Bibliography
PANDEMONIUM AND EASTERN STATE PENITENTIARY
Bentham, Jeremy. The Panopticon Writings. Edited by Miran Božovič. London: Verso Books, 1995.
Cardiff, Janet, and George Bures Miller. Pandemonium. Recorded by Tonmeister Titus Maderlechner. 2005, compact disc.
Courtney, Julie. “Of Site and Sound.” In Pandemonium: Janet Cardiff and George Bures Miller, 12–13. Philadelphia: Eastern State Penitentiary Historic Site, 2005. Exhibition catalog.
Diehl, Carol. “Reviews: Janet Cardiff and George Bures Miller at Eastern State Penitentiary.” Art in America(January 2006): 125–126. In Pew Pandemonium Final Report.
Eastern State Penitentiary: Historic Structures Report, Mary Ann Thomas Architects, 1994.
Foucault, Michel. Discipline and Punish: The Birth of the Prison, 1975. Translated by Alan Sheridan, New York: Pantheon Books, 1977.
Johnston, Norman. Eastern State Penitentiary: Crucible of Good Intentions. Philadelphia: Philadelphia Museum of Art for the Eastern State Penitentiary Historic Site, 1994.
Kelley, Sean. “Eastern State Penitentiary and the Struggle for Silence.” In Pandemonium: Janet Cardiff and George Bures Miller, 36–38. Philadelphia: Eastern State Penitentiary Historic Site, 2005. Exhibition catalog.
Pandemonium Files. Eastern State Penitentiary, Philadelphia.
Pandemonium: Janet Cardiff and George Bures Miller. Philadelphia: Eastern State Penitentiary Historic Site, 2005. Exhibition catalog.
Pew Pandemonium Final Report. Philadelphia: Eastern State Penitentiary, March 6, 2006.
Prison Sentences: The Prison as Site/The Prison as Subject. Philadelphia: Moore College of Art and Design, 1995. Exhibition catalog
Rosof, Libby. “Cell Music.” theartblog.org (blog), May 15, 2005. Accessed August 20, 2014.http://www.theartblog.org/2005/05/cell-music/.
Rounthwaite, Adair. “Hearing History: Storytelling and Collective Subjectivity in Cardiff and Miller’s Pandemonium.” In Sonic Mediations: Body Sound Technology, 193–207. (2nd ed; 2008) Edited by Carolyn Birdsall and Anthony Enns, Newcastle upon Tyne: Cambridge Scholars Publishing, 2011.
Torchia, Richard. “Beat Music.” In Pandemonium: Janet Cardiff and George Bures Miller, 15–32. Philadelphia: Eastern State Penitentiary Historic Site, 2005. Exhibition catalog.
CARDIFF AND MILLER
Beil, Ralf, and Bartomeu Marí. Janet Cardiff and George Bures Miller: The Killing Machine and Other Stories 1995–2007. Ostfildern: Hatje Cantz, 2007.
Cardiff, Janet, and George Bures Miller. “Cardiff and Miller - The Modern Art Notes Podcast.” Interview by Tyler Green. 38. July 26, 2012. Podcast audio. The Modern Art Notes. MP3. 49:30. Accessed August 20, 2014.http://blogs.artinfo.com/modernartnotes/2012/07/the-modern-art-notes-podcast-cardiff-miller.
———. “Inexplicable Symbiosis: A Conversation with Janet Cardiff.” Interview by Carolee Thea. Sculpture 22, no. 1 (Jan/Feb 2003): 52–57.
———. Interview by Carolyn Christov-Bakargiev. Haus der Kunst: Artist’s Talk.” YouTube video, 52:46. April 12, 2012. https://www.youtube.com/watch?v=xMWd50TmuHs.
———. Interview by Eva Scharrer. C Magazine (July 2005): 18–21. In Pew Pandemonium Final Report.
———. “Interview with the artist, July 2005.” Interview by Kelly Gordon. Hirshhorn Museum website.http://www.hirshhorn.si.edu/collection/directions/ #detail=/bio/directions-janet-cardiff-words-drawn-in-water/&collection=salvatore-scarpitta/.
