There is no soundtrack amplifies new and radical audio-visual relationships in experimental media art. It addresses the lack of diversity in the study of art, media and sound through careful audition of marginalised voices that speak of race, gender, sexuality, indigeneity, colonialism, nationalism, violence and the politics of space.
There is no soundtrack amplifies new and radical audio-visual relationships in experimental media art. It addresses the lack of diversity in the study of art, media and sound through careful audition of marginalised voices that speak of race, gender, sexuality, indigeneity, colonialism, nationalism, violence and the politics of space.
Ming-Yuen S. Ma is Professor of Media Studies at Pitzer College, a member of the Claremont Colleges
Inhaltsangabe
Prologue: film without images Introduction: rethinking the audio-visual contract 1 Radical otherness: voiceover autoethnography performativity 2 History noise violence: Christian Marclay's Guitar Drag 3 Media soundscapes: listening to installation and performance 4 Sounding a politics of space: acoustic communities aesthetic colonization and sound imperialism Epilogue: notes on acoustic time Index
Prologue: film without images Introduction: rethinking the audio-visual contract 1 Radical otherness: voiceover autoethnography performativity 2 History noise violence: Christian Marclay's Guitar Drag 3 Media soundscapes: listening to installation and performance 4 Sounding a politics of space: acoustic communities aesthetic colonization and sound imperialism Epilogue: notes on acoustic time Index
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