- SBCAST STUDIO E
Date: 6-9PM February 17
Location: SBCAST STUDIO E (http://sbcast.org/)
An evening of discussion and performance exploring the recent rise of transAsian experimental music networks in an emergent global circulation of new sound art, electronic and improvisational forms, and new media.
If we agree that any creative acts and events are first of all a response to one’s immediate physical and spiritual living environment, China’s sound practice - including experimental music and sound art -- could thus be considered immediate or reflexive responses through the medium of sound to their living contexts. From the late 1990s till today, China’s sound practice has been developing in an increasingly globalized social-economic-aesthetic environment, receiving attentions and investments from the art world, music industry and cultural institutes. However, there has been an ambiguous attitude from the public about its legitimate artistic and academic status. In this talk, I will discuss the brief history of sound practice in China, its current situations, and its major thematic threads.
Academically trained in performance studies, Adel Jing Wang received her Ph.D. from the School of Interdisciplinary Art at Ohio University, and is currently an associate professor in the College of Media and International Culture at Zhejiang University. Her book Sound and Affect: An Anthropology of China’s Sound Practice (Zhejiang University Press, 2015) explores the concepts of freedom, affect and sound through anthropological research on China’s sound culture. She has published in academic journals including Leonardo, Leonardo Music Journal, Journal of Popular Music Studies, and International Review of Qualitative Research. Her current research focuses on sound studies, sensory studies, performance studies, and anthropological methods. She works with field-recordings, radio art and recently sound theater, and has organized more than 20 sound events in the city of Hangzhou from 2013 to 2015. From 2013 to 2014, she served as the academic curator of the monthly year–long series “Savaka: Asia Experimental Music Currents” at Rockbund Art Museum, Shanghai. In January 2015, she founded The Sound Lab at College of Media and International Culture at Zhejiang University. http://www.sonorouspresence.org
Live Performance: James Fei & Kato Hideki
James Fei (b. Taipei, Taiwan) moved to the US in 1992 to study electrical engineering; he has taught at Mills College in Oakland since 2006, where he is Associate Professor of Electronic Arts. He is active as a composer and performer on saxophones and live electronics. Works by Fei have been performed by the Bang on a Can All-Stars, Orchestra of the S.E.M. Ensemble, MATA Micro Orchestra and Noord-Hollands Philharmonisch Orkest. Recordings can be found on Leo Records, Improvised Music from Japan, CRI, Krabbesholm and Organized Sound. Fei received the Grants for Artists Award from the Foundation for Contemporary Arts in 2014. www.jamesfei.com
Kato Hideki (Kato: family name; Hideki: given) is a musician, composer & producer who lives in Brooklyn, NYC. His music is often based on narrative elements and topical issues, with a wide range of forms and sounds. His own projects are: Death Ambient with Ikue Mori & Fred Frith; Green Zone with Otomo Yoshihide and Uemura Masahiro; Tremolo of Joy with Charles Burnham, Briggan Krauss, Ed Tomney & Calvin Weston; OMNI with Nakamura Toshimaru and Akiyama Tesuji; Plastic Spoon with Karen Mantler, Douglas Wieselman & Shahzad Ismaily; and the solo works Hope & Despair and Turbulent Zone. As a bassist, he has worked with Eyvind Kang, Karen Mantler, Zeena Parkings, Jim Pugliese, Marc Ribot and John Zorn among many others. Collaborators include Nicolas Collins, James Fei, John King, Christian Marclay & Ursula Scherrer. http://www.katohideki.com
This event is organized by the Center for the Interdisciplinary Study of Music and the East Asia Center, with cosponsorship by Center for Taiwan Studies, L&S, EALCS, English, Film & Media Studies, MAT, and the ISF Shinto Studies Chair.