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

. Sounding visuality Political economist Jacques Attali proclaims at the beginning of Noise, his treatise on music as a herald for social change: ‘For twenty-five centuries, Western knowledge has tried to look upon the world. It has failed to understand that the world is not for the beholding. It is for hearing.’ 2 Similarly, Douglas Kahn begins his study of sound, modernism, and the arts – Noise, Water, Meat – thusly: Sound saturates the arts of this century, and its importance becomes evident if we can hear past the presumption of mute visuality within art history, past

in There is no soundtrack
Silvia Salvatici

), pp. 140–183. 76 Davide Rodogno and Thomas David, ‘All the World Loves a Picture: The World Health Organization’s Visual Politics, 1948–1973’, in H. Fehrenbach and D. Rodogno (eds), Humanitarian Photography: A History (New York: Cambridge University Press, 2015), pp. 223–248. 77 Jennifer J. Palmer and Pete Kingsley, ‘Controlling Sleeping Sickness Amidst Conflict and Calm: Remembering, Forgetting and the Policy of Humanitarian Knowledge in Southern Sudan, 1954–2005’, in C. Bennett, M. Foley and H. B. Krebs (eds), Learning from the Past to Shape

in A history of humanitarianism, 1755–1989
Andrea Mariuzzo

posters that had the dove of the Partisans dripping blood or mutating into a tank; inspired by this, the main Italian centres for producing visual political imagery set to work on conveying similar ideas in their illustrations.176 Posters produced by the Civic Committees tended to give the message that the Partisans’ dove should be seen as an aggressive threat rather than a message of peace: it was seen nesting in the cannon barrel of a Soviet tank, or carrying rifles and machine guns in its claws. In Il Quotidiano in June 1950, by contrast, Jacovitti drew ‘Picasso

in Communism and anti-Communism in early Cold War Italy