Podcast appearances and mentions of Janet Cardiff

Hablamos de la experiencia Lux in Tenerbris vivida en el Monasterio de Uclés en Cuenca. Presentamos la amplia muestra de los canadienses Janet Cardiff y George Bures Miller en Coímbra y adelantamos la próxima edición del Laboratorio de Electrónica Visual (LEV) de Gijón.Escuchar audio

In the third episode of Season 3, Barbara London speaks with Janet Cardiff and George Bures Miller, two sound and installation artists who began collaborating in 1995. Their work explores the idea of narration and the plasticity of noise, sound, music and poetry. Based in rural British Columbia, Janet and George often travel internationally to develop and install their work, which has been shown in major museums around the world.

This week I am pleased to share a wide-ranging conversion with New York-based painter and musician, Adam Henry who, in a first here at PSO,  contributed both the image and the soundtrack for PSO no. 233, Apparation in Formation.Porch Swing Orchestra is an art project exploring the relationship between sound and images. Most images are taken on the site where the sound was created and/or recorded. Our orchestra comprises of birds, guitars, artists, poets, and passing cars that spontaneously create ephemeral symphonic chance-inspired compositions. The original site and hub for all things PSO can be found at porchswingorchestra.org.Adam Henry holds a BFA in Art and Art History from the University of New Mexico and an MFA from The Yale School of Art. His recent exhibitions include solo shows at Candice Madey in New York City,  River Valley Arts Collective, in Hudson, NY; The Ice House, in Garrison, NY; Meessen De Clercq, in Brussels, and group shows at SALTS, Birsfelden, Switzerland; Josée Bienvenu Gallery, New York; Rita Urso, Milan, Italy; Dia Horia, Mykonos, Greece; and Bill Brady, in Miami  Meessen De Clercq published a monograph on his work from 2011–16. For PSO no.233, Adam has paired an image of his 48 x 60-inch painting with a five-minute soundscape crafted on a 1981 Yamaha synthesizer which we will hear after our conversationWe cover a ton of ground in our conversation ranging from ideas of perception, skateboard magazines, authenticity in painting and punk rock, and publicly crying in contemporary art spaces. LinksPorch Swing Orchestra Websitehttps://porchswingorchestra.org/Adam Henry on Instagramhttps://www.instagram.com/adamdhenry/Janet Cardiff's Motethttps://www.moma.org/collection/works/87291Rhys Chathamhttps://rhyschatham.net/ Get full access to Porch Swing Orchestra at porchswingorchestra.substack.com/subscribe

Das Tinguely Museum in Basel zeigt die Retrospektive «Dream Machines» über das kanadische Künstlerpaar Janet Cardiff und George Bures Miller. Und die Erste Solistin des Balletts Zürich tritt ab. Ein tiefer Einschnitt im Leben der Tänzerin Katja Wünsche. Töne treffen einen direkt ins Herz. Davon ist das kanadische Künstlerpaar Janet Cardiff und George Bures Miller überzeugt. Ihre Arbeiten versetzen einen in eine magische Welt, in der die Grenzen zwischen Realität und Fiktion, zwischen Vergangenheit und Zukunft verschwimmen. Das Tinguely Museum in Basel zeigt nun mit «Dream Machines» eine umfassende Retrospektive von Janet Cardiff und George Bures Miller. Katja Wünsche war über 10 Jahre Erste Solistin des Balletts Zürich. Mit Ende dieser Spielzeit tritt die 42-Jährige von der Bühne ab. Für jede klassische Tänzerin bedeutet dies einen tiefen Einschnitt im Leben. Die Tanzjournalistin Maya Künzler hat sich mit Katja Wünsche über ihre Zukunftspläne und ihre Zeit als Tänzerin unterhalten. Weitere Themen: - Janet Cardiff und George Bures Miller im Tinguely Museum Basel - Eine Tänzerinnen-Karriere geht zu Ende

Janet Cardiff & George Bures Miller’s artwork Sad Waltz and the Dancer Who Couldn’t Dance (2015) is part of the ...

How exactly does a violinist from Paris, France end up in New York city broke and homeless get on the David Letterman Show? The crazy real life story of world renowned violinist, Scott Tixier. Tixier has worked in theater, film scoring, Broadway shows, for Sony Pictures, ARTE Creative, Heineken, Dos Equis, Fisher-Price, America's Got Talent on NBC, with Zedd on the David Letterman Late Show on CBS, for Josh Groban, Harvey Keitel, Robert De Niro, Sting, Jean Reno, Whoopi Goldberg, Marc Jacobs, Keith David, Pierre Palmade, Pierre Richard, David Ackroyd, NBA player Allan Houston, Christina Aguilera, Chrisette Michele, Doug E. Fresh, JR, Ariana Grande, and Monica Dogra.He has performed and recorded with Stevie Wonder, Elton John, Roger Waters, Kenny Barron, John Legend, Chris Potter, Christina Aguilera, Common, Anthony Braxton, Joss Stone, Gladys Knight, Natalie Cole, Wayne Brady, Chris Walden, Greg Phillinganes, Ray Chew, The Isley Brothers, Cory Smythe, Maceo Parker, Janet Cardiff, Siegfried Kessler, Tony Middleton, Lonnie Plaxico, Myron Walden, Clifford AdamsJoin us on Facebook - Instagram This show is produced by: UN/COM Media Inc.

