Papers by Weida Wang
FORTUNEART, 2021
美国声音装置艺术家克里斯蒂安・马克雷(Christian Marclay)在波士顿艺术与设计学院学习期间，就对表演艺术和朋克摇滚同时产生了兴趣。他当时的创作理念受到维托·阿肯西（Vito Acc... more 美国声音装置艺术家克里斯蒂安・马克雷(Christian Marclay)在波士顿艺术与设计学院学习期间，就对表演艺术和朋克摇滚同时产生了兴趣。他当时的创作理念受到维托·阿肯西（Vito Acconci）和博伊斯（Joseph Beuys）等艺术家的影响，再加上被朋克摇滚所释放的巨大政治文化能量所吸引，极大地形塑了他未来的艺术创作走向。最有趣的是，马克雷发现了视觉艺术与音乐两者之间存在着一种微妙的关联性——虽然他当时是进入以视觉艺术为中心的艺术学校学习，但却选择了制作音乐作为其艺术生命的起始点，因为他觉得音乐世界比艺术世界要花费更多的精力去探索，并且觉察到音乐的声音艺术特质以及其与群聚效应政治性的联系具有一种“视觉化”的可能性。
Resonance: The Journal of Sound and Culture, 2023
Under the pressure of the political environment, Chinese immigrant communities of a new sort have... more Under the pressure of the political environment, Chinese immigrant communities of a new sort have had to form in the UK. From 2020 to 2022, strict COVID-19 policies enforced by the Chinese government left a large number of Chinese nationals stranded overseas. Concurrently, the political conflicts in Hong Kong since 2019 and shifting geopolitical dynamics in China prompted a significant influx of Hong Kong citizens emigrating to the UK. Within this context, soundwork has emerged as a powerful implement for shaping ideology, aesthetics, identity, and subjectivity in these immigrant and diaspora communities. Amid these challenges, ethnic Chinese sound artists based in the UK actively contribute to the construction of Sinophone communities, incorporating the local culture while challenging the homogenized concept of "Chineseness" in terms of a new, critical epistemology. These Sinophone communities take place in venues such as performance spaces, art galleries, and public areas. Artistic activism plays a pivotal role, with sound art serving as a potent medium of expression. Artists such as Chris Zhongtian Yuan, Bo Choy, Yarli Allison, and On Yee Lo employ various forms of artistic expression, including video arts, installations, films, and performances, to capture the political circumstances and psychological states of these communities. By drawing on theoretical frameworks from Sinophone theory and sound studies, this paper analyzes the soundworks of four artists of the Chinese ethnic or Hong Kong diaspora based in London, focusing particularly on the protest, storytelling, ritual, resistance, nostalgia, and mythological elements in their works' sonic effects.
Perrotin Gallery, 2021
As he thus “sticks” music to canvas, Hildebrandt seeks to visualize the music. Tape, of course, i... more As he thus “sticks” music to canvas, Hildebrandt seeks to visualize the music. Tape, of course, is akin to the equally analog vinyl medium. When they were the media of audio recording, these analog media embodied temporality. By recording single songs that he likes over and over again on the tapes, Hildebrandt stimulates a reflective nostalgia for the song stirred to his memory.
Perfect Beat：The Asia-Pacific Journal of Research into Contemporary Music and Popular Culture, 2021
As the first country to experience the outbreak of COVID-19, China's music industry reacted quick... more As the first country to experience the outbreak of COVID-19, China's music industry reacted quickly to the change of the musical context. On 10 March 2020, China's biggest music company Tencent Music Entertainment Group announced the launch of its music livestreaming concert brand-TME Live. It is understood that through its online live concerts, TME Live uses multi-scenario, innovative performance and digital audiovisual technology to create a panoramic environment for online musical performances, through which TME Live connects musicians and communities of fans. Through this model, Tencent Music Entertainment Group provides musicians with a full range of services, including customized performance styles and an immersive performing experience. Without the impact of Western dominated social media, China's online music streaming platforms have developed their own biopolitical logics and characteristics in building up online music community and data connectivity. With the case study of TME Live, this article sets out to investigate how China's major online music streaming platform survives, transforms and adapts in light of the COVID-19 pandemic.
Q Magazine, Jul 2020
日本京都学派哲学家西谷启治曾说过 :“虚无，或 相对的虚无，只能通过被激进化到空虚，或绝对 虚无来克服。”如同非洲未来主义源自往返于连接 非洲与美洲大陆之间大西洋的船只，《堡垒之夜》 则提供了一... more 日本京都学派哲学家西谷启治曾说过 :“虚无，或 相对的虚无，只能通过被激进化到空虚，或绝对 虚无来克服。”如同非洲未来主义源自往返于连接 非洲与美洲大陆之间大西洋的船只，《堡垒之夜》 则提供了一条穿越现实世界与虚拟世界的通道。 特拉维斯搭乘着宇宙飞船降落到了游戏的世界， 在一个虚拟世界中举行了全球直播演唱会。
Fortuneart, 2020
周杰伦的“幽灵学”是场景化的。根据马克·费谢尔所述，“音乐幽灵学”这个概念本身就是一种关于本体论的建构过程。和“怀旧主义”不同的是，它更强调“过去”对“未来”的构建，而不是当下的“现在”。“幽灵... more 周杰伦的“幽灵学”是场景化的。根据马克·费谢尔所述，“音乐幽灵学”这个概念本身就是一种关于本体论的建构过程。和“怀旧主义”不同的是，它更强调“过去”对“未来”的构建，而不是当下的“现在”。“幽灵学”在音乐形式上所指涉的是不属于任何时代的形式，这种形式预示着一个“不会到来”的未来；“过去”，也不是真正的过去，而是添加了刺激性佐料的过去。
Fortuneart, 2020
齐泽克在其著作《意识形态的崇高客体》(The Sublime Object of Ideology )中，提到了梦境 与商品之间的关系。他发现隐藏在商品(马克 思)和梦(弗洛伊德)之间似乎存在某... more 齐泽克在其著作《意识形态的崇高客体》(The Sublime Object of Ideology )中，提到了梦境 与商品之间的关系。他发现隐藏在商品(马克 思)和梦(弗洛伊德)之间似乎存在某种相互 联系着的微妙的“内核”(kernel)。 商品内 容的核心是劳动，其潜在含义是梦，而由“梦” 衍生出的物品和商品形式本身是需要被分析的。 阿尔轩一直所为之努力的，是针对于未来主义 形式(“幻觉”或“梦”)的挖掘，再使其呈 现在社交平台的虚拟世界和现实的艺术空间中， 并通过数字媒介画面来传达一瞬而逝的视觉刺 激，使得商品和梦境(幻觉)之间所存在的同 源性被激发出来。这种形而上的美学架构为丹 尼尔 • 阿尔轩的作品在艺术与潮流物品之间， 找到了归宿。
Fortuneart, 2020
灾难, 会引起升华的唯物主义末世论去取代所有形式的理性主义目的论
——当人类开始为喘息而挣扎的时候， 资本主义停止了。
《思逸》| Siyi Journal by Weida Wang
Thesis Chapters by Weida Wang
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Papers by Weida Wang
《思逸》| Siyi Journal by Weida Wang
Thesis Chapters by Weida Wang