Janet Cardiff

A concise retrospective, this publication contains previously unpublished written and visual material, as well as pertinent literature on the oeuvre of Janet Cardiff and George Bures Miller. SPECIALIST

This book documents Janet Cardiff's 1999 audio project, The Missing voice (Case Study B), and includes the full audio CD as well as images from this exploration of London's inner city. Part urban guide, part fiction, part film noir, her audio walk entwines the listener in a narrative that shifts through time and space. Intimate, even conspirational, Cardiff has created a psychologically absorbing experience for an audience of one at a time. You find yourself transported back in time. What was that sound? Who is speaking to you? Where does reality end, and what's imagined begin? Also included is an extended essay analyzing the artist's career to date. Born in 1957, in Brussels, Canada, Cardiff works and lives in Alberta and has shown internationally in, among others, London, New York, Berlin, and Vienna. Her work has been included in significant group exhibitions, notably Skulptur Projekte Munster, 1997; Present Tense: Nine Artists in the Nineties, at San Francisco Museum of Modern Art; the 1999 Carnegie International; and the Museum as Muse at New York's Museum of Modern Art.

Essay by Carolyn Christov-Bakargiev. Foreword by Alanna Heiss, Glenn Lowry and Marcel Brisebois.

The Body in Sound, Music and Performance brings together cutting-edge contributions from women working on and researching contemporary sound practice. This highly interdisciplinary book features a host of international contributors and places emphasis on developments beyond the western world, including movements growing across Latin America. Within the book, the body is situated as both the site and centre for knowledge making and creative production. Chapters explore how insightful theoretical analysis, new methods, innovative practises, and sometimes within the socio-cultural conditions of racism, sexism and classicism, the body can rise above, reshape and deconstruct understood ideas about performance practices, composition, and listening/sensing. This book will be of interest to both practitioners and researchers in the fields of sonic arts, sound design, music, acoustics and performance.

This volume collects selected papers from the past two instances of Digital Art Weeks (Zurich, Switzerland) and Interactive Futures (Victoria, BC, Canada), two parallel festivals of digital media art. The work represented in Transdisciplinary Digital Art is a confirmation of the vitality and breadth of the digital arts. Collecting essays that broadly encompass the digital arts, Transdisciplinary Digital Art gives a clear overview of the on-going strength of scientific, philosophical, aesthetic and artistic research that makes digital art perhaps the defining medium of the 21st Century.

Ventriloquism, Performance, and Contemporary Art volume calls attention to the unexpected prevalence of ventriloqual motifs and strategies within contemporary art. Engaging with issues of voice, embodiment, power, and projection, the case studies assembled in this volume span a range of media from painting, sculpture, and photography to installation, performance, architecture, and video. Importantly, they both examine and enact ventriloqual practices, and do so as a means of interrogating and performatively bearing out contemporary conceptions of authorship, subjectivity, and performance. Put otherwise, the chapters in this book oscillate seamlessly between art history, theory, and criticism through both analytical and performative means. Across twelve essays on ventriloquism in contemporary art, the authors, who are curators, historians, and artists, shine light on this outdated practice, repositioning it as a conspicuous and meaningful trend within a range of artistic practices today. This book will be of interest to scholars working in art history, contemporary art, media studies, performance, museum/curatorial studies, and theater.

In this rich study of noise in American film-going culture, Meredith C. Ward shows how aurality can reveal important fissures in American motion picture history, enabling certain types of listening cultures to form across time. Connecting this history of noise in the cinema to a greater sonic culture, Static in the System shows how cinema sound was networked into a broader constellation of factors that affected social power, gender, sexuality, class, the built environment, and industry, and how these factors in turn came to fruition in cinema's soundscape. Focusing on theories of power as they manifest in noise, the history of noise in electro-acoustics with the coming of film sound, architectural acoustics as they were manipulated in cinema theaters, and the role of the urban environment in affecting mobile listening and the avoidance of noise, Ward analyzes the powerful relationship between aural cultural history and cinema's sound theory, proving that noise can become a powerful historiographic tool for the film historian.