This is the second in a series of posts recording my efforts to organise and present my research archive of publications related to experimental music and sound art from Mainland China and Hong Kong. Today’s post brings us up to date with the current selection on display. These are the most recent items received for the archive, some old, some new, with a little background to each item.
Continue readingCategory: China
24-03-08 Archive Display #1 – International Women’s Day 2024
This is the first in what will be an ongoing series of posts recording my efforts to organise and present my research archive of publications related to experimental music and sound art from Mainland China and Hong Kong. Today’s post is a catalogue of the first display which was inspired by International Women’s Day in March 2024, and includes a selection of female artists.
Continue readinginterview with Zhou Pei aka Ronez

Back in 2003, in an ecstatic review of the Sounding Beijing festival for The Wire magazine, Steve Barker wrote about a “stone-killer electro-nerd star” named Zhou Pei , and in 2017 Yan Jun’s history of experimental music in China recorded that Zhou’s music was “amateur electronica/avant-pop” . Zhou has therefore been active since the very early days of experimental electronic music in China, and continues to perform and release material under a series of artist names, including Ronez, Karassage, and OddChordSpace, reflecting the diverse styles of sound he is producing. Zhou, however, still considers himself an “outsider” artist, living in Guilin city, in South China’s Guangxi Province, away from the major conurbations where experimental music has usually been found in China, so I got in touch with him by email to ask about his music and life in experimental music.
Continue readingSilence or Circumspection in Sound Practices in China
Author: Edward Sanderson
Abstract
In this text I will be arguing for the significance of silence or circumspection as a form of active disengagement. In particular I will be looking at this as an artistic tactic, focusing on sound art or experimental music practices that display such tactics as a matter of choice or necessity. These forms of practice will be related to historically situated practices that have taken various approaches to avoid confrontation while nevertheless asserting their presence in relation to specific social issues. I will be proposing that such practices institute new relationships between an artist and their audience that may open up the potential for new social and political effects.
Keywords
Sound art, experimental music, pragmatism, withdrawal.
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