Where is the Field of Field Recording?

Text written to accompany the cassette ‘Beijing 2016–2017’, released on Zoomin’ Nights Recordings, December 2017

zoominnight-beijing_2016-2017

[photo and design by Li Song]

What effect can captured sounds have in the world? What process are we setting in motion by switching on an audio recorder at a certain moment, and then switching it off again after a certain period of time? What is the significance of this act by the holder of the recording machine? What is the significance of the movement from sound as a register of location, to the abstract representation of sounds, to the registration of their playback format as a new location?

All the pieces on this cassette represent cuts out of time, taken from specific locations (in this case, between 2016 and 2017 in the city of Beijing, China).

As snippets of sound, maybe they actually tell us very little, as they are abstracted from their original situation and limited to the single sense of hearing. Yet in themselves it is expected that they provide some minimal description of a place and time; they can be appreciated as a limited reportage of the situations they were recorded in.

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Critical Music 6: Interview with Li Jianhong and Wei Wei

Critical Music series: This series of posts focuses on individuals, groups, or organisations that have played notable roles in the history of critical music practices in China. These practices appear in many different guises, often related to concepts such as “experimental music” or “sound art”, although neither term is entirely satisfactory in describing the practices which often exist in many hybrid forms. My adoption of the term “critical music” (following the writings of G Douglas Barrett) attempts to avoid the limitations of these terms, while highlighting the active nature of the sound component of the practices. These posts will primarily take the form of interviews, each one aiming to place the subject within the general history of critical music practices in China, and contextualise their current practice within their overall development.

Welcome to the sixth interview in this series, and the last for a while. It’s a real pleasure and an honour to be able to publish this interview with Li Jianhong and Wei Wei, the couple who in their various ways have been central figures in the experimental music scene in China for many years. Originally from Hangzhou, Li and Wei Wei were both involved in the music scenes in that city before coming to Beijing around 2011. Since then they have been highly visible with their solo projects as well as performing together under the names Mind Fibre and Vagus Nerve. This interview concentrates on their early musical development, the 2pi Festival that Li founded in Hangzhou in 2003, and their thoughts about improvisation and the state of the experimental music scene in Beijing.

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Critical Music 5: Interview with Ambra Corinti and Rong Guang Rong

Critical Music series: This series of posts focuses on individuals, groups, or organisations that have played notable roles in the history of critical music practices in China. These practices appear in many different guises, often related to concepts such as “experimental music” or “sound art”, although neither term is entirely satisfactory in describing the practices which often exist in many hybrid forms. My adoption of the term “critical music” (following the writings of G Douglas Barrett) attempts to avoid the limitations of these terms, while highlighting the active nature of the sound component of the practices. These posts will primarily take the form of interviews, each one aiming to place the subject within the general history of critical music practices in China, and contextualise their current practice within their overall development.

Welcome to the fifth interview in this series. This is an interview with Rong Guang Rong (A Rong) and Ambra Corinti. In 2010 A Rong and Ambra founded Zajia in Beijing, an influential arts space and bar in the Gulou – a very traditional urban area in the centre of town, characterised by the network of hutong (thin alleyways surrounding the imperial palace in central Beijing). For Zajia, these hutong provided an everyday community setting far from the more or less segregated art districts of Beijing. Zajia became an important hub for experimental music performances, amongst many other things. Its story demonstrates how such physical venues appear and survive, and ultimately how they reach the end of their lives – giving insights into many aspects of how the community and infrastructure for critical music is developing in China. In the latter part of the interview A Rong talks about his activity as a documentary film-maker. He recently won an award at the Rotterdam International Film Festival for his most recent film, and he has various ongoing documentary film projects that will survey experimental music and sound practices in China.

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Critical Music 4: Interview with Zafka (Zhang Anding) (part 2)

Welcome to the second, and final, part of this interview with Zafka (Zhang Anding). Here he discusses China Youthology, the brand consultancy he co-founded, as well as his involvement in Yao Dajuin’s Revolutions Per Minute exhibition of sound art in China, working with the rapper J-Fever, and his recent performance with Sheng Jie for the Pixel Echo series of concerts. Finally Zafka discusses his thoughts on the political significance of sound and the current state of experimental sound in China.

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