Johanna Steindorf ist promovierte Medienkünstlerin und lebt in Köln. Sie ist in verschiedenen Ländern in Europa und Lateinamerika aufgewachsen, was ihre Sicht auf die Welt und ihre künstlerische Arbeit sehr geprägt hat. Seit 2011 setzt sie sich mit dem Format „Audio-Walk“ auseinander. In den letzten Jahren hat sie Audio-Walks auch in verschiedenen interdisziplinären Projekten mitentwickelt, unter anderem mit Akteur*innen aus dem Exzellenzcluster „Bild, Wissen, Gestalten“ der HU Berlin (2017) oder Psychiater*innen und Medizinstudent*innen der HHU Düsseldorf (2022). Ihr Interesse gilt dabei speziell den Möglichkeiten, die das Format bietet, um verschiedene Inhalte in und über die Stadt zu vermitteln und die Wahrnehmung der Teilnehmenden zu verändern.   Dieses Mal betrachten wir die gesundheitsfördernde Gestaltung aus einer künstlerisch forschenden Perspektive. Wir sprechen über die Potentiale und Formate der Medienkunst, was Audiowalks zur Vermittlung und Bildung beitragen können und inwiefern diese immersive Methode einen Zugang zu mehr Empathie ermöglichen kann.   ————– Time Stamps 5:30     Was ist ein Audiowalk? 8:42     Immersion und Wirkung 13:30   Einflussnahme und Co-Kreation im Audiowalk 24:49   Audiowalk – Forschungsmethode oder Forschungsergebnis? 38:15   Mentale Gesundheit und Gesundheitsförderung 49:40   Empathie und Vermittlung 58:20   Abbildung und Adressierung von Bedürfnissen und Lebensrealitäten 68:46   Gruppengestaltung und soziale Dynamiken 81:25   Kunst als Medium für Inter- und Transdisziplinarität ————– Relevante Links und weiterführende Informationen hierzu sind: Fogg, B. J. (2003): Persuasive Technology. Using Computers to Change What We Think and Do. Morgan Kaufmann.   Steindorf, Johanna (2019): Speaking from Somewhere. Der Audio-Walk als künstlerische Praxis und Methode. Bauhaus Universität Weimar. https://e-pub.uni-weimar.de/opus4/frontdoor/deliver/index/docId/3993/file/steindorf_johanna_audiowalk.pdf     Audiowalks:   Die Dokumentation vom praktischen Teil der Dissertation von Johanna Steindorf: https://speakingfromsomewhere.art/   Janet Cardiff & George Bures Miller https://cardiffmiller.com/walks/   Audio-Walk "The Strange Half-Absence of Wandering at Night" https://johannasteindorf.de/project/the-strange-half-absence   zugehörige Recherche: https://padlet.com/jo_steindorf/strange_half_absence   Audio-Walk "Street Haunting": (Der Audio-Walk mit dem erwähnten Kissen unter dem Bauch) https://johannasteindorf.de/project/street-haunting   Audio-Walk "Seelische Gesundheit Düsseldorf": https://seelische-gesundheit-dus.de/audiowalk/

Alter Bahnhof Video Walk (2012) van Janet Cardiff en George Bures Miller is het favoriete kunstwerk van Margriet Schavemaker, directeur van het Amsterdam Museum. Wat raakt haar zo in dat kunstwerk? Ko van ‘t Hek spreekt haar over dat kunst soms meer voor de geest is dan voor het oog, over dat dagen en getallen ook kleuren hebben, het hebben van een selectief geheugen en waarom ze ooit wel en nu niet meer directeur van het Stedelijk wil worden. Janet Cardiff & George Bures Miller, Alter Bahnhof Video Walk, 2012Amsterdam MuseumVolg Kunsthart

How exactly does a violinist from Paris, France end up in New York city broke and homeless get on the David Letterman Show? The crazy real life story of world renowned violinist, Scott Tixier. Tixier has worked in theater, film scoring, Broadway shows, for Sony Pictures, ARTE Creative, Heineken, Dos Equis, Fisher-Price, America's Got Talent on NBC, with Zedd on the David Letterman Late Show on CBS, for Josh Groban, Harvey Keitel, Robert De Niro, Sting, Jean Reno, Whoopi Goldberg, Marc Jacobs, Keith David, Pierre Palmade, Pierre Richard, David Ackroyd, NBA player Allan Houston, Christina Aguilera, Chrisette Michele, Doug E. Fresh, JR, Ariana Grande, and Monica Dogra.He has performed and recorded with Stevie Wonder, Elton John, Roger Waters, Kenny Barron, John Legend, Chris Potter, Christina Aguilera, Common, Anthony Braxton, Joss Stone, Gladys Knight, Natalie Cole, Wayne Brady, Chris Walden, Greg Phillinganes, Ray Chew, The Isley Brothers, Cory Smythe, Maceo Parker, Janet Cardiff, Siegfried Kessler, Tony Middleton, Lonnie Plaxico, Myron Walden, Clifford Adams (Kool & the Gang), Helen Sung and many others! 

