This thesis is an examination of sound and lived space in Janet Cardiff's audio walks, Missing Voice, and Conspiracy Theory. Its aim is to contextualize Cardiff's project in terms of how it reverses the logic of the conventional museum audio guide; taking the user on an unexpected tour of the back spaces, and by providing an audio track of soundscapes which are not about the art exhibition but rather point to the social relations constituted in each audio walk environment. Paradoxically, it is the non-synchronous elements of Cardiff's audio walks that point to the embedded nature of expectations produced by body technique. It is through the disjunction of the experiential moment between sensorial input and our awareness of it (an incongruent relationship between what is expected and what is experienced) that, Gilles Deleuze's concept of the pre-individual is actualized for the lived body. The actualized pre-individual lies at the core of an analysis, of how Cardiff's audio walk transgresses the limits of a single art work and reopens living as an emergence for the interconnectedness of the actual-virtual.