Ming-Yuen S. Ma
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Notes on acoustic time
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In an echo of the prologue, the book closes with an open-ended series of questions and provocations. The epilogue is inspired by Susan Sontag’s essay ‘Notes on “Camp”’ and uses a similar notation form to remix There Is No Soundtrack’s major discussions and debates, also to introduce new artists and works, and generate topics and areas of research for future investigation. As Steven Feld points out, time and space are mutually reinforced in acoustics, therefore this new politics of space is also temporal. The complex reverberations between linear and non-linear notions and expressions of time, duration, history, memory, and subjectivity similarly stretch, loop, and recalibrate what Francois Lyotard calls ‘capitalist time’. While reckoning with questions including whether modern sound technology played a role in time’s colonization, There is no soundtrack concludes by opening up an important new dimension to review and consider anew its discussion on sound, image, space, and perception.

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There is no soundtrack

Rethinking art, media, and the audio-visual contract


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