Much of the time, music recording and production takes place inside the studio, which we've covered a lot on the podcast already. But inside today's episode, Isobel shares why field recordings - recordings made outside the studio - became so important to her own production style and how you can get started with these more experimental recording techniques to transform your sound in multiple, exciting ways.EPISODE HIGHLIGHTS{00:00} Intro {04:33} What is field recording?{09:53} Women pioneers of field recording{17:18} How and why I use field recordings in my music{20:19} How to get started with field recording{26:51} Episode summary & next week's teaserDownload my FREE PDF Guide, 10 FREE Tools to Start Recording your Music, Right Now HERE >>REFERENCESAmerica Over the Water by Shirley Collins >>The World Soundscape Project >>Environments, Irv Teibel >>Chris Watson >>My Words Trace A Path: encounters with place through voice, performance and field recording, PhD Thesis, Isobel Anderson >>Kit's Beach Soundwalk, Hildergard Westerkamp >>Thought Experiments in F# Minor, Janet Cardiff >>Know Your Heart, Isobel Anderson >>CHALK / FLINT, Isobel Anderson >>Cold Water Songs, Isobel Anderson >>Virtual Barber Shop >>In The Field, Angus Carlyle & Cathy Lane >>EQUIPMENT MENTIONEDZoom H4n Pro Handy Recorder >>Rycote Portable Recorder audio Kit Zoom H4N >>Jez Riley French Contact Microphone >> Roland CS-10EM Binaural Microphones/Earphones >>Listen to the episode hereListen on SpotifyDon't be shy - spread the Girls Twiddling Knobs Love

A Soundwalk in the Dark is presented for headphones. An anonymous voice, leads the listener through an unnamed woods, where the listener falls through leaves and is taken through several narrated sensorial worlds. The journey pushes the conflict between reality and fiction, the improbability of time and becoming a person that you are not. The piece is a response to Janet Cardiff and her series of soundwalks. "Soundwalking is a creative and research practice that involves listening and sometimes recording while moving through a place at a walking pace. It is concerned with the relationship between soundwalkers and their surrounding sonic environment." My intent was to take this principal of soundwalking and create a piece for an individual, to be experienced in total darkness. So, a soundwalk, without the walking. https://soundcloud.com/allypoolesound/45-beats-a-soundwalk-in-the-dark Bio - Ally Poole is a multidisciplinary artist working between the US and the UK. Her practice is an exploration of being both performer and sound artist utilizing sound to transform space. Her work is a blend of live art, theatre and installation while covering issues of race, politics and pop culture through her perspective as a Black American. Ally is a graduate of the Royal Central School of Speech and Drama where she received an MFA in Advance Theatre Practice. https://www.allypoole.com Photo Credit: designed by Ally Poole

Rachel and Walls talk about staying in touch with family, whether God exists, and how NOT to talk to your crushes. They're determined to look for the hope and the love in the midst of corona. Thank you so much to all our supporters. To join them, click the "Support" button here. Fellow Helga Patakis, please stand up. Send an email or voice memo to withrachelandwalls@gmail.com. DM us on Instagram @withrachelandwalls + Twitter @rachelandwalls. Music by Royer Bockus Some resources: Check out this and this to hear artist Janet Cardiff talk about creating "The Forty Part Motet" Here's the music used in "The Forty Part Motet" Here's that same music slowed down 8x, which sounds super ethereal and awesome! "The Dream of a Ridiculous Man" by Fyodor Dostoevsky "Leap" by Brian Doyle Tie Dye Folding Patterns Late Night Bites on Instagram and Apple Podcasts --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/withrachelandwalls/support

