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John M. MacKenzie

bourgeois spirit was most effectively illustrated by the manner in which so many significant buildings in the city were arranged along North Terrace, on the edge of the slopes leading to the River Torrens. These eventually included the railway station, Government House, the old and new parliament buildings, the Institute, the state library and art gallery, the museum, the original campus of the university and the botanic garden. Few cities had such an agglomeration of political and cultural buildings strung out together. Several of these institutions were influenced by

in The British Empire through buildings
Structure, function and meaning

The British Empire contributed greatly to the globalising of western buildings, towns and cities across the world. The requirements of security necessitated the construction of forts and barracks everywhere, while the need for mobility and ceremonial led to the use of large numbers of tents. As towns and cities developed, building types required for imperial rule, the operations of colonial economies and the comfort and cultural edification of Europeans appeared everywhere. These included government houses, town halls, courthouses, assembly and parliament buildings, company headquarters, customs houses and hotels. As the white bourgeoisie became a major global class, their representative buildings, such as clubs, libraries, museums, theatres, religious institutions, mission stations and schools, also spread worldwide. Some of these were designed for the dissemination of European culture to indigenous peoples, as well as the proselytisation of Christianity. Imperial rulers, their officials and troops additionally required particular settlements for leisure, recreation and the restoration of health, and these included hill stations in many colonies. The new technologies of the age, such as the telegraph and railways, also generated significant structures, widely dispersed. In addition to the great public and civic buildings, residential accommodation was created for Europeans, servants and workers. The result was a striking built environment which offers many insights into the nature, character and social and economic development of imperial rule, not least in the patterns of racial and class inclusion and exclusion which such buildings represented. It is an environment which remains key to the understanding of the modern world, and one which has survived, often through the modern fascination with ‘heritage’ as well as through its incorporation into new postcolonial arrangements.

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.

Der Blaue Reiter and its legacies
Author: Dorothy Price

This book presents new research on the histories and legacies of the German Expressionist group, Der Blaue Reiter, the founding force behind modernist abstraction. For the first time Der Blaue Reiter is subjected to a variety of novel inter-disciplinary perspectives, ranging from a philosophical enquiry into its language and visual perception, to analyses of its gender dynamics, its reception at different historical junctures throughout the twentieth century, and its legacies for post-colonial aesthetic practices. The volume offers a new perspective on familiar aspects of Expressionism and abstraction, taking seriously the inheritance of modernism for the twenty-first century in ways that will help to recalibrate the field of Expressionist studies for future scholarship. Der Blaue Reiter still matters, the contributors argue, because the legacies of abstraction are still being debated by artists, writers, philosophers and cultural theorists today.

From Burke’s Philosophical Enquiry to British Romantic art
Author: Hélène Ibata

The challenge of the sublime argues that the unprecedented visual inventiveness of the Romantic period in Britain could be seen as a response to theories of the sublime, more specifically to Edmund Burke’s Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (1757). While it is widely accepted that the Enquiry contributed to shaping the thematics of terror that became fashionable in British art from the 1770s, this book contends that its influence was of even greater consequence, paradoxically because of Burke’s conviction that the visual arts were incapable of conveying the sublime. His argument that the sublime was beyond the reach of painting, because of the mimetic nature of visual representation, directly or indirectly incited visual artists to explore not just new themes, but also new compositional strategies and even new or undeveloped pictorial and graphic media, such as the panorama, book illustrations and capricci. More significantly, it began to call into question mimetic representational models, causing artists to reflect about the presentation of the unpresentable and the inadequacy of their endeavours, and thus drawing attention to the process of artistic production itself, rather than the finished artwork. By revisiting the links between eighteenth-century aesthetic theory and visual practices, The challenge of the sublime establishes new interdisciplinary connections which address researchers in the fields of art history, cultural studies and aesthetics.

John M. MacKenzie

‘Saracenic’ elements. The real apogee of the style was achieved in Madras where a whole range of public buildings running along the sea front were built to reflect it, including the University Senate House, the Board of Revenue (based on an older palace of the Nawab of the Carnatic), Victoria Public Hall, Presidency College and supremely, the Law Courts. Nearby, the Government Museum and the railway station in Egmore were also major examples. Indian princes were sometimes enamoured of the style and often commissioned it for new palaces and other buildings, though some

in The British Empire through buildings
Kate Nichols and Sarah Victoria Turner

decorative artist has put his last touches to its ornaments, and it is filled with “gems rich and rare” from the four quarters of the world, one can only imagine: we must wait to see’, wrote a commentator in the Art Journal.15 Anticipation ran high in the lead-up to the Palace’s opening, ‘what is to become of the crystal palace?’ 7 and the press presented it as a site worthy of pilgrimage. Alighting at the newly completed Low Level railway station, the Crystal Palace experience began before entering the building. Eager visitors peering through the train windows for a

in After 1851
Abstract only
Jonathon Shears

they respectively belonged, and organised for the occasion into companies like a regiment of militia. They paid 1s. 6d. each towards the expenses of the trip, the rest being defrayed by the gentry of the neighbourhood; and, notwithstanding the weather, they were conveyed to the Exhibition and back again to their homes in a very expeditious manner, and with the utmost care for their comfort. The railway station was reached by wagons and from London-bridge terminus to Westminster they were brought up by steamer. Thence, after seeing Westminster-hall, they proceeded on

in The Great Exhibition, 1851
Abstract only
John M. MacKenzie

the social history of railway stations and museums as specific building types, and on the environmental and scientific aspects of Christian missions.4 Interests later moved on to the significance of the different ethnic fragments of the United Kingdom and on the need to analyse the British Empire in terms of the ‘four nations’.5 This has a definite connection with the built environment since the various British ethnicities were known for different skills sets, a variety of architectural traditions and a range of activities in the field. The themes represented in

in The British Empire through buildings
Regina Lee Blaszczyk

1.1 Exterior of the Coloured Cloth Hall, Leeds, 1850. Author’s collection: The Land We Live In , vol. 3 (London: Charles Knight, 1850), 116. Completed in 1757, the Coloured Cloth Hall sat opposite Wellington Station, the passenger depot for the Midland Railway. Also known as the Mixed Cloth Hall, it was an assemblage of red brick buildings that housed nearly 1,800 clothiers’ stalls, each marked with the owner’s name, arranged around six ‘streets’ or pedestrian walkways with names such as ‘Change Alley’ and ‘Cheapside’, the latter thus called after

in Fashionability