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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.

Anne Ring Petersen

Catholicism, Western missionaries to Vietnam, ephemera relating to the Vietnam War, and, more generally, homosocial, homosexual and father-son relationships.’142 Publicly, however, Vo likes to identify himself as a kind of nomad. In a long interview with the journalist Sandra Brovall, who also interviewed Vo’s parents and brother, Vo has distanced himself from the idea of national identity, declaring that he has disentangled himself from such attachments to become a kind of global nomad. His account tallies closely with the statement quoted earlier that he only became

in Migration into art
Religion and freemasonry
John M. MacKenzie

’ that it cannot be seen as a unifying factor for Scots (in comparison with the Roman Catholic Church for the Irish and others), or as a contributing feature to Scottish identity. This seems hard to sustain. David Fitzpatrick, ‘What Scottish Diaspora?’ in Angela McCarthy and John M. MacKenzie (eds), Global Migrations: The Scottish Diaspora since 1800 (Edinburgh, 2016), p. 257. 34  This print culture included missionary periodicals, biographies of famous missionaries, materials for children, postcards and much else, often distributed through missionary exhibitions. 35

in The British Empire through buildings
The challenge of a globalising world
Caroline Turner and Jen Webb

by the Gestapo and again, after the defeat of Germany, first by the Soviet NKVD and then by the British. Denounced as a Nazi, he was 137 Globalisation and identity John Young, Safety Zone, 2010. Detail, ‘Victim’. denied permission to work and, with his family, was quite literally starving to death when a group of citizens in Nanjing learned of their miserable circumstances, and sent them first money and then monthly food parcels. Rabe died in Germany in 1951. A similarly tragic fate was experienced by his Safety Zone colleague, the American missionary Minnie

in Art and human rights
Jasmine Allen

with religious buildings, religion (especially Christianity, which dominated the Western world and was transplanted throughout empires by missionaries) is a recurring theme, inextricable from concepts of nation and empire.5 Stained glass as an ideological medium Stained glass can be considered an ideal medium for visualising complex national, international, and imperial identities. After all, its physical structure and composition, consisting of individual pieces of glass held together in a lead matrix, holds many parts in one whole. But the whole also has a

in Windows for the world
The naked and the clothed
Niharika Dinkar

the body. This exposure of women’s bodies was accompanied, on the other hand, by renewed prescriptions for veiling the body. Ravi Varma’s paintings and oleographs of female figures participated actively in the production and public circulation of female icons, providing wonderful examples of veiling practices in devising innovative draping rituals for the body.15 In paintings like The Galaxy of Musicians (c. 1889) the distinctive focus on clothing was not only about asserting ethnographic identity but also in devising prototypes for the proper comportment of female

in Empires of light
Myths of origins and national identity
Jeff Rosen

England.’ This story ‘tells how he became interested for the poor benighted islanders, our fair-headed ancestors, (non Angli sed Angeli!) and represents St. Augustine of Canterbury as the first Christian missionary in this nation’.64 The story powerfully unites the virtues of the Pope’s kindness toward the fair young children, and how he granted them freedom, returned them from exile, and led them to spiritual redemption. At the same time, this traditional narrative venerates Anglo-Saxon racial identity as a marker of ancient heritage and Christianity as a fundamental

in Julia Margaret Cameron’s ‘fancy subjects’
Abstract only
John M. MacKenzie

2005. Also MacKenzie (ed.), Imperialism and the Natural World (Manchester, 1990); Jeffrey Richards and MacKenzie, The Railway Station: A Social History (Oxford, 1986). I contributed all the non-European chapters to this book. MacKenzie, Museums and Empire: Natural History, Human Cultures and Colonial Identities (Manchester, 2009); MacKenzie, ‘Missionaries, Science and the Environment in Nineteenth-Century Africa’ in Andrew Porter (ed.), The Imperial Horizons of British Protestant Missions, 1880–1914 (Grand Rapids, MI and Cambridge, 2003), pp. 106–130; MacKenzie

in The British Empire through buildings
Masculine subjects in Ravi Varma’s scholar paintings
Niharika Dinkar

, drawing upon the lessons preached by the Christian missionary reform movement in Kerala, which championed the cause of lower-­caste education.30 The middle-­class novel Indulekha (1889) likewise framed its entire plot within the importance of an English education for the younger members of the family – an initiative that was rebuffed by the older family guardians, with the conflict providing the basis for the tension in the novel between tradition and modernity.31 Both novels have been crucial for thinking about modernity and identity in Kerala, and Ravi Varma was

in Empires of light
Race-ing the Carib divide
Mia L. Bagneris

]he Negroes, or Black Charaibs (as they have been termed of late years)’, implying that their Carib identity is a new and invented one and in no way legitimate. Even more explicitly, in a passage describing how the descendants of the shipwrecked Africans united with colonies of escaped slaves, the text asserts: Incorporating with these Negro outlaws [i.e. the escapees], they formed a nation, now known by the name of Black Charaibs; a title themselves ­­arrogated … The savage, with the name and title, thinks he inherits the qualities, the rights, and the property, of those

in Colouring the Caribbean