Norie Neumark, a sound and media artist, is Honorary Professorial Fellow at Victorian College of the Arts, University of Melbourne, and Emeritus Professor at La Trobe University in Melbourne. She coedited At a Distance: Precursors to Art and Activism on the Internet and VOICE: Vocal Aesthetics in Digital Arts and Media, both published by the MIT Press.
Ross Gibson is Professor of Contemporary Art, Sydney College of the Arts, University of Sydney.
Theo van Leeuwen is Professor of Media and Communication at University of Technology, Sydney.
Thomas Y. Levin is Associate Professor of German at Princeton University where he teaches media and cultural theory. His most recent book CTRL [SPACE]: Rhetorics of Surveillance from Bentham to Big Brother (MIT Press, 2002) is the catalogue of a major exhibition which he curated at the ZKM in Karlsruhe (Germany).
Meredith Morse is Assistant Professor of Humanities (Art History) at Yale-NUS College in Singapore.
Brandon LaBelle is Professor in New Media in the Faculty of Fine Art, Music and Design at the University of Bergen. He is the author of Lexicon of the Mouth: Poetics and Politics of Voice and the Oral Imaginary, Diary of an Imaginary Egyptian, Acoustic Territories: Sound Culture and Everyday Life, and Background Noise: Perspectives on Sound Art.
Mark Amerika, named a "Time Magazine 100 Innovator" in 2001, is an interdisciplinary artist and Associate Professor in the Department of Art and Art History at the University of Colorado at Boulder. His works include the epic online narrative GRAMMATRON, selected for the 2000 Whitney Biennial; the sound art work PHON:E:ME, commissioned by the Walker Art Center in Minneapolis and the Perth Institute of Contemporary Art in Western Australia; and FILMTEXT 2.0, initially commissioned by Sony PlayStation 2 as part of a major retrospective at the ICA in London. He is the author of two novels, The Kafka Chronicles and Sexual Blood. In 1993 he became founder and publisher of Alt-X.

Perspectives on the voice and technology, from discussions of voice mail and podcasts to reflections on dance and sound poetry.

Voice has returned to both theoretical and artistic agendas. In the digital era, techniques and technologies of voice have provoked insistent questioning of the distinction between the human voice and the voice of the machine, between genuine and synthetic affect, between the uniqueness of an individual voice and the social and cultural forces that shape it. This volume offers interdisciplinary perspectives on these topics from history, philosophy, cultural theory, film, dance, poetry, media arts, and computer games. Many chapters demonstrate Lewis Mumford's idea of the "cultural preparation” that precedes technological innovation—that socially important new technologies are foreshadowed in philosophy, the arts, and everyday pastimes. Chapters cover such technologies as voice mail, podcasting, and digital approximations of the human voice. A number of authors explore the performance, performativity, and authenticity [(or 'authenticity effect') of voice in dance, poetry, film, and media arts]; while others examine more immaterial concerns—the voice's often-invoked magical powers, the ghostliness of disembodied voices, and posthuman vocalization. [The chapters evoke an often paradoxical reassertion of the human in the use of voice in mainstream media including recorded music, films, and computer games.

Contributors
Mark Amerika, Isabelle Arvers, Giselle Beiguelman, Philip Brophy, Ross Gibson, Brandon LaBelle, Thomas Levin, Helen Macallan, Virginia Madsen, Meredith Morse, Norie Neumark, Andrew Plain, John Potts, Theresa M. Senft, Nermin Saybasili, Amanda Stewart, Axel Stockburger, Michael Taussig, Martin Thomas, Theo van Leeuwen, Mark Wood