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Dana Arnold

described almost simultaneously. However, in the pre-Freudian world of the long eighteenth century this form of writing opened the door to what was to become known as the human subconscious. And it is helpful to use Freud anachronistically to understand the role of memory in the subjective experience of Rome. Importantly, too, Freud gives us some insight into the part prints played in the memorialisation of cities. There is no doubt of the importance of the city – not least Rome – as a means of describing the workings of the mind. For instance in Freud’s Civilization

in Architecture and ekphrasis
Chari Larsson

Salpêtrière to consider the field of art history. Here, Didi-Huberman delineates the goals of his project: ‘To effect a true critique, to propose an alternative future, isn’t it necessary to engage in an archaeology , of the kind that Lacan undertook with Freud, Foucault with Binswanger, Deleuze with Bergson, and Derrida with Husserl?’ 2 This statement clearly signals his revisionist intent. It also simultaneously aligns his work with some of the great revisionist projects of the twentieth century. Fast forward to an interview of 2010, in which he declared his ongoing

in Didi-Huberman and the image
Rethinking art, media, and the audio-visual contract
Author: Ming-Yuen S. Ma

There is no soundtrack is a specific yet expansive study of sound tactics deployed in experimental media art today. It analyses how audio and visual elements interact and produce meaning, drawing from works by contemporary media artists ranging from Chantal Akerman, to Nam June Paik, to Tanya Tagaq. It then links these analyses to discussions on silence, voice, noise, listening, the soundscape, and other key ideas in sound studies. In making these connections, the book argues that experimental media art – avant-garde film, video art, performance, installation, and hybrid forms – produces radical and new audio-visual relationships that challenge and destabilize the visually-dominated fields of art history, contemporary art criticism, cinema and media studies, and cultural studies as well as the larger area of the human sciences. This book directly addresses what sound studies scholar Jonathan Sterne calls ‘visual hegemony’. It joins a growing body of interdisciplinary scholarship that is collectively sonifying the study of culture while defying the lack of diversity within the field by focusing on practitioners from transnational and diverse backgrounds. Therefore, the media artists discussed in this book are of interest to scholars and students who are exploring aurality in related disciplines including gender and feminist studies, queer studies, ethnic studies, postcolonial studies, urban studies, environmental analysis, and architecture. As such, There Is No Soundtrack makes meaningful connections between previously disconnected bodies of scholarship to build new, more complex and reverberating frameworks for the study of art, media, and sound.

Der Blaue Reiter and its legacies
Author: Dorothy Price

This book presents new research on the histories and legacies of the German Expressionist group, Der Blaue Reiter, the founding force behind modernist abstraction. For the first time Der Blaue Reiter is subjected to a variety of novel inter-disciplinary perspectives, ranging from a philosophical enquiry into its language and visual perception, to analyses of its gender dynamics, its reception at different historical junctures throughout the twentieth century, and its legacies for post-colonial aesthetic practices. The volume offers a new perspective on familiar aspects of Expressionism and abstraction, taking seriously the inheritance of modernism for the twenty-first century in ways that will help to recalibrate the field of Expressionist studies for future scholarship. Der Blaue Reiter still matters, the contributors argue, because the legacies of abstraction are still being debated by artists, writers, philosophers and cultural theorists today.

Kimberly Lamm

by Althusser’s theorisation of ideology, which made the unconscious a site of political investigation. In his account of the Lacanian and feminist re-reading of Freud that took place during this period, Peter Wollen explains that ‘[p]sychoanalysis was used, not simply to give a theoretical account of femininity, but to find a way of understanding motherhood as both Rewriting maternal femininity in Mary Kelly’s Post-Partum Document a psychoanalytic and a political category.’34 While Freud was the declared enemy in many American feminist tracks of the 1970s

in Addressing the other woman
Temporality and trauma
Patricia Allmer

, as detailed extensively in Neuwirth’s Arbeitsjournal . Drawing on a theoretical tradition that includes Proust on memory, Benjamin on allegory and montage, Derrida’s notion of the ‘trace’, and Freud’s conception of memory as a palimpsestic text bearing traces of past experiences, and taking his examples from post-war French literature and film, Silverman argues that ‘The notion of memory as palimpsest provides us with a politico-aesthetic model of cultural memory in that it gives us a way of

in The traumatic surreal
Kimberly Lamm

ravenous appetites – fluctuates between the graphic pleasures of anal expulsion and their sublimation.23 Ultimately, Kristeva’s analysis sanctions the fact that it is men who have been granted the privilege of taking up, at the scene of writing, the dirty connections between the appetites of the mouth and the aggressions of the anus. This is precisely what Codex Artaud resists: the engrained notion that men have greater access to their aggressions and can create with a fuller array of their impulses. In Three Essays on the Theory of Sexuality (1905), Freud offers a model

in Addressing the other woman
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John Mundy and Glyn White

tedium). In the study of comedy there is something of a disjunction between those critical texts that focus on how humour works (for example, Freud’s analysis of the mechanics of the joke) and those that focus on what appears to be at stake (that is, the content or subject of the comedy). Palmer, arguing in favour of his own approach, suggests that: ‘To evoke values in the mode of humour is to evoke them in a special, unique

in Laughing matters
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Sara Callahan

“Mystic Writing-Pad”’ Sigmund Freud likened the human psyche to a kind of wax slab, a Wunderblock , with an unlimited capacity for new perceptions. As this writing pad was filled with permanent but alterable memory traces, much became covered up, hidden and inaccessible but never fully erased. 17 This brief text is often included in discussions about the connection between archives and memory, since Freud described a material structure for the storage and recording of memories, thus linking the human psyche's day

in Art + Archive
Kimberly Lamm

new means of expression.’12 Mulvey conveys this ‘collective strength’ in ‘Visual Pleasure.’ It is evident in her frequent use of collective pronouns, in the large, pressing stakes of her argument, but also in her tone, which is detached and passionate at the same time. Mulvey’s attention to language, expression, and their political consequences is a consistent feature of the writing she produced in the 1970s. It reflects her engagement with Lacan’s semiotic re-reading of Freud (which she does not utilise in a strict or specialised way) and highlights her emphasis on

in Addressing the other woman