Janet Cardiff said, in the interview that follows, that the primary thing about her work is the “physical aspect of sound,” its effect on the body, not the work’s narrative quality. In the case of Cardiff and Bures Miller, however, we have an intimate, not toxic, potion coiling to the consciousness of the listener. ![]() ![]() Think of Claudius, uncle to Hamlet, pouring poison in the king’s ear and how direct a device that was. It’s a cousin–for effectiveness–to another theatrical use of the ear. In fact, Janet Cardiff’s voice in your ears, winding through your cochlea, insinuating itself thoroughly into your cognitive operations, is as theatrical an event as the average person would wish to experience. ![]() Not for the sake of spectacle, although the theatrical is a tool they find engaging and functional, having used it to good effect in many of their pieces. Janet Cardiff and George Bures Miller have created, each in their particular way, a contemporary version of son et lumière.
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