———. “Pleasure Principals: The Art of Janet Cardiff and George Bures Miller.” Interview by Robert Enright and Meeka Walsh. Border Crossings 20, no. 20, issue 78 (2001). Accessed August 7, 2014.http://bordercrossingsmag.com/article/pleasure-principals-the-art-of-janet-cardiff-and-george-bures-miller.
Christov-Bakargiev, Carolyn. “An Intimate Distance Riddled with Gaps: The Art of Janet Cardiff.” In Janet Cardiff: A Survey of Works Including Collaborations with George Bures Miller, 14–35. Long Island, NY: P.S. 1 Contemporary Art Center, 2001. Exhibition catalog.
Féral, Josette. “How to Define Presence Effects: The Work of Janet Cardiff.” In Archaeologies of Presence: Art, Performance and the Persistence of Being, 29–49. Edited by Gabriella Giannachi, Nick Kaye, and Michael Shanks. London: Routledge, 2012.
Fraser, Marie. “Tell Me, or The Narrative and Its Paradoxes.” In Raconte-Moi/Tell Me. Montreal: Musée National des Beaux-Arts du Québec, 2005. Exhibition catalog.
Jones, Caroline. "The Mediated Sensorium." In Sensorium: Embodied Experience, Technology, and Contemporary Art, 5–49. Edited by Caroline Jones and Bill Arning. Cambridge, MA: MIT Press, 2006.
Lee, Jeannie. "Intimacy in the Works of Janet Cardiff: Including Collaborations with George Bures Miller." Master's thesis, Art Center College of Design, 2007.
Miller, George Bures, Wayne Baerwaldt, and Dana Samuel. George Bures Miller: Simple Experiments in Aerodynamics, 6 and 7. Toronto: Mercer Union, 2001. Exhibition catalog.
Object File (Words Drawn in Water, 2005). Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC.
Schaub, Mirjam, Janet Cardiff: The Walk Book. Vienna: Thyssen-Bornemisza Art Contemporary, Vienna, Austria, in collaboration with Public Art Fund, 2005.
Scott, Kitty. “I Want You to Walk with Me.” In Janet Cardiff: The Missing Voice (Case Study B). London: Artangel, 1999. Exhibition catalog.
Woodcock, Laurel, ed. Janet Cardiff. Edmonton, AL: Edmonton Art Gallery, 1993. Exhibition catalog.
SOUND, SOUND ART, MUSIC
“Antheil, George.” Encyclopedia of Popular Music, 4th edition. Oxford University Press. Accessed March 2, 2015.http://www.oxfordmusiconline.com.proxy-um.researchport.umd.edu/subscriber/article/epm/71144/.
Barthelmes, Barbara. “Sound Art in Musicological Discourse.” In Sound Art: Zwischen Avantgarde und Popkultur, 44–50. Edited by Anne Thurmann-Jajes, Sabine Breitsameter, and Winfried Pauleit. Proceedings from an international conference on Sound Art at the Neuen Museum Weserburg Bremen, 2005. Cologne: Salon Verlag, 2006.
Carby, Hazel V. “It Just Be’s Dat Way Sometime: The Sexual Politics of Women’s Blues.” Radical America 20, no. 4 (1986): 9–22.
Cox, Christoph. “Beyond Representation and Signification: Toward a Sonic Materialism.” Journal of Visual Culture10, no. 2 (August 2011): 145–161.
——— and Daniel Warner, eds. Audio Culture: Readings in Modern Music. New York: Continuum, 2004.
Dalphond, Denise M.M. “Detroit Techno.” Grove Music Online. Oxford University Press. Accessed March 2, 2015.http://www.oxfordmusiconline.com.proxy-um.researchport.umd.edu/subscriber/article/grove/music/A2256341.
Davis, Angela Y. Blues Legacies and Black Feminism: Gertrude “Ma” Rainey, Bessie Smith, and Billie Holiday. New York: Vintage Books, 1998.
Distler, Jed. “Book Review: The First Recordings of Edgard Varèse and Charles Ives.” 1997. ClassicalNet. Accessed March 3, 2015. http://www.classical.net/music/recs/reviews/distler/slonimsky.php.
Drobnick, Jim. “Listening Awry.” In Aural Cultures, 9–15. Toronto: YYZ Books, 2004.
