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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.

Fashion and protest
Ory Bartal

Mexican-American youths negotiated the identity of their subculture by using the zoot suit as a symbol of pride in their ethnicity and as ‘a spectacular reminder that the social order had failed to contain their energy and difference … The zoot suit was a refusal; a subcultural gesture that refused to concede to the manners of subservience.’5 Shehnaz Suterwalla, who studied four different groups of women (women who were punks in the late 1970s, women who lived at Greenham Common Women’s Peace Camp in the 1980s, black women in the hip-hop community in the 1980–90s, and

in Critical design in Japan
Jacopo Galimberti

-Dada cells’. The reader who was familiar with the graphic design of A/traverso and Zut would have recognised similarities with La Rivoluzione, which instantiated the same proto-punk aesthetic made possible by the bold use of off-set printing techniques. The texts incorporated several fonts and were occasionally pasted from other publications or added manually with a marker pen. The layout deliberately appeared rough and chaotic, indifferent to straight lines and the divisions between plates and articles. Page 1 contained a Maoist slogan, ‘The revolution is just, necessary

in Art, Global Maoism and the Chinese Cultural Revolution
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Frances Robertson

established artistic and academic sponsors somewhere in the background. For example, a recent publication Splitting the Atom on Dalston Lane: The Birth of the Do-It-Yourself Punk Movement in March 1977 (Williamson, 2009 ) presented an assembly of contributors that included printers, poets and artist collectives, and a text that gave testimony to the many stages on the way to

in Perspectives on contemporary printmaking
Raymond Pettibon’s drawing-writing
Tilo Reifenstein

, ekphrasis is here approached neither as a site of antagonism nor as a convergence of the sisterly arts, but rather as a locus of a productive encounter. Born in 1957 in Tucson, Arizona, Raymond Pettibon is an American artist who first garnered acclaim in the Californian punk-rock scene in the late 1970s. Initially he became known for his album-cover and flyer designs, as well as selfpublished, staple-bound zines that were available via mail order. His notoriety within the punk scene rests especially on his design of the four-bar logo for the band Black Flag, but also for

in Ekphrastic encounters
Creativity at a time of institutional decline
Jesse Adams Stein

be connected to the 1970s and 1980s DIY aesthetic of fanzines. DIY zine production often featured low-resolution, collaged or appropriated imagery, deliberately low-tech and handmade in appearance. This graphic style was associated with punk and other anti-establishment subcultures; it rejected the ideological drivers that lay behind high-production value commercial image making.61 A similarly hacked-up collage aesthetic is visible in many examples from the Gov (despite the fact that the pieces would have taken time and care to produce). In this case, however, the

in Hot metal
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Dominic Johnson

small headlamps, so that different rhythms would strike up different shadows. (Johnson 2015: 48) Playing her assisted drum kit created bridges between action, sound and light, as the  act of drumming triggered the synchronous production of percussive sounds and  lighting effects – so that the drum kit (and the performance) was ‘lit by its own lights’. The constructions would be played in various situations, including the parties she organised at Butlers Wharf, attended by the punk rock royalty who constituted her wider circle, including Jayne (then Wayne) County and

in Unlimited action
Leah Modigliani

Ramirez) described the violence of The Destroyed Room in the Nova Gallery window as ‘obviously a lover’s room, wrecked at the finality of the passion … [or] the scene of a sexual assault, or [a proto-punk gang’s] destruction for the joy of it.’22 Ramirez’s review, which also discussed Faking Death, contained three primary observations The 1970s and the gendered spaces of the counter tradition of The Destroyed Room: Wall’s violent ‘punkish aesthetic,’ his references to earlier canonical European painting, and the photograph’s relationship to the defeatured landscape

in Engendering an avant-garde
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Dominic Johnson

’, ‘overcome’ by feeling or ‘temporarily incapacitated’ by madness, hate or rage (1971: 224). Similarly, it would be convenient to disregard the Kipper Kids’ disposition towards self-sabotage not as active and productive but as mere short-sightedness, the upshot of The art of sabotage  163 youthful mischief, punk rock radicalism, drink, personality disorders or poor career management. While some of these characteristics are in arguable operation, I follow Taylor and Walton’s definition and approach to maintain that the Kipper Kids’ early performances and films use

in Unlimited action
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Andy Campbell

Pin’ paintings. These works, another continuing series of Sameshima’s, are an exuberant visual collapse of sexual positions, punk aesthetics, and the languages of ‘safe sex’ that flowed from the HIV/ AIDS pandemic. Placed in another room were two white-on-white silkscreen appropriations of ‘Toilet Talk’ cartoons (also sourced from Drummer), in which two urinals engage in a jokey call-and-response regarding queer sexual Dean Sameshima, ‘Numbers’ installation, Peres Projects, Berlin 5.4 116 Bound together practice and surveillance (‘Q: How do you feel about Vice

in Bound together