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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.

Visualising a changing city

Delving into a hitherto unexplored aspect of Irish art history, Painting Dublin, 1886–1949 examines the depiction of Dublin by artists from the late-nineteenth to the mid-twentieth century. Artists’ representations of the city have long been markers of civic pride and identity, yet in Ireland, such artworks have been overlooked in favour of the rural and pastoral, falling outside of the dominant disciplinary narratives of nationalism or modernism. Framed by the shift from city of empire to capital of an independent republic, this book chiefly examines artworks by of Walter Frederick Osborne (1857–1903), Rose Mary Barton (1856–1929), Jack Butler Yeats (1871–1957), Harry Aaron Kernoff (1900–74), Estella Frances Solomons (1882–1968), and Flora Hippisley Mitchell (1890–1973), encompassing a variety of urban views and artistic themes. While Dublin is renowned for its representation in literature, this book will demonstrate how the city was also the subject of a range of visual depictions, including those in painting and print. Focusing on the images created by these artists as they navigated the city’s streets, this book offers a vivid visualisation of Dublin and its inhabitants, challenging a reengagement with Ireland’s art history through the prism of the city and urban life.

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St Michael and All Angels, Sowton and St Mary the Virgin, Ottery St Mary
Jim Cheshire

in the nave, creating an aesthetic and theological demarcation between the accommodation for the laity and the clergy. The stained glass of the nave windows takes a representational step backwards: patterned quarries and bands of text run around the windows surrounding the congregation. The creed runs clockwise from the easternmost nave south window round into the north aisle. The change in tone, from colourful pictorial glass in the chancel to

in Stained Glass and the Victorian Gothic Revival
The moral life and the state
Jeff Rosen

Freshwater curate and his wife, Mr and Mrs Isaacson. She recalled how Alfred and Mrs Cameron caused a small delay in the proceedings by walking to the meeting, while everyone else in the party drove, and that Wolff delayed speaking to the congregation until the two arrived. At the event, Wolff ’s 67 68 Julia Margaret Cameron’s ‘fancy subjects’ tales of religious conversion apparently inspired the Tennyson boys, Hallam and Lionel, to donate all of their pocket-money to his church-building campaign.5 While Wolff ’s visit to the Isle of Wight was extraordinary, Benjamin

in Julia Margaret Cameron’s ‘fancy subjects’
Religion and freemasonry
John M. MacKenzie

and therefore the most intrusive in what were often wholly alien environments, climatically and culturally. It may be that it was these religious buildings which most explicitly conveyed in material form the sense of an expanding European imperial culture. Leaving aside the intriguing range of churches built in the North American colonies,3 the earlier examples of British religious architecture in the empire (once beyond the earliest phases of the tent or the hut) generally followed the pattern of London churches by Wren and Gibbs, with a tower (sometimes with a

in The British Empire through buildings
Abstract only
Jeff Rosen

drama that Ward described threatened to define Cameron’s photography by limiting discussion of her imagery to her personal activities – her maternal and domestic life, philanthropic undertakings, private devotions, and her relationship to her models – and these have been well researched and documented.2 But this has also meant that her photographs have become largely separated from the ideas, religious controversies, literary criticism, philosophical positions, and political debates that drew together the village’s artistic and intellectual society as well as the

in Julia Margaret Cameron’s ‘fancy subjects’
Helen Hills

marked the city, as a tide marks the beach. They bore the saints’ relics across the city and interwove the fates of Treasury Chapel and powerful religious institutions across the city, drawing the sway of the Treasury Chapel down dark narrow streets, pooling its energy in chapels and churches scattered across town, and threading participants, apparati, and macchine back into the Treasury Chapel, renewed and resplendent ( Plates 24 & 40 ). And they bound the saints, too, to the Seggi, the largely aristocratic district subdivisions of Naples. Thus Treasury Chapel

in The matter of miracles
Helen Hills

something that necessarily slipped beyond that control, staged its own patronage, and opened possibilities unforeseen. By harnessing the ambitions and investment of a variety of external religious institutions and encouraging their investment, the deputies of the Seggi managed to forge a unifying and remarkably flexible new focus of urban spirituality – ostensibly for the city of Naples ( Fig. 33 ). This illuminates the central paradox of the chapel. Despite its coherent appearance, it was informed by radical heterogeneity as a result of multiple investments by external

in The matter of miracles
Representations of Marseille
Joseph McGonagle

titles ensuring that some photographs are spatially specifiable. Therefore the Vieux Port, L’Estaque, the quartiers nord and Le Panier are all cited, reinforcing the idea of the city being divided into neighbourhoods whose lines are seldom breached. Another common trend is gender division: whereas men are seen mostly in the workplace or leading religious congregations, women are often confined to the domestic sphere and especially the kitchen. In addition, Jeanmougin’s tendency to depict women – ­particularly brides – at times of celebrations showcases religious and

in Representing ethnicity in contemporary French visual culture
Kate Nichols and Sarah Victoria Turner

those represented under the glass roof of the Sydenham Palace itself; from the Venus de Milo to souvenir ‘peep eggs’, war memorials to children’s story books, portrait busts to imperial pageants, tropical plants to cartoons made by artists on the spot, copies of paintings from 1.1  Postcard of the Crystal Palace, early twentieth century. Author’s collection. ‘what is to become of the crystal palace?’ 3 ancient caves in India to 1950s film. The chapters do not simply catalogue and collect this eclectic congregation, but provide new ways for assessing the

in After 1851