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This book analyses the use of the past and the production of heritage through architectural design in the developmental context of Iran. It is the first of its kind to utilize a multidisciplinary approach in probing the complex relationship between architecture, development, and heritage. It uses established theoretical concepts including notions of globalism, nostalgia, tradition, and authenticity to show that development is a major cause of historical transformations in places such as Iran and its effects must be seen in relation to global political and historical exchanges as well as local specificities. Iran is a pertinent example as it has endured radical cultural and political shifts in the past five decades. Scholars of heritage and architecture will find the cross-disciplinary aspects of the book useful. The premise of the book is that transposed into other contexts, development, as a globalizing project originating in the West, instigates renewed forms of historical consciousness and imaginations of the past. This is particularly evident in architecture where, through design processes, the past produces forms of architectural heritage. But such historic consciousness cannot be reduced to political ideology, while politics is always in the background. The book shows this through chapters focusing on theoretical context, international exchanges made in architectural congresses in the 1970s, housing as the vehicle for everyday heritage, and symbolic public architecture intended to reflect monumental time. The book is written in accessible language to benefit academic researchers and graduate students in the fields of heritage, architecture, and Iranian and Middle Eastern studies.

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.

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Sara Callahan

administrative and historical functions of modern archives: the former are associated with active archives maintained and used for administrative purposes at present, whereas the latter consist of records saved for the use of current or future historians. 9 The modern view of history can in fact be mapped on to shifting uses and understandings of archives. Cultural memory scholar Aleida Assmann has argued that historical scholarship evolved alongside the modern notion of progress and a break between the past and the present

in Art + Archive
Aesthetic and intercultural learning and the (re)construction of identity
David Bell

tastes of Japan’s Edo and Meiji period (1868–1912) to sustain those sensibilities of earlier eras for new generations (Dogramaci, 2019 : 33). Such public art ‘monuments’ remember the events of the past, and simultaneously affirm the identities of today’s Nikkei through the cultural memories of their parents and forbears. The Japanese American Historical Plaza is located in Portland, in a narrow common squeezed between the old Nihonmachi district and the Williamette River. The Plaza is designed in the form of an expansive Japanese-style garden. It was opened in

in Art and migration
The Shahyad Arya-Mehr Tower
Ali Mozaffari and Nigel Westbrook

imposition of a homogenous Iranian identity, which was ‘official and unchanging’. Both this construction of identity through memory, as well as the disciplinary memory consisting of techniques, orders, and the like, partake of ‘cultural memory’.10 Memory intervenes in social flux through cultural formations and social performances. This intervention culminates in ‘figures of history’, which engender dissonance between the mutability of historical processes and the attempt to utilize monuments like the Shahyad to project a symbolic fixity.11 According to Grigor, power thus

Housing and collective identity before 1979
Ali Mozaffari and Nigel Westbrook

revealed through evidence from the field. Through various devices, from planning, to layouts and use of material, the design actively constructs memories – transforming the lived and experienced memory of the lifeworld into cultural memory, as lieux de mémoire.1 From this perspective, the complex emplaces collective memories through material and spatial engagement with the architectural environment. Repeated bodily Heritage in the everyday 83 3.1  Shushtar Now, view across rooftops (2015). routines arguably create habit memories, which contribute to the

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The parallel world of photography
Ernst Rebel

images. From an art historical perspective, photography can be regarded as the most instructive model of technical synthesis. It draws together several features which – partially stretching back into the mythic beginnings of our cultural memory − point towards the realisation of the dream of the self-replicating image. It is here that the connections with our actual topic lie

in Perspectives on contemporary printmaking
Matthew Perkins

for Theatre Research), 2001. , accessed 23 August 2009. 15 Taylor, Diana, The Archive and the Repertoire: Performing Cultural Memory in the Americas (Durham, NC: Duke University Press) 2003. http

in Perspectives on contemporary printmaking
Local contexts, modern customs, visual traditions
Vanesa Rodríguez-Galindo

transformations occurring in public space and arguably also resulted from the sheer number of comic gazettes and collections that demanded a fast turnover of relevant and up-to-date topics. Some of the original types featured in illustrated books and magazines included the tram passenger, the aspiring writer, the café waiter, and the snooty and idle client ( figure 4.2 ). 35 Astrid Erll and Ann Rigney’s analysis of the formation of collective, cultural memory offers a useful framework that can shed light on the profusion of social types in Madrid’s visual culture before the

in Madrid on the move
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Notes on acoustic time
Ming-Yuen S. Ma

references an African American sonic past by sampling from the blues musicians Howlin’ Wolf and Robert Johnson, who in turn draw from the cultural memory of a pre-slavery past in Africa, Tagaq’s re-voicing of the Inuit depicted in Nanook puts scenes of visual and narrative misrepresentation, such as in the infamous ‘record-biting’ scene, into a more complex call and response between a colonial/ethnographic POV (point-of-view) and a contemporary indigenous vocality. Her voice, drawing from the traditional practice of throat-singing but remixing it with contemporary avant

in There is no soundtrack