个人简介
艺术人类学者，声音研究学者，声音实践策展人。浙江大学传媒与国际文化学院副教授，博士生导师。MIT人类学访问教授。香港城市大学创意媒体学院访问学者。美国俄亥俄大学跨学科艺术博士，美国俄亥俄大学传播学博士候选人（后转入跨学科艺术继续博士学位），浙江大学环境科学本科，后转入浙江大学外国语言文化与国际交流学院。
出版专著《声音与感受力：中国声音实践的人类学研究》（浙江大学出版社，2017），专著Half Sound,Half Philosophy:Aesthetics,Politics and History of China's Sound Art(Bloomsbury,2021)，在国际学术期刊包括Social Science Research,Representations,Leonardo,Leonardo Music Journal,Journal of Popular Music Studies,Organised Sound等，在国内学术期刊包括《新美术》，《音乐研究》等发表学术论文若干。2014年8月至2018年，与本地艺术家联合创立非盈利民间组织BUS，致力于促成与推广本地及国际实验和先锋艺术活动。2015年1月，在浙江大学传媒与国际文化学院创立“声音实验室”，致力于孵化跨学科声音实验项目。
翻译
2013“声音艺术：起源，发展和模糊性”;（Licht,Alan“Sound art:Origin,Development and Ambiguity”in Organized Sound,Cambridge University Press,2009,14(1):3-10）发表于同济大学出版的期刊《大学与美术馆》。
2013“如何把音乐变成无器官的身体？吉尔•德勒兹和实验电子音乐”(Cox,Christoph.“How Do You Make Music a Body without Organs?Gilles Deleuze and Experimental.”In Soundcultures:Über digitale und elektronische Musik,ed.Marcus S.Kleiner and Achim Szepanski(Frankfurt:Suhrkamp Verlag,2003)in《生产第8辑》汪民安、郭晓彦编辑，江苏人民出版社.(English to Chinese)
书评
Wang,Jing.A Cagian—Deleuzian Encounter in‘the World as Process’,Book review of The Process that is the World:Cage/Deleuze/Events/Performances.”Sound Studies:Interdisciplinary Journal,2018.DOI:10.1080/20551940.2018.1511029
学术交流（讲座报告）
2020.12寒山美术馆苏州的声音地理工作坊，演讲题目“弧线，还是回路？声景还是声境？”。
2020.11浙江大学人文高等研究院“赛博格人类学∶人工生命时代的智识生产”工作坊，演讲题目“声音赛博论”。
2020.10香港科技大学计算媒体与艺术学域研讨会讲座，演讲题目“Acoustic thoughts:sound art with the transcendental,the strange,and the monumental”
2020.04 MIT Anthropology Intellectual Forum,presentation title'utiquitous control-from Cosmic Bell,Loudspeakers to Immanent Drones.'
2019.07中国传媒大学听觉文化论坛会议报告，演讲题目“从国王，巫师，到赛博格：听觉文化的感官人类学备忘录”。
2018.03春之文化基金会“声音想怎样？”系列演讲，“中国声音场景批判”，台北，台湾。
2017.09戏剧与仪式学术研讨会，“剧场中的声音”，浙江大学，杭州。
2017.07当代中国艺术批评中的美学问题国际学术会议，论文题目“重新思考感受式聆听”，浙江大学，杭州
2017.06 Symposium on Digital Formations and Chinese Experiences:Creation,Appropriation,and Circulation,“The Acoustic Uncanny and Possibilities of Transformation in Digital Age China Hysteria:An Acoustic Perspective”,Penn Wharton China Center,Beijing
2017.2-3 Invited talks“Sound and Affect:An Anthropology of China’s Sound Practice,”at three places,including UC,Santa Barbara(2.17);City University of Hong Kong(2.21);The Hopkins China Forum(3.10).
