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Rethinking the audio-visual contract
Ming-Yuen S. Ma

, sexuality, class, nationality, indigeneity, and more. Does sound, as he argues, occupy a privileged place in articulating these ‘new positions of enunciation and identification’? While experimental media art is not specifically raced or gendered, nor only associated with marginalized populations, it is nonetheless a rich field in which I find many compelling examples of artists grappling with difficult and challenging subjects that address issues concerning marginalization, injustice, decolonization, and liberation. In this book, I align these primary subjects to Marks

in There is no soundtrack
Catherine Spencer

responds to an attempt at decolonization’. From this perspective, Minujín’s engagement with both mass media and sociology reads as complicity with imperialism and colonisation. Octavio Getino and Fernando E. Solanas, ‘Toward a Third Cinema’, Tricontinental 13, English edn (July–August 1969): 107–32 (117). 68 After 1966, artistic engagements with sociology in Argentina moved away from semiotics and structuralism, toward an activist sociology that could address class conflict and repression. This culminated in Tucumán arde ( Tucumán Is Burning ) of 1968, when

in Beyond the Happening
The aesthetics of problem-solving
Octavian Esanu

,” names in fact a lack , and perhaps a constitutive one. The lack of a positive, or normative, aesthetic discourse in liberalism is what sets this doctrine apart from other post-Enlightenment political ideologies, and first of all from the aesthetic theories elaborated by the enemies of the “open society”: Marxist aesthetics, Marxist-Leninist aesthetics, or socialist and communist aesthetics, and earlier on, fascist aesthetics. This lack also sets it apart from the various postcolonial nationalistic aesthetic paradigms constructed during the period of decolonization

in The postsocialist contemporary