Engström, Andreas, and Åsa Stjerna. “Sound Art or Klangkunst? A Reading of the German and English Literature on Sound Art.” Organised Sound 14, no. 1 (April 2009): 11–18.
Finkelstein, Sidney. Liner Notes, EMS 401: Complete Works of Edgar Varèse. Volume 1. 2007. Compact disc. Accessed March 3, 2015, via Wikipedia, http://en.wikipedia.org/wiki/Ionisation_%28Var%C3%A8se%29#References/.
Goodman, Steve. Sonic Warfare: Sound, Affect, and the Ecology of Fear. Cambridge, MA: The MIT Press, 2012.
Ihde, Don. Listening and Voice: A Phenomenology of Sound. Athens: Ohio University Press, 1974.
Jones, Caroline. "The Mediated Sensorium." In Sensorium: Embodied Experience, Technology, and Contemporary Art, 5–49. Edited by Caroline Jones and Bill Arning. Cambridge, MA: MIT Press, 2006.
Kahn, Douglas. Noise, Water, Meat: A History of Sound in the Arts. Cambridge, MA: MIT Press, 1999.
LaBelle, Brandon. Background Noise: Perspectives on Sound Art. New York: Continuum International, 2006.
Lander, Dan. “Introduction.” In Sound by Artists. Edited by Dan Lander and Micah Lexier, 10–14. 1990, reprint. Toronto: Blackwood Gallery and Charivari Press, 2013.
Licht, Alan. “Sound Art.” In Sound Art: Beyond Music, Between Categories. Edited by Alan Licht and Jim O'Rourke. New York, NY: Rizzoli, 2007.
———. “Sound Art: Origins, Development and Ambiguities.” Organised Sound 14, no. 1 (April 2009): 3–10.
MacDowell, Laurel Sefton. "Paul Robeson in Canada: A Border Story." Labour / Le Travail 51 (Spring 2003): 177–221.
Mantegani, Micaela. “Luigi Russolo, Italy | 1885–1947.” Ubuweb: Historical. Accessed March 3, 2015.http://ubuweb.com/historical/russolo/index.html/.
McCartney, Andra. “Soundscape Works, Listening, and the Touch of Sound.” In Aural Cultures, 179–185. Edited by Jim Drobnick. Toronto: YYZ Books, 2004.
Migone, Christof. “Volume (Of Confinement and Infinity) A History of Unsound Art.” In Le son dans l'art contemporain canadien/Sound in Contemporary Canadian Art, 80–91. Edited by Nicole Gingras. Montreal: Éditions Artextes, 2003.
de la Motte-Haber, Helga, ed. “Klangkunst.” In Sonambiente Berlin. Munich: Prestel, with Berlin: Akademie der Künste, 1996. Exhibition catalog.
———. Klangkunst: Tönende Objekte und klingende Räume. Handbuch der Musik im 20. Jahrhundert, volume 12. Laaber: Laaber-Verlag, 1999.
———, Matthias Osterwold, and Georg Weckwerth, eds. Sonambiente Berlin 2006: Klangkunst/Sound Art. Heidelberg: Kehrer, with Berlin: Akademie der Künste, 2006. Exhibition catalog.
Orledge, Robert. “Debussy, Claude.” The Oxford Companion to Music. Oxford University Press, accessed February 23, 2015, http://www.oxfordmusiconline.com/subscriber/article/opr/t114/e1846/.
Russo, Mary, and Daniel Warner. “Rough Music, Futurism, and Postpunk Industrial Noise Bands. In Audio Culture: Readings in Modern Music. Edited by Christoph Cox and Daniel Warner, 47–54. New York: Continuum, 2004.
Russolo, Luigi. “The Art of Noises: Futurist Manifesto.” 1913, reprint. In Audio Culture: Readings in Modern Music. Edited by Christoph Cox and Daniel Warner, 10–14. New York: Continuum, 2004.
Schulz, Bernd. Resonanzen: Aspekte der Klangkunst (Resonances: Aspects of Sound Art). Heidelberg: Kehrer, 2002.