2016.08第七届城市社会论坛，“创变中的城市空间与社区：感官与审美的维度”小组特邀评议人，华东师范大学，上海。
2016.08哥德开放空间系列讲座－“漂流剧场”中的人类学视角，讲座嘉宾，上海。
2016.06 Sound,Affect and Life Improvisation,“生活哲学与现代人类生存”学术研讨会,暨第十三届《哲学分析》论坛,浙江大学，杭州。
2015.12复旦大学“传播与中国复旦论坛：新传播与新关系移动城市”专题论文小组“声音与移动城市”，专题组组长及论文发言者，上海。
2015.11香港浸会大学传理学院,Future Science Leaders Research Workshop。
2015.10.居伊•德波的艺术与时代，讨论会发言，浙江美术馆。
2015.06 Performa’15，Conference on Music and Performance Studies,“Utopian Impulses in China’s Sound Culture:The Raying Temple Subculture Collective”,Portugal.
2015“作为人类学家的艺术家”,讲座,OCAT当代艺术中心上海馆,4月18日。
2014“Utopian Impulses in China’s Sound Culture:The Raying Temple Subculture Collective.”［中国声音文化中的乌托邦情愫：小雷音亚文化集群］Performance Studies International 20,Shanghai Theater Art Academy,China.第20界人类表演学国际大会，上海戏剧学院，中国。
2013“Affective Listening:to China’s Sound Art.”Temporal Shifts,UC Berkeley,California,Feb.1.Guest Speaker.美国加利福尼亚大学伯克利分校，2月1日,特邀发言者。
2012“Reflections on Sound Art and the Crisis of Chinese Contemporary Art.”[反思声音艺术和中国当代艺术的危机]Interdisciplinary Arts Graduate Student Conference,Athens,Ohio,April 14.跨学科艺术会议，俄亥俄州，美国。
2011 Sound Art Theories Symposium 2011,the School of the Art Institute of Chicago,November 5-6.Participant.2011年声音艺术理论研讨会，芝加哥艺术学院，美国。
2011“Thousand Origins of The Field of China’s Experimental Music and Sound Art.”[中国实验音乐与声音艺术的千高原]37th Annual Conference of International Association for the Study of Popular Music-US,Cincinnati,Ohio,March 9-13.第37界国际流行音乐研究年会，俄亥俄州，美国。
2010“Sound Walk:Engaging the Public through Listening and Walking.”[声音行走：通过聆听与行走参与公共]Performance Studies International#16 Performing Publics,Toronto,Canada,June 9-13.国际表演性学研究＃16，多伦多，加拿大。
2010“Freedom in Listening:Depiction of Sound Art in Beijing.”[聆听的自由：北京声音艺术笔记]Berkeley-Stanford Graduate Student Conference in Modern Chinese Humanities,San Francisco,California,April 16-17.伯克利－斯坦福当代中国人文研究生会议，加利福尼亚州，美国。
2009“Returning Native/Returning Other:Entering the Notes of Chinese Independent Art.”[归来的本土人／他者：纪录中国独立艺术]“Deterritorializing and Reterritorializing the Field:Stability,Change,and Ethnographic Identity”panel.National Communication Association,Chicago,Illinois,November 12-15.美国国家传媒大会，伊利诺斯，美国。
2009“Ugly as Beautiful,Death as Life:The Existential Aesthetics of Butoh Dance.”[丑即美，死即生：舞踏艺术的存在美学]International Conference on Art and Terror,Athens,Ohio,May 15-17.艺术与恐惧国际会议，俄亥俄州，美国。
2009“Worlding in the Underworld:Depiction of Chinese Sound Artists.”[地下的创世界：描绘中国声音艺术家]The International Congress of Qualitative Inquiry 2009,University of Illinois,Urbana-Champaign,Illinois,May 20-23.国际质性研究年度会议，伊利诺斯，美国。
2009“Performing Philosophy:That of Love,Myth and Existence.”[表演哲学：爱、神话和存在]The International Congress of Qualitative Inquiry 2009,University of Illinois,Urbana-Champaign,Illinois,May 20-23.国际质性研究年度会议，伊利诺斯，美国。
2008“Portrayal of Geisha Identity in Memoirs of a Geisha.”[艺妓回忆录中的艺妓身份描述问题]The annual meeting of Midwest Popular Culture Association and Midwest American Cultural Association,Cincinnati,Ohio,Oct 3-5.中西部流行文化协会和中西部美国文化协会年度会议，俄亥俄州，美国。
专著Half Sound,Half Philosophy:Aesthetics,Politics and History of China's Sound Art(Bloomsbury,2021)
简介
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.