Retorna a nuestro programa Rebecca Collins, artista e investigadora que explora de forma práctica y teórica el arte sonoro en su intersección con las artes escénicas. Collins es doctora en Cultura Visual por la Universidad de Aberystwyth (donde defendió su tesis, titulada "On Becoming Audience: Performing Aural Attention"). Su trabajo se centra en las relaciones que se cultivan entre lo social, lo político y lo cultural. Su primer libro, "Necessary Note: A Sonic Detective Novel" (publicado en 2019 junto a Johanna Linsley), utiliza la escucha y la ficción como métodos de investigación. Es miembro de ASAP (Association of the Study of the Arts of the Present), TAPRA (Theatre and Performance Research Association) y forma parte del equipo editorial de Interference. En la actualidad trabaja en la Universidad de Edimburgo, donde investiga y enseña cultural visual. Rebecca Collins es también parte de P.I.C.A (Programa de Imaginación Colectiva en procesos de Creación Artística), un proyecto ideado por Idoia Zabaleta y el equipo de Azala (espacio de creación ubicado en la población de Lasierra -Vitoria-). En esta edición de Ars Sonora, después de haber conversado con Rebecca Collins acerca de su proyecto "Stolen Voices" en un anterior monográfico, repasamos algunas de las principales influencias que han inspirado su trabajo artístico y teórico. En particular, nos centramos en un conjunto de obras que proponen una escucha mediante auriculares, y que sugieren al oyente una nueva relación con su entorno -así como con su propio cuerpo-. Todas las obras, además, presentan sugerentes relaciones con lo literario, en la medida en que hacen un destacado uso de textos (orales) en sus respectivas propuestas estéticas. Comenzamos con "The Missing Voice. Case Study B" (1999) de Janet Cardiff, quien, en palabras del artista y teórico Xoán-Xil López “construye una inestable fluctuación entre presencia y ausencia; sus pasos se revelan como huellas audibles resonando en los ecos de los mismos espacios por los que ahora caminamos, su cuerpo se evidencia en la respiración, y por momentos emergen sonidos cuyo realismo nos hace dudar sobre su procedencia -¿están en la grabación o suceden en este mismo instante?-, un efecto que consigue con un hábil uso de la técnica hiperrealista de grabación binaural”. Nuestra invitada Rebecca Collins también recuerda el trabajo de Roger Bernat, en particular su pieza "Dominio Público", que se ha descrito como "un juego de mesa a tamaño real en el que el espectador es más que un simple peón". Collins también presenta y analiza el trabajo de Mike Pearson (en colaboración con el compositor John Hardy) titulado "Carrlands", centrado en espacios peculiares, poco transitados, a través de los cuales los autores guían al oyente de la pieza. Introduciéndonos en el trabajo artístico de Rebecca Collins, escuchamos un fragmento de la pieza "Listening to Water" (desarrollada en colaboración con las artistas Naomi Heath y Jane Lloyd Francis). La obra -una exploración sensorial del paisaje- conjuga ejercicios de escucha, paseos, experimentos narrativos y grabaciones de campo en el contexto de la búsqueda de pozos antiguos en los condados de Ceredigion y Powys, en Gales. Además de sus actividades artísticas y académicas, Rebecca Collins coordina la plataforma WISWOS (Women in Sound/Women on Sound), que investiga la desigualdad de género en el arte sonoro. Para rememorar sus primeros contactos con este proyecto, escuchamos una pieza creada para el medio radiofónico por Sisters Akousmatica. Concluimos escuchando la lectura, por parte de la propia Rebecca Collins, de un fragmento de su libro "Necessary Note: A Sonic Detective Novel", acompañado de un recuerdo de "Stolen Voices" -el proyecto que ya presentamos, hace unos meses, en Ars Sonora-, en concreto la pieza "An Acoustic Balade" de Ode Aseguinolaza. Escuchar audio

Shownotes As an artist, curator, artistic director and frequent keynote speaker internationally, Kristy Edmunds has a reputation for innovation and depth in the presentation of contemporary performing arts. In collaboration with master artists, she has curated unique platforms that survey the breadth of their artistry, while placing equal emphasis on the support and commissioning of new work by some of today’s leading performance creators across disciplines. Edmunds was the Founding Executive and Artistic Director of the Portland Institute for Contemporary Art (PICA) and the TBA Festival (Time Based Art) in Portland, Oregon. She was the Artistic Director for the Melbourne International Arts Festival from 2005 to 2008, and was the first to serve an unprecedented four-year term. Upon completion she was appointed as the Head of the School of Performing Arts at the Victorian College of the Arts/University of Melbourne, and after one year became the Deputy Dean for the College. Concurrently, Edmunds worked as the inaugural Consulting Artistic Director for the now critically heralded Park Avenue Armory in New York (2009–2012). Curating the initial three years of programming, she established the formative identity of the PAA with commissioned work by artists such as Ann Hamilton, the final performance event of the Merce Cunningham Dance Company; Tom Sachs, Janet Cardiff, STREB, Ryoji Ikeda, and the Tune-In Festival with Philip Glass and many others. Edmunds’ robust career has included work as a visual artist, an independent filmmaker, a playwright, a director and a teacher. She holds a bachelor’s in film direction from Montana State University and a master’s in playwriting and theater direction from Western Washington University. In recognition of her contribution to the arts, Edmunds was bestowed with the honor of Chevalier (Knight) de L’Ordre des Arts et des Lettres by the French Government in 2016. She is married with two sons, and now calls Los Angeles home. She is the Executive and Artistic Director of UCLA’s Center for the Art of Performance, one of the nation’s leading presenting organizations for contemporary performing artists. Buy tickets to individual performances.Subscribe to the 2019-20 season of CAP performances.Become a CAP donor/member. Kristy writes about covidMore about Kristy Kristy Edmunds website Kristy’s mission – “I love building synergies between people. How do we gather around some form of expressive truth that connects us from being strangers to being part of something, part of a common experience, part of a sense of discovery or being illuminated to one another’s plights? Artists are the bridge between a kind of expressive truth that makes us feel more awake to the world, and we can find camaraderie all over the world with people who have a relationship to that artist or to that project or to that art form. It’s literally a way of knitting together a river of culture throughout the world.” Kristy’s one-line message to the world – “Get it together.” The SUE Speaks Blog Post about Kristy Edmunds Talking points from this episode Childhood in a family of artisans and craftspeople. Their dedication for the love of it. Making arty things in childhood and eventually majored in filmmaker to tell stories. Wanted to understand artists so became producer. Thousands of artists she’s worked with. Bringing their work along. Responsibility to deliver their ideas. What this season for CAP will be: dance, jazz, global music, theater international and local, cultural commentators, many different kinds of artisitic literacies. Gives some specific examples. Challenge of time we’re living in to get audience – people on overwhelm. And things like visas, given this administration – challenge of bringing in international work. But she has an eternal optimism. Doesn’t give up. Great triumph founding the Portland Institute for Contemporary Art. Work for the institution or the people?

