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Acoustic communities, aesthetic colonization, and sound imperialism
Ming-Yuen S. Ma

imbalance like the colonial one’, but she also finds Carter and Wagner’s theories to be important to the rethinking of the colonial soundscape: If anything the history of Latin America and the Caribbean teaches us how politically complicated such in-between and ambiguous transactions are. But Carter’s emphasis on echolocation and his radical questioning of the politics of representation as the site of colonial disjuncture as well as the distinction between human and nonhuman sounds to explore the politics of an ‘acoustics of ecology’ is crucial for rethinking the

in There is no soundtrack
Jonathon Shears

argued, ‘fundamentally illustrative’ (2008: p. 46) of nations and even national character. The American section was, for example, dominated by large agricultural machinery that seemed to embody the pioneering spirit of the US, while the colonial produce from the Caribbean consisted almost exclusively of raw materials, the absence of manufactured articles indicating the unsophisticated nature of the people. The Dickinson Brothers’ pictorial guide to the Exhibition (1854), compiled by Joseph Nash, Louis Haghe and David Roberts, reflected many of the inferences drawn

in The Great Exhibition, 1851