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Zusatztext 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. Informationen zum Autor 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. Vorwort Maps the aesthetic, cultural, and socio-economical networks of a variety of sound practices and discourses in contemporary China. Zusammenfassung 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. Inhaltsverzeichnis Acknowledgements List of Illustrations Introduction 1. Sound, Resonance, the Philosophy of Qi Ancient Chinese AcousticsThe Philosophy of Qi Sound Explained Through Qi -PhilosophyConclusion2. A Brief History of Sound in China’s Contemporary Art Conditions and Precursors New Media Art After 2000 Sound Art after 20003. A Brief History of Electronic and Experimental Music in China The Electronic Instrument Builders Academic Electronic Music: Inauguration Non-Academic Electronic and Experimental Music Conclusion4. Shanshui -Thought in Experimental Music Practice Shanshui -Thought: An Overview Shanshui : The Existential and the Epistemological Making Shanshui -Thought Audible: Two Aesthetic QualitiesConclusion 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 WithdrawalConclusion6. 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...