Izabela and Rebecca interview Marie-Ève Lafontaine, an independent curator of modern and contemporary art, about her practice between Canada, Germany, Poland and the USA, including her Schinkel Pavillon projects, TRAFO in Stettin in Poland, and her newest venture, “The Streets of Crocodiles.” Music was provided by Haunted Horses. Song, “Radar” from their EP album released in November 2018. www.hauntedhorses.nyc  Photo credit: Anna Tomczynska Marie-Ève Lafontaine, an independent curator of modern and contemporary art, was formerly curator at the Schinkel Pavillon in Berlin and chief curator at TRAFO Center for Contemporary Art in Stettin, Poland. Lafontaine has curated solo exhibitions of artists such as Janet Cardiff, Alicja Kwade, Gilad Ratman and Ari Benjamin Meyers, and was involved in Schinkel Pavillon’s recent critically acclaimed Louise Bourgeois show, “The Empty House” in 2018. In addition to her institutional experience, Lafontaine is a regular contributor to online journals and editor of several solo catalogues of contemporary artists.Music was provided by Haunted Horses. Song, “Radar” from their EP album released in November 2018. www.hauntedhorses.nyc Photo credit: Anna Tomczynska

Introduction by Amy Rosenblum Martín, Independent Curator and Educator, Guggenheim DIS (est. 2010) is a New York-based collective composed of Lauren Boyle, Solomon Chase, Marco Roso, and David Toro. Its cultural interventions are manifest across a range of media and platforms, from site-specific museum and gallery exhibitions to ongoing online projects. In 2018 the collective transitioned platforms from an online magazine, dismagazine.com, to a video streaming edutainment platform, dis.art, narrowing in on the future of education and entertainment. DIS Magazine (2010-2017); DISimages (2013), DISown (2014), Curators of the 9th Berlin Biennale for Contemporary Art, The Present in Drag (2016); DIS.art (2018–); Exhibited and organized shows at the de Young Museum, San Francisco; La Casa Encendida, Madrid; Plug In Institute of Contemporary Art, Winnipeg; Baltimore Museum of Art; and Project Native Informant, London. DIS has also been included in group exhibitions at MoMA PS1, Museum of Modern Art, and the New Museum all in New York; and Musée d’Art Moderne de la Ville de Paris; ICA Boston; Museum of Contemporary Art Chicago; and Kunsthal Charlottenborg, Copenhagen, among others. The material presented by DIS today is the result of a change in attitude towards the present and aims to meet the demands of contemporary social, political, and economic complexity at eye level. Introducer Amy Rosenblum Martín is a bilingual (English/Spanish) curator of contemporary art, committed to equity and community engagement. Formerly a staff curator at the Pérez Art Museum Miami (when it was MAM) and The Bronx Museum, she has also organized exhibitions, written and/or lectured independently for la Colección Patricia Phelps de Cisneros, MoMA, The Metropolitan, MACBA in Barcelona, the Reina Sofía, and Kunsthaus Bregenz as well as the Sugar Hill Children’s Museum. Her 20 years of interdepartmental museum work include 10 years at the Guggenheim. Rosenblum Martín’s expertise is in Latin America, focusing on transhistorical connections among Buenos Aires, Montevideo, Rio de Janeiro, São Paulo, Caracas, Havana, Miami, and New York. She has worked with Janine Antoni, Lothar Baumgarten, Guy Ben-Ner, Janet Cardiff, Eloísa Cartonera, Consuelo Castañeda, Lygia Clark, Willie Cole, Jeannette Ehlers, Teresita Fernández, Naomi Fisher, Marlon Griffith, Lucio Fontana, Dara Friedman, Luis Gispert, Felix Gonzalez-Torres, Adler Guerrier, Ann Hamilton, Quisqueya Henríquez, Leslie Hewitt, Nadia Huggins, Deborah Jack, Seydou Keita, Gyula Kosice, Matthieu Laurette, Miguel Luciano, Gordon Matta-Clark, Ana Mendieta, Antoni Miralda, Marisa Morán Jahn, Glexis Novoa, Hélio Oiticica, Dennis Oppenheim, Nam June Paik, Manuel Piña, Miguel Angel Ríos, Bert Rodriguez, Marco Roso, Nancy Rubins, George Sánchez-Calderón, Beatriz Santiago Muñoz, Tomás Saraceno, Karin Schneider, Regina Silveira, Lorna Simpson, Valeska Soares, Javier Tellez, Joaquín Torres García, and Fred Wilson, among many other remarkable artists.

With the popularity of autonomous sensory meridian response (ASMR) videos on YouTube and social-media platforms, sound has become an integral part of understanding and exploring embodiment. Yet the fascination with sound has a long history beyond the digital realm. The San Francisco Museum of Modern Art new-media curator, Rudolf Frieling, aptly described The 40 Part Motet by the artist Janet Cardiff as “sound as sculpture.” In a similar vein, this episode seeks to explore the history and convergence of analog and digital technologies in the production of experimental sound. The show’s topic is also inspired by Jonathan Sterne’s research and scholarship on the MP3 format, which reveals not only the evolution of the MP3 but also how this sonic commodity produced a science of sound connected to telephony and music and drew distinctions between public and private sound. In this episode, sound as a medium for creative practice and inquiry is examined through a conversation with the artist and scholar, Anna Friz. -- Subscribe to Art Practical on iTunes to catch PRNT SCRN as soon as it publishes! Check us out on Instagram (@prnt_scrn_ap) and Twitter (@PRNTSCRN1). #APaudio.

