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Sound and Documentary in Cardiff and Miller's PandemoniumMain MenuWelcomeThe ProjectChapter 1: Pandemonium—Sensory Assault and DeprivationChapter 2: Sound Art—Narrative and NoiseChapter 3: Documentary—“Waking the Dead”Conclusions: Pandemonium, Radical Proximity, and ProtestAcknowledgmentsBibliographyAll MediaCecilia Wichmann570c894159ad998517c62537a60758b7099e0270
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12016-01-30T08:20:44-08:00Cecilia Wichmann570c894159ad998517c62537a60758b7099e027055424plain2016-01-30T08:28:08-08:00Cecilia Wichmann570c894159ad998517c62537a60758b7099e0270Publications, Exhibitions, and Events Related to the Pandemonium Research Project Please send suggestions and tips for this page to cwich (a) umd dot edu
Released in fall 2015 by Duke University Press, musicologist Nina Sun Eidsheim's Sensing Sound: Singing and Listening as Vibrational Practiceproposes "a vibrational theory of music," in which music encompasses "aural, tactile, spatial, physical, material, and vibrational sensations" and sound functions as an active material in personal relations.
Commissioned by the Menil Collection, Houston, Janet Cardiff and George Bures Miller's The Infinity Machineis installed in the Menil's Byzantine Fresco Chapel January 31, 2015 through February 28, 2016. (video clip)