There is no soundtrack is a study of how sound and image produce meaning in contemporary experimental media art by artists ranging from Chantal Akerman to Nam June Paik to Tanya Tagaq. It contextualises these works and artists through key ideas in sound studies: voice, noise, listening, the soundscape and more. The book argues that experimental media art produces radical and new audio-visual relationships challenging the visually dominated discourses in art, media and the human sciences. In addition to directly addressing what Jonathan Sterne calls ‘visual hegemony’, it also explores the lack of diversity within sound studies by focusing on practitioners from transnational and diverse backgrounds. As such, it contributes to a growing interdisciplinary scholarship, building new, more complex and reverberating frameworks to collectively sonify the study of culture.
Table of Content
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
About the author
Amelia Jones is Robert A. Day Professor of Art and Design and Vice Dean of Critical Studies at the Roski School of Art and Design, University of Southern California
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