  This week we are joined in the studio by real life art critic for the Chicago Tribune and senior lecturer at the School of the Art Institute, Lori Waxman, to discuss her latest book Keep Walking Intently: The Ambulatory Art of the Surrealists, the Situationist International, and Fluxus Walking. We learn some art history, discuss the implications of walking-while-female, and Waxman connects her work to some favorite contemporary practitioners like Janet Cardiff and Chicago’s own Hui-min Tsen. This and more on this episode of Bad at Sports Center. 

Creative sound projects are increasingly blurring the lines between radio, audio documentary, sound art, and music. In this session from the 2003 Third Coast Conference, Ben Rubin focuses on the history and more recent practice of artists who challenge the traditional definitions of these fields, including composer Steve Reich, artist Janet Cardiff, and maverick pianist and radio producer Glenn Gould. See acast.com/privacy for privacy and opt-out information.

Interview of artist Janet Cardiff about her Forty Part Motet sound installation

En lydvandring kombinerer det at gå med det at lytte. Med mobile applikationer, radiotransmittere eller simple mp3-afspillere tilsat et par høretelefoner guides man på lydvandringen rundt i det offentlige rum. Ofte inddrager lydvandringen lyden af de omgivelser, man befinder sig i, samtidig med at den tilføjer en ekstra dimension af historier, tider og personer. Lydvandringen bliver introduceret som kunstværk af bl.a. Janet Cardiff, der udsender sin Forest Walk i 1991, og op gennem 00'erne bliver lydvandringen en stadig mere anvendt og anerkendt kunstform. I dag arbejder både kunstnere, kulturformidlere, teaterfolk, entreprenører og turistbureauer med lydvandringer, og dagligt kommer nye teknologier for lydvandringer på markedet. I denne podcast undersøger vi lydvandrignen som æstetisk praksis. Hvad kan formatet? Hvornår virker det? Og hvad betyder den konkrete fysiske involvering for kunstoplevelsen? Du vil møde den danske digter og radioproducent, Pejk Malinovski, som begyndte at arbejde med lydvandringer inden der var noget der hed lydvandringer.  Og så skal du møde den tyske kunstnerduo B-Tour, der siden 2013 har haft stor succes med deres kunstnerisk guidede ture gennem europæiske storbyer, og som gæstede København i forbindelse med Copenhagen Art week 2016. Podcasten er blevet til i samarbejde med kunsten.nu og med støtte fra Statens Kunstfond, Dansk Komponist Forening og Koda. FAKTA OM MEDVIRKENDE: B-Tour: B-Tour blev etableret i 2013 af Christin Endter og Yael Sheril som en kuratorisk platform for kunstnerisk guidede ture, lydvandringer, digital navigation and kortlægning. Siden har de to kunstnere stået bag mere end 100 projekter i både Berlin, Beograd, Leipzig, København og Vilnius.  http://b-tour.org/ Lydklip: "In the Eye of the Beholder", med Pernille Zidore Nygaard og René Viborg, præsenteret på messen Alt_Cph kurateret af Råderum på Fabrikken for Kunst og Design, Amager, Copenhagen Art Week 2016. "The Practice of Everyday Life", med Ion Sørvin og Anne Romme (N55), kurateret af B-Tour til Copenhagen Art Week 2016. Læs mere om Ion Sørvin og Anne Romme på: http://www.n55.dk Pejk Malinovski: Pejk Malinovski er poet, oversætter and radioproducer. Hans radiodramaer, dokumentarer og lydkunstværker er blevet spillet på radiokanaler som P1, WNYC og BBC og på museer og gallerier rundt om i verden. Han er medstifter af online lydmagasinet Thirdear, og vandt Prix Europa i 2014 for sin “Everything, Nothing, Harvey Keitel": https://soundcloud.com/jonathan-mitchell-1/everything-nothing-harvey-keitel. Pejk Malinowski er født i København, og bor i New York. Lydklip: "Portræt af Værnedamsvej", radiodokumentar, Lydmuren på P1 1991 "Passing Stranger", en lydvandring om East Village’s poetiske fortid, 2012. Downloades her: http://eastvillagepoetrywalk.org/index.html "Lydtur 2016", med Bjørn Rasmussen, Louissiana Litteraturfestival 2016. Se trailer her: https://www.youtube.com/watch?v=ad6pXVXIUS8 Podcasten er produceret af Anne Neimenn Clement med støtte fra Statens Kunstfond og Dansk Komponistforening. Følg LYDKUNST på: https://www.facebook.com/lydkunst/?fref=ts Hør eller genhør også LYDKUNST’s lydvandring om kunst i Det Mytologiske Kvarter på Nørrebro, produceret i forbindelse med Copenhagen Art Week 2013: https://soundcloud.com/podwalk_lydkunst/podwalk-med-lydkunst

