Rumour and Radiation

Paul Hegarty teaches Philosophy and Visual Culture at University College Cork, in Ireland. He is the author of Noise/Music (Continuum, 2007). He jointly runs the experimental record label dotdotdotmusic, and performs in the noise bands Safe and La Société des Amis du Crime.

• Acknowledgements List of Illustrations Introduction: How Video Works and How It Sounds1 Expanding Cinema 2 Bruce Nauman and the Audiospatial 3 Body as Screen 4 Gary Hill, Seeing Language 5 Bill Viola, Elemental Ambience 6 Dan Graham, Stan Douglas, Laurie Anderson, Dara Birnbaum: Performing Musically7 Christian Marclay, The Medium as multiple 8 Pipilotti Rist, Immersing 9 Pierre Huyghe, Repurposing Sound 10 Steve McQueen, The Destabilizing Ground 11 Jane and Louise Wilson, An Other Index 12 Total Screen (Ryoji Ikeda, Carsten Nicolai, Granular Synthesis13 Ryan Trecartin, Videocore End: Elizabeth Price, Noise Capture Bibliography Index

In Rumour and Radiation, Paul Hegarty provides novel insight into and strong evidence of the audiovisual nature of video arts as it turns out to play a key role in contemporary crossmedia practices. His arguments are convincing: that sound and image in video are different yet connected to each other. His many examples are fascinating, particularly the importance of sounds in the creation of spatial effects in video works where the artists, like Bruce Nauman, Jane and Louise Wilson, Christian Marclay, or Ryoji Ikeda, explore materials and perceptions across usual borders. With this study, Hegarty challenges our understanding of hearing and seeing and gives us a comprehensive account of intermedial and synaesthetic exchanges in the artistic practices of sound and visual materials. From video installations in the nineties to large scale projections and datastreaming of encoded information in today's expanded media environments, the book's discoursive approach brilliantly bridges the gap between sound and visual studies. This work is an illuminating source that sets a new tone for readjustments and critical engagement with multi-sensorial processes in our still predominantly 'visually' conceived culture.