China: the Sonic Avant-Garde, 1-2 (2005-2006) [Chinese]

“This not-to-be-missed webzine about Chinese sound art is the endeavor by some of the key figures of the scene (sic, XU Cheng, etc.).

The first issue features a long interview of Dajuin Yao, the most important driving force/entrepreneur of Chinese new music, a must-read Autechre interview translated from Japanese (originally published on the Japanese magazine FADE) by Taiwan sound artist Wolfenstein, tips on field-recording by WANG Changcun and Dajuin Yao, and LI Jianhong, Ronez’s account of their latest albums.

The design job was done by XU Cheng, who’s also a designer and is responsible for artworks of many Chinese experimental releases.” (via Lawrence R.Y. LI’s blog Global Noise Offline)

Editorial staff: CHEN Wei, XU Cheng, ZHANG Liming

Publisher (from Internet Archive)

Issue 1 (updated on 2017-11-29)
Issue 2 (updated on 2017-11-29)

LCD (Lowest Common Denominator), 18-27 (1997-2001)

“Named the best radio station in America by Rolling Stone magazine four years running, WFMU is considered the alternative radio station. The New York-area noncommercial, free-form station features programming ranging from pure rock and roll to flat-out uncategorizable strangeness such as cooking instructions, off-kilter kids’ music, and spoken-word mash-ups. LCD (Lowest Common Denominator), the station’s program guide–begun in 1986 as a visual counterpart to WFMU’s oddball programming–was a wicked cocktail of satire, cultural news, alternative history, and provocative artwork that quickly gained noteriety and earned its own devoted cult following.”

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Adalaide Kirby Morris (ed.): Sound States: Innovative Poetics and Acoustical Technologies (1997)

By investigating the relationship between acoustical technologies and twentieth-century experimental poetics, this collection, with an accompanying compact disc, aims to ‘turn up the volume’ on printed works and rethink the way we read, hear, and talk about literary texts composed after telephones, phonographs, radios, loudspeakers, microphones, and tape recorders became facts of everyday life.

The collection’s twelve essays focus on earplay in texts by James Joyce, Ezra Pound, H.D., Samuel Beckett, William Burroughs, Amiri Baraka, Bob Kaufman, Robert Duncan, and Kamau Brathwaite and in performances by John Cage, Caribbean DJ-poets, and Cecil Taylor. From the early twentieth-century soundscapes of Futurist and Dadaist ‘sonosphers’ to Henri Chopin’s electroacoustical audio-poämes, the authors argue, these states of sound make bold but wavering statements–statements held only partially in check by meaning. The accompanying CD offers soundtracks of early radio sounds, poetry readings, Dada cabaret performances, jazzoetry, audiopoems, and contemporary Caribbean DJ dub poetry.

The contributors are Loretta Collins, James A. Connor, Michael Davidson, N. Katherine Hayles, Nathaniel Mackey, Steve McCaffery, Alec McHoul, Toby Miller, Adalaide Morris, Fred Moten, Marjorie Perloff, Jed Rasula, and Garrett Stewart.

Publisher University of North Carolina Press, 1997
ISBN 0807846708, 9780807846704
349 pages

publisher
google books

PDF (no OCR; updated on 2012-8-3)