With Noah in New York City, No Pro's dynamic duo gets to go on an adventure together. They pick Janet Cardiff's 'Her Long Black Hair' an audio walking tour piece from 2004 that feels like it could have been made last week. Set in Central Park, 'Her Long Black Hair' takes listeners on a journey that can leave you feeling like you've slipped the bonds of times. This episode was recorded in Central Park, NYC. Access the play: https://phiffer.org/hlbh/    

Janet Cardiff’s Forty Part Motet is composed of forty speakers arranged in eight groups of five, configured as a large oval facing each other in the center of the room, and resting on stands so they are roughly just above eye level. The Motet, as Cardiff referred to it in our conversation, is a reworking of the English composer Thomas Tallis'sSpem in Alium (1570), which translates as “Hope in Any Other” and is sung in Latin by a choir of forty voices. The composition is arranged so that the choir, like the speakers, is divided into eight groups of five singers; each group consists of a soprano, tenor, alto, baritone, and bass. The groups alternate singing: first one, than another, sometimes alone, and at a few moments, all together, rising in a crescendo that breaks open the room to a place beyond the physical world. To hear the Motet in its entirety is profound. Spem in Alium is considered one of the greatest works of English music. The Forty Part Motet is equally a contemporary masterwork. It was a privilege, then, to sit down with Cardiff on November 12, 2015, to speak about her practice.  - Patricia Maloney Janet Cardiff lives in British Columbia, where she works in collaboration with her partner George Bures Miller. The artist is internationally recognized for immersive multimedia works that create transcendent multisensory experiences and draw the viewer into often unsettling narratives. Cardiff and Miller’s work has been included in recent group exhibitions and biennales such as Soundscapes at the National Gallery, London, the 19th Biennale of Sydney in 2014, and dOCUMENTA (13). Representing Canada at the 2001 Venice Biennale, Cardiff and Miller received the Biennale’s Premio Prize and Benesse Prize. Recently, the artists debuted new site-specific commissions for Fondation Louis Vuitton, Paris, the Menil Collection, Houston, TX, and the Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain.  The Forty Part Motet is on view at Fort Mason Center for Arts and Culture, in San Francisco, through January 18, 2016; it is co-presented by the San Francisco Museum of Modern Art.  

Janet Cardiff and George Bures provide an overview of their works and practice, focusing on the exhibition Lost in the Memory Palace, a selected survey exhibition which opened June 20, 2014 at the Vancouver Art Gallery. Lost in the Memory Palace takes as its focus ‘the room,’ with a selection of Cardiff and Miller's work from the mid-1990s to today, presenting key early installations such as The Dark Pool (1995) and The Muriel Lake Incident (1999) and recent works including The Killing Machine (2007) and Experiment in F# Minor (2013). The exhibition offers an opportunity to consider the room as a metaphor in Cardiff and Miller’s work, as an offering shelter from a stormy world, a place to withdraw and to convalesce; or a site of mystery and danger, and in some instances, of death.

Dan Jones, composer and sound designer, considers why it has taken so long for Sound Art to get a hearing, he goes hunting for sound at CERN with Bill Fontana, Janet Cardiff talks about her 40 part Motet, Barbara London, MOMA curator, tells of the difficulties of displaying sound, Stan Shaff shows us round the first sound theatre, and David Toop and Richard Cork help untangle the history of sound art - plus an unexpected appearance on the streets of London by Joseph Young expounding the Art of Noises Manifesto of the Italian Futurists.

How can art be invisible? When it's made of sound. Dan Jones commemorates the centenary of 'The Art of Noise Manifesto', by Luigi Russolo, with an exploration of that mysterious, invisible and vigorous form - Sound Art. Luigi Russolo believed that the music of the future should reflect the noises of modern life. Rejecting the classical orchestra (along with pizza and pasta which he believed sapped the moral fibre of his nation) he invented 'noise- makers' to replicate the sounds of traffic, industry and even modern warfare. Russolo may be a disputed godfather of sound art, but it would be almost a hundred years till a sound artist would be shortlisted for the Turner Prize (Susan Philipsz won in 2010) and the Museum of Modern Art, MOMA, in New York would open its first sound art show. In 'Sonic Art Boom', Dan Jones considers why it has taken so long for Sound Art to get a hearing. He talks to Janet Cardiff - whose sound installation "The Forty-Part Motet" has been presented by prestigious galleries all over the globe; speaks with Barbara London, MOMA's legendary curator, about the difficulties of displaying sound; meets his hero Stan Shaff - creator of 'Audium', the world's first sound sculpture theatre in San Francisco; and goes underground with Bill Fontana, world-renowned sound artist, as he places a giant loudspeaker in front of the Large Hadron Collider at CERN. The art world, it seems, has pulled out its earplugs. First broadcast in October 2013 Producer: Sara Jane Hall Presenter: Dan Jones is a BAFTA award-winning composer and sound designer working in film and theatre - Sound and Fury, is a theatre company of which he is a founder - and his performance piece, created with Luke Jerram, 'Sky Orchestra' has toured the globe for ten years.

