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.
By:
Professor Jing Wang (Zhejiang University China)
Imprint: Bloomsbury Academic USA
Country of Publication: United States
Dimensions:
Height: 229mm,
Width: 152mm,
Weight: 481g
ISBN: 9781501333484
ISBN 10: 1501333488
Pages: 232
Publication Date: 11 February 2021
Audience:
College/higher education
,
Primary
Format: Hardback
Publisher's Status: Active
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
Jing Wang is Associate Professor in the College of Media and International Culture at Zhejiang University, China. She is an art anthropologist, sound studies scholar, sound event curator. She completed her PhD in the school of Interdisciplinary arts at Ohio University. She was a visiting professor at MIT anthropology (2019-2020). Artistically, Jing (Adel) works with field-recordings and installation-based performance. In January 2015, she founded The Sound Lab at College of Media and International Culture at Zhejiang University.
Reviews for Half Sound, Half Philosophy: Aesthetics, Politics, and History of China's Sound Art
In this book, WANG Jing offers the reader the unique opportunity to investigate sonic creativity within but mainly outside of academe in China ranging from sound art to experimental and electroacoustic music to DIY culture and electronic instrument building. The historical discussion covers much ground but is not restricted to a multi-strand survey. Key to her approach is the investigation of Chinese cultural and philosophical elements that permeate this substantial body of creative work demonstrating beyond any doubt that experimentalism with sound in China is hardly a simple reflection of developments from other, mainly western countries but is instead largely deeply rooted in Chinese traditions, some ancient, related to sound, to qi and much more. * Leigh Landy, Director, Institute for Sonic Creativity, De Montfort University, UK * If sound is qi, resonating, Chinese sound art animated by qi lives in the resonances that arise in the mutating, overlapping atmospheres of state power plays and works of artistic resistance. In this stunning book, Jing Wang audits pieces that mobilize clock hearts, crowd shouts, cybernetic dissonance, and strategic silence to jolt us into an active attention to how violence and defiance are made and born in the ambient sounds of everyday life. * Stefan Helmreich, Elting E. Morison Professor of Anthropology, MIT, USA *