Scruton, Roger. “Programme Music.” Grove Music Online. Oxford University Press. Accessed February 23, 2015.http://www.oxfordmusiconline.com/subscriber/article/grove/music/22394/.
Seiffarth, Carsten. "About Sound Installation Art.” Kunstjournalen B-post (2012). Accessed January 13, 2015.http://www.kunstjournalen.no/12_eng/carsten-seiffarth-about-sound-installation-art.
Smith, Steve. “Banging Out a Revolution In Just 91 Measures.” New York Times. July 16, 2010.http://www.nytimes.com/2010/07/18/arts/music/18varese.html?_r=1&/.
Sterne, Jonathan. “Sonic Imaginations.” In The Sound Studies Reader, 1–17. New York: Routledge, 2012.
Straebel, Volker. "Zur frühen Geschichte und Typologie der Klanginstallation.” In Klangkunst, Musik-Konzepte Neue Folge, 24–46. Edited by Ulrich Tadday, Munich: Richard Boorberg, 2008.
Thurmann-Jajes, Anne. “Sound Art.” In Sound Art: Zwischen Avantgarde und Popkultur, 29–35. Cologne: Salon Verlag, 2006.
Toop, David. Sonic Boom: The Art of Sound. London: Hayward Gallery, 2000. Exhibition catalog.
Tucker, G. M. and Kenneth Chalmers. “Programme Music.” The Oxford Companion to Music. Oxford University Press. Accessed February 23, 2015. http://www.oxfordmusiconline.com/subscriber/article/opr/t114/e5370/.
Varèse, Edgard. “The Liberation of Sound: The Electronic Medium.” 1962, reprint. In Audio Culture: Readings in Modern Music, 17–21. Edited by Christoph Cox and Daniel Warner, 10–14. New York: Continuum, 2004.
DOCUMENTARY, REALISM, ART HISTORY
“Chronology of Documentary History.” UC Berkeley—Media Resources Center. Accessed March 19, 2015, http://www.lib.berkeley.edu/MRC/docexhibit/docuchron.htm.
Demos, T.J. “Storytelling in/as Contemporary Art.” In The Storyteller. Edited by Claire Gilman and Margaret Sundell, 83–107. New York: Independent Curators International, 2010. Exhibition catalog.
Enwezor, Okwui. “Documenta 11, Documentary, and the Reality Effect.” In Experiments with Truth. Edited by Mark Nash (Philadelphia: The Fabric Workshop and Museum, 2004), 97–103. Exhibition catalog.
———. “Documentary/Verité: Bio-Politics, Human Rights and the Figure of “Truth” in Contemporary Art.” In The Green Room: Reconsidering the Documentary and Contemporary Art, 62–102. Berlin: Sternberg Press, 2008.
———. “Documentary’s Discursive Spaces.” In Berlin Documentary Forum 1: New Practices Across Disciplines Edited by Hila Peleg, 9–15. Berlin: Haus der Kulturen der Welt, 2010.
———. “What is it?: The Image Between Documentary and Near Documentary.” In The Storyteller. Edited by Claire Gilman and Margaret Sundell, 73–82. New York: Independent Curators International, 2009. Exhibition catalog.
Fraser, Marie. “Tell Me, or The Narrative and Its Paradoxes.” In Raconte-Moi/Tell Me. Montreal: Musée National des Beaux-Arts du Québec, 2005. Exhibition catalog.
Fried, Michael. “Conclusion: Jeff Wall’s ‘Adrian Walker.’" Studies in the History of Art 72, Symposium Papers XLIX: French Genre Painting in the Eighteenth Century, 294–303. Washington, DC: National Gallery of Art, 2007.
Gilman, Claire, and Margaret Sundell. “The Storyteller.” In The Storyteller, 7–69. New York: Independent Curators International, 2010. Exhibition catalog.
Godfrey, Mark. “The Artist as Historian.” October 120 (Spring 2007): 140–172.
Green, David, and Peter Seddon, eds. “Introduction: Art, Historiographical Practice and the Ends of History.” In History Painting Reassessed: The Representation of History in Contemporary Art, 1–17. Manchester: Manchester University Press, 2000.
Krauss, Rosalind. “Sculpture in the Expanded Field.” October 8 (Spring 1979): 30–44.