Kråkor håller ibland begravning. När en medlem av flocken dött kan hundratals samlas och kraxa i timmar över platsen. På konsthallen Vandalorum sjunger en ljudskulptur en klagosång. Över själva världen så som den blev efter globaliseringens brutna löften och dödsfall bland demokratidrömmarna. 98 högtalare bearbetar mardrömmarna som ett översvämmat informationsflöde ger oss, kan det hjälpa? Janet Cardiff och George Bures Miller har representerat Kanada vid Venedigbiennalen och ställt ut sina kompositioner världen över bland på dOCUMENTA och Wanås, i Tokyo och Berlin, Barcelona och Los Angeles. Nu hörs deras verk The Murder of Crows i en lada utanför Värnamo. Redaktör: Jenny Teleman

Världens viktigaste konstutställning, så brukar den kallas - Documenta - som äger rum i Kassel vart femte år. Denna upplaga, nummer 13, sprider sig också över världen, bland annat öppnar ett litet Documenta i Kabul nästa vecka. Kosmo har varit där och mött både konstscenens största namn och flera som kan få en knuff i karriären genom utställningen. 1955 var startpunkten för Documenta då grundare, konstnären och läraren Arnold Bode, lyfte fram den konst som nazisterna hade benämnt Entartete Kunst - degenererad konst – med verk från 20- och 30-talen av konstnärer som Kandinsky, Picasso och Nolde. Documenta har sedan haft fokus på samtida konst och sedan 1972 äger den rum vart femte år. I början visades det främst konst från Europa och USA, men så småningom kom utställningen att ta in resten av världen. Den 9:e juni öppnades Documenta 13 som pågår i hundra dagar.  Vid rodret detta år är kuratorn Carolyn Christov-Barkagiev som i år sprider Documenta över världen och där också forskningen har en speciell plats. The Refusal of Time heter den numera världsberömda sydafrikanska konstnären Williams Kentridges verk. Det är en föreställning på cirka 20 minuter. I taket finns trattformade högtalare där olika röster och musik hörs, som William Kentridges egna funderingar över tidens filosofiska aspekter, som vad svarta hål är. Cecilia Blomberg mötte honom och där han berättar hur verket även handlar om hur man som konstnär ska lyckas att ta sig ur förutsägbara uttryck. Mårten Arndtzén har mött två konstnärer som också deltar i Documentas satelitutställning i Afghanistans huvudstad Kabul -  Mariam Ghani och Michael Rakowitz. Båda utgår från hjärtat på Documenta: Fridericianum, byggt i slutet av 1700-talet och Europas första öppna, offentliga museum. Hör också den egyptiske konstnären Wael Shawky som, för två år sedan, påbörjade en serie filmer om korstågen, ur ett arabiskt perspektiv. Och den libanesiske konstnärer Rabih Mroué som både i sin föreläsning och installation på Hauptbahnhof analyserar i detalj mobilfilmade klipp från folkresningen i Syrien. På Documenta13 kretsar mycket av konsten kring historien. Den kanadensiska konstnären Janet Cardiff tar i sitt verk avstamp i den gamla centralstationen i Kassel och specifikt från spår 13 där transporter till Auschwitz och Theresienstadt avgick i början av 40-talet. I tyske Clemens von Wedemeyers videoninstallation Rushes tas man till Benedictinerklostret Breitenau strax söder om staden. En plats som bär på många lager av 1900-talshistoria. Före andra världskriget var Breitenau ett av de första koncentrationslägren. Under andra världskriget döptes det om till arbets- och uppfostringsläger. Efter kriget blev det en ungdomsvårdskola för flickor. Därefter har det varit öppen psykiatrisk anstalt, och historisk minnesplats. På Documenta 13: Mårten Arndtzén och Cecilia Blomberg Producent: Marie Liljedahl

'Pasajes. Viajes por el híper-espacio' es una selección de obras pertenecientes a la colección Thyssen-Bornemisza Art Contemporary (T-B A21). Integrada fundamentalmente por instalaciones y obras escultóricas de gran escala, la exposición ha sido concebida para estimular un recorrido contemplativo, reintroduciendo al espectador en el centro mismo de la experiencia artística; un viaje inmersivo a otra dimensión perceptiva que activa lo físico, lo sensual y lo cerebral. (06.10.201-21.02.211) Artistas: Ai Weiwei, Doug Aitken, Haluk Akakçe, Janet Cardiff & George Bures Miller, Maurizio Cattelan, Olafur Eliasson, Michael Elmgreen & Ingar Dragset, Florian Hecker, Jeppe Hein, Carsten Höller, Los Carpinteros, Ernesto Neto, Carsten Nicolai, Olaf Nicolai, Paul Pfeiffer, Sergio Prego, Pipilotti Rist, Monika Sosnowska y Cerith Wyn Evans.

Peripatetic video is a form of located media which is intended to manifest previous performances, experiences, or events that occurred in a given place at a later moment in that same place. Peripatetic video works through the active overlay of video and sound footage upon the same physical background through the intermediary of a small video camera with LCD screen and surround stereo headphones. In 2006, Christopher Witmore and Megan Goetsch, inspired by artist Janet Cardiff, undertook to create a peripatetic video walk responding to the installation of a new temporary sculpture by artist Patrick Dougherty on Brown’s College Green. Four years later, Dougherty’s sculpture is no more, and collaborating with Ian Russell, the original video from 2006 has been re-edited and is now represented allowing visitors to explore the present absences of the architecture of Dougherty’s temporary installation.