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List of contents
Acknowledgements
List of Illustrations
Introduction
1. Sound, Resonance, the Philosophy of Qi
Ancient Chinese Acoustics
The Philosophy of Qi
Sound Explained Through Qi-Philosophy
Conclusion
2. A Brief History of Sound in China’s Contemporary Art
Conditions and Precursors
New Media Art After 2000
Sound Art after 2000
3. A Brief History of Electronic and Experimental Music in China
The Electronic Instrument Builders
Academic Electronic Music: Inauguration
Non-Academic Electronic and Experimental Music
Conclusion
4. Shanshui-Thought in Experimental Music Practice
Shanshui-Thought: An Overview
Shanshui: The Existential and the Epistemological
Making Shanshui-Thought Audible: Two Aesthetic Qualities
Conclusion
5. In Praise of Strange Sounds of the Shamanistic
The Minor Tradition in Ancient Chinese Culture: Shamanism and Chimei Wangliang
Acoustic Cultural Heritage and Nationalism
Huanghu and Its Two Aesthetic Operations of Resonance and Withdrawal
Conclusion
6. Ubiquitous Control: From Cosmic Bell, Loudspeakers to Immanent Humming
Zhang Peili and Anti-monumentality of Sound
Zhang Ding and the Military-entertainment-art Complex
Liu Chuang and the (Im)Possibility of Not Being Governed
Conclusion: Qi-Thinking, or Cybernetics: A way of Going On
Glossary of Terms
Bibliography
Index
About the author
Jing Wang is Associate Professor in the College of Media and International Culture at Zhejiang University. Her current research focuses on sound studies, sensory studies, performance studies, and anthropological methods. Artistically, Jing works with field-recordings. She is an active organizer of sound events and talks in the city of Hangzhou. In January 2015, she founded The Sound Lab at College of Media and International Culture at Zhejiang University.
Summary
From the late 1990s until today, China’s sound practice has been developing in an increasingly globalized socio-political-aesthetic milieu, receiving attentions and investments from the art world, music industry and cultural institutes, with nevertheless, its unique acoustic philosophy remaining silent. This book traces the history of sound practice from contemporary Chinese visual art back in the 1980s, to electronic music, which was introduced as a target of critique in the 1950s, to electronic instrument building fever in the late 1970s and early 1980s, and to the origins of both academic and nonacademic electronic and experimental music activities. This expansive tracing of sound in the arts resonates with another goal of this book, to understand sound and its artistic practice through notions informed by Chinese qi-cosmology and qi-philosophy, including notions of resonance, shanshui (mountains-waters), huanghu (elusiveness and evasiveness), and distributed monumentality and anti-monumentality. By turning back to deep history to learn about the meaning and function of sound and listening in ancient China, the book offers a refreshing understanding of the British sinologist Joseph Needham’s statement that “Chinese acoustics is acoustics of qi.” and expands existing conceptualization of sound art and contemporary music at large.
Foreword
Maps the aesthetic, cultural, and socio-economical networks of a variety of sound practices and discourses in contemporary China.
Additional text
Half Sound, Half Philosophy contributes a uniquely ambitious and essential entry into the emerging literature on sound in East Asia. Wang's rich scholarly analysis extends the core tenets of qi as acoustical thought into a contemporary history of electronic music and sound artists, revealing the deep roots of sonic philosophy in Chinese conceptual and creative practices.
