. Thirlwell, Yasunao Tone, Chris Watson, Thom Willems, Jana Winderen, Zavoloka, and Peter Zinovieff.
In 2008 Matthew Ritchie also conceived an interactive sonic environment for The Morning Line accompanied by a combinatorial video projection: animated sequences of postapocalyptic vistas of the City of London, triggered by the passage of visitors and brought into unique combinations, are projected in a semi-enclosed (crystalline) part of the structure equipped with a digital Xenon projector beaming onto a multipanel Dupic screen. Changes to the flow of visitors can thus be registered and, in turn, have an impact on the video and the sound.