Janet cardiff the walk book


    Janet's brilliant idea of turning the book into a walk will allow the uninitiated an insight . In the case of Janet Cardiff 's walks, these relics are (recorded) words, . 71 2. Little Girl. left of the fountain in the market square, the sounds of the city and the water from the fountain at your right. sound of footsteps walking around. This is the definitive edition documenting Janet Cardiff's audio "Walks" in Paris, London, and New York. For these walks, Cardiff provided gallery-goers with.

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    Janet Cardiff The Walk Book

    Janet Cardiff: The Walk Book [Mirjam Schaub] on dingharbasuppprom.gq *FREE* shipping on qualifying offers. This is the definitive edition documenting Janet Cardiff's. View credits, reviews, tracks and shop for the CD release of The Walk Book on Discogs. Published by Walther König, Köln, Foreword by Francesca von Habsburg. This is the definitive edition documenting Janet Cardiff's audio Walks in Paris.

    Would you like to tell us about a lower price? If you are a seller for this product, would you like to suggest updates through seller support? For these walks, Cardiff provided gallery-goers with walkmans which led them through the cities relying solely on the acoustic guide. The urban environment thus became the scene of a mysterious narrative in which the visitors became ever more involved. Read more Read less. Product details Hardcover: English ISBN Tell the Publisher! I'd like to read this book on Kindle Don't have a Kindle? Share your thoughts with other customers. Write a customer review. Showing of 1 reviews. Top Reviews Most recent Top Reviews.

    Fragments of a love story emerge. Some people are very good at conversation and storytelling, working logically from one step to another. But slowing down the process of telling a story has allowed me to realize what you need in order to build up a certain amount of intimacy, a certain amount of interest in the narrative, but still make it open-ended.

    They all have their secrets. Unwanted memories that creep into your mind in the middle of the night. It is a seemingly ageless, pleasantly deep, feminine voice that ranges from matter-of-fact to sexy to solicitous.

    It is perhaps the same kind of irrational intimacy on a park bench that allows you to tell your life story to a complete stranger. Man It looks like pictures of my mother when she was young.

    She had long black hair just like that. The exact same spot. She was here for a while though. It could have been her. Janet You grew up in NYC?

    Janet Cardiff

    Janet … she left you? Man For a few years, I mean. He even stopped talking for awhile except for yelling at us.

    I blamed him for her leaving. Now I realize how sad he was. I think I would die if my wife left me. Janet But she came back?

    Man Yeah, like it was Christmas — presents and kisses. Sorry, what time is it … I have to go. Nice talking to you … Janet Yeah … goodbye. Nice talking to you. I would follow you anywhere.

    The Sirens also come to mind. Their singing arouses feelings of happiness and fantasies of regression while their promises bring unhappiness and ruin upon those who listen. Perhaps its simplicity is a key to its accomplishment.

    The Walk Book [With CD] by Janet Cardiff

    The success of an audio walk is dependent on the collaborative participation of the audience. Each listener makes an individual pact with the voice out of apparent mutual regard. With a video walk, the participants receive a small digital video camera with headphones.

    George does the recording carrying a professional camera with the binaural microphones in his ears along sections of the route, which have all been planned with actors and props.

    The architecture in the video stays the same as the physical world, but the people and their actions change, so there is a strange disjunction for the viewer about what is real. They start to believe that what is in the camera is the real image taking precedence over the real world.

    I thought it would take away from that because you put a headphone on and walk around with a Discman, but all of a sudden, your senses are alert.

    They say media kills your senses, but it is not true because it can actually enliven them. Real life takes on an almost exemplary quality.

    Her work explores some of these barely underestimated visible and often undetected levels of reality and shows how the audible world of invisibility produces its own event horizon. The artist has already experienced the space that the participants visit. Having observed the environment and taken note of the patterns of movement there, she can anticipate what might happen to us when we visit this place later, what we might see, hear, and feel.

    We strengthen a sense of ourselves from this experience. After all, if the aim is to operate in the background, it is wise to draw attention to the foreground.

    She does not hesitate to present Shirley, the polystyrene dummy head painted over in blue with its modeled auricles. There is a distinct advantage in deploying this collage technique in that the cuts between two sounds cannot be heard, while it is easier to determine where cuts have been even when they are superimposed in one shot made between two images. Of course, the soundtrack can also be edited in such a way so that a change of atmosphere can be felt, for example, by changing the background sounds from that of an outdoor to one of an indoor space.

    If the book has one overriding theme, it resides in its preoccupation with what, ultimately, is a lost experience. Welcome to the realm of the unforeseen, a world of involuntary memory, that form of erratic recollection, which allows sexual us to confront ourselves as thinking, multi-sensual, and utterly temporal beings.

    How long has it been since our last encounter? By translate I mean that it gives me a buzz … that I can feel the presence of the alternative reality around me. It soothed me immediately, maybe because it made me a bit homesick. I love to cut out as many words as possible. I walked today so I could think about a couple of other pieces. It takes a while to get into the thinking mode.

    Janet Cardiff. The Walk Book.

    This little forest next to us is perfect. It is deserted most of the time. If someone were watching me they would wonder if there was something physically wrong with me. It was August We were staying in a beautiful art deco apartment overlooking the park. It was great to see it from above. Seeing the trees swaying, it looked like waves on the ocean.

    Both the physicality and contrast are always very important for a walk. Just as a drawing needs variety and texture, a walk needs small spaces, big spaces, quiet and noisy parts. Then after we had decided on the route, I started to worry that the end was too far away and that everyone would be too tired, and that it would be far too much work to record and mix this much audio. It would be too anti-climatic. I think I have a pretty good one, a walking kind of script.

    The realization of the park around the year is a keystone for the other elements in the script. Then it extends back to photography, relating the last photographic look of Orpheus on Eurydice, a metaphoric tale about loss and voice and looking. Really cold. I took photographs of the lake covered with ice. I walked and talked the script on site. I heard what I identified as men shouting, women laughing, a screaming child.

    Animal grunts and growls, horse neighs and whinnies. Snapping twigs that give way, eventually, to the sounds of marching. Rain becomes breath becomes wind. Bird calls are replaced, in due course, by the drone of airplane propellers; wagon wheels and rattling chains transform into trucks and tanks. Distant thunder devolves into vicious bombardment.

    The work was first commissioned for Documenta, an international art exhibition that takes place every five years in Kassel, Germany. One can assume the soundscape meant something quite different to the people of that part of the world, where the woods saw hand-to-hand combat in World War II and the cities were leveled by Allied bombs.

    What does the work mean in a garden on an idyllic California college campus? We can extrapolate, of course, the way we do when we see a strong film about a tough topic. It is a work to experience, surely — whether by fans of the artists who will want to see them operate in this mode, or by new audiences who will thrill to the approach.

    In the end, however, the piece is a superb short entertainment, analogous to a war movie. Email: cdesmarais sfchronicle.


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