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.

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.

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.

Includes University catalogues, President's report, Financial report, registers, announcement material, etc.

“The Rules of Poetry” is a brand new collection of classic essays on the subject of poetics written by various seminal poets, including D. H. Lawrence, H. P. Lovecraft, Percy Bysshe Shelley, and others. Offering expert insights into the theory of poetry by some of the field's most famous contributors, this volume is not to be missed by avid readers and writers of poetry alike. Contents include: “An Essay of Dramatic Poesy, by John Dryden”, “An Essay on Criticism, by Alexander Pope”, “On Poetry in General, by William Hazlitt”, “The Four Ages of Poetry, by Thomas Love Peacock”, “A Defence of Poetry, by Percy Bysshe Shelley”, “The Poet, by Ralph Waldo Emerson”, “A Dialogue, by Margaret Fuller”, “The Philosophy Of Composition, by Edgar A. Poe”, “The Study of Poetry, by Matthew Arnold”, etc. Read & Co. Great Essays is publishing this brand new collection of classic essays now for a new generation of readers and writers.

Chu Hsi (1130-1200) exerted a lasting influence on the thought and life of the Chinese in subsequent cent. The core of his synthesis was moral and social philosophy, but it also included knowledge about the natural world. His doctrine of ke-wu (invest. of things) made him mindful of the specialized knowledged in such "scientific" traditions as astronomy, harmonics, med., etc. This study of Chu Hsi's thought gives a systematic account of the basic concepts of his natural philosophy. Also discusses Chu Hsi's actual knowledge about the natural world. And examines the relation between Chu Hsi and Chinese "scientific" traditions and compares his natural knowledge with that of the Western scientific tradition.