Lambert-Beatty, Carrie. “Make-Believe: Parafiction and Plausibility.” October 129 (Summer 2009): 51–84.
Leja, Michael. “Touching Pictures by William Harnett.” In Looking Askance: Skepticism and American Art from Eakins to Duchamp, 125–152. Berkeley, CA: University of California Press, 2004.
Lind, Maria, and Hito Steyerl. “Introduction.” In The Green Room: Reconsidering the Documentary and Contemporary Art. Berlin: Sternberg Press, 2008.
Nash, Mark. “Reality in the Age of Aesthetics.” Frieze 114 (April 2008). Accessed September 10, 2014.http://www.frieze.com/issue/article/reality_in_the_age_of_aesthetics.
Plantinga, Carl. “What a Documentary is, After All.” In Documentary, 52–62. Edited by Julian Stallabrass. London: Whitechapel Gallery, 2013.
Roberts, Jennifer. Mirror Travels: Robert Smithson and History. New Haven: Yale University Press, 2004.
Ross, Christine. “Ecology.” In The Past is the Present; It’s the Future Too: The Temporal Turn in Contemporary Art, 53–110. 2012, reprint. New York: Bloomsbury, 2014.
Stiles, Kristine. “Performance Art.” Oxford Bibliographies Online: Art History. Accessed April 15, 2015.http://www.oxfordbibliographies.com/view/document/obo-9780199920105/obo-9780199920105-0047.xml?rskey=ncdzYF&result=23.
Weissman, Terri. “Documentary Photography.” Grove Art Online. Oxford University Press. Accessed March 11, 2015. http://www.oxfordartonline.com/subscriber/article/grove/art/T2229236.
SENSORY STUDIES, ISSUES IN MEDIA
Cox, Christoph. “Beyond Representation and Signification: Toward a Sonic Materialism.” Journal of Visual Culture10, no. 2 (August 2011): 145–161.
Goodman, Steve. Sonic Warfare: Sound, Affect, and the Ecology of Fear. Cambridge, MA: The MIT Press, 2012.
Higgins, Dick. “Intermedia.” Leonardo 34, no. 1 (2001): 49–54.
Howes, David. “The Secret of Aesthetics Lies in the Conjugation of the Senses: The Museum as a Sensory Gymnasium.” In The Multisensory Museum: Cross-Disciplinary Perspectives on Touch, Sound, Smell, Memory, and Space, 285–300. Edited by Nina Levent and Alvaro Pascual-Leone. Lanham, MD: Rowman and Littlefield, 2014. E-book.
Ihde, Don. Listening and Voice: A Phenomenology of Sound. Athens: Ohio University Press, 1974.
Jones, Caroline. "The Mediated Sensorium." In Sensorium: Embodied Experience, Technology, and Contemporary Art, 5–49. Edited by Caroline Jones and Bill Arning. Cambridge, MA: MIT Press, 2006.
Krauss, Rosalind. “Sculpture in the Expanded Field.” October 8 (Spring 1979): 30–44.
LaBelle, Brandon. Background Noise: Perspectives on Sound Art. New York: Continuum International, 2006.
McCartney, Andra. “Soundscape Works, Listening, and the Touch of Sound.” In Aural Cultures, 179–185. Edited by Jim Drobnick. Toronto: YYZ Books, 2004.
Migone, Christof. “Volume (Of Confinement and Infinity) A History of Unsound Art.” In Le son dans l'art contemporain canadien/Sound in Contemporary Canadian Art, 80–91. Edited by Nicole Gingras. Montreal: Éditions Artextes, 2003.
Promey, Sally M. “Religion, Sensation, and Materiality: An Introduction.” In Sensational Religion: Sensory Cultures in Material Practice, 1–21. New Haven, CT: Yale University Press, 2014.
Sterne, Jonathan. “Sonic Imaginations.” In The Sound Studies Reader, 1–17. New York: Routledge, 2012.
Stiles, Kristine. “Performance Art.” Oxford Bibliographies Online: Art History. Accessed April 15, 2015. http://www.oxfordbibliographies.com/view/document/obo-9780199920105/obo-9780199920105-0047.xml?rskey=ncdzYF&result=23.