Reviews
“In this book,WANG Jing offers the reader the unique opportunity to investigate sonic creativity within but mainly outside of academe in China ranging from sound art to experimental and electroacoustic music to DIY culture and electronic instrument building.The historical discussion covers much ground but is not restricted to a multi-strand survey.Key to her approach is the investigation of Chinese cultural and philosophical elements that permeate this substantial body of creative work demonstrating beyond any doubt that experimentalism with sound in China is hardly a simple reflection of developments from other,mainly western countries but is instead largely deeply rooted in Chinese traditions,some ancient,related to sound,to qi and much more.”–Leigh Landy,Director,Institute for Sonic Creativity,De Montfort University,UK
“If sound is qi,resonating,Chinese sound art animated by qi lives in the resonances that arise in the mutating,overlapping atmospheres of state power plays and works of artistic resistance.In this stunning book,Jing Wang audits pieces that mobilize clock hearts,crowd shouts,cybernetic dissonance,and strategic silence to jolt us into an active attention to how violence and defiance are made and born in the ambient sounds of everyday life.”–Stefan Helmreich,Elting E.Morison Professor of Anthropology,MIT,USA
“Half Sound,Half Philosophy is the first major study of Chinese sound art and its affinity to ancient Qi-philosophy,an organic,holistic and enchanted worldview that stands in marked contrast to the commercialism and individualization of post-Mao China.Erudite and being attuned to the subtle play of resonances and the subliminal in the acoustics of Qi,Wang's book is destined to become a classic of sound art scholarship and sound studies more broadly.”–Veit Erlmann,Professor of Ethnomusicology and Anthropology,University of Texas,Austin,USA,and editor of Sound Studies:An Interdisciplinary Journal
“Wang's timely publication is a must read for anyone interested in a transnational perspective on sound.”–Samson Young,artist and composer
“Half Sound,Half Philosophy contributes a uniquely ambitious and essential entry into the emerging literature on sound in East Asia.Wang's rich scholarly analysis extends the core tenets of qi as acoustical thought into a contemporary history of electronic music and sound artists,revealing the deep roots of sonic philosophy in Chinese conceptual and creative practices.”–David Novak,author of Japanoise:Music at the Edge of Circulation
专著《声音与感受力：中国声音实践的人类学研究》,浙江大学出版社，2015年9月。
简介
Sound and Affect:An Anthropology of China’s Sound Practice(Zhejiang University Press,2017)explores the concepts of freedom,affect and sound through anthropological research on China’s sound culture.
本科生课程
声音与新媒体传播，艺术人类学，声音与空间
研究生课程
批判理论与当代艺术实践，研究生论文写作，Music,Art and Youth Culture in Contemporary China
奖励荣誉
2012美国俄亥俄大学跨学科艺术系最佳博士论文奖
2011美国俄亥俄大学研究生协会春季会议基金奖
2010美国俄亥俄大学Student Enhancement Award资助在中国的博士论文田野调查
2010美国俄亥俄大学研究生协会春季会议基金奖
2010美国俄亥俄大学研究生协会冬季会议基金奖
2009美国俄亥俄大学跨学科艺术系Seigfred Award,博士资格考试及教学、研究生课程最佳博士研究生奖
2009美国俄亥俄大学研究生协会原创研究项目奖，资助中国独立音乐文化田野调查项目
2008美国国家传媒大会年度会议最佳论文奖
2006-07美国俄亥俄大学传媒研究学院Judy C.Pearson Graduate Award性别传媒杰出研究奖
2006浙江大学优秀本科生论文奖
会议等活动组织策划
部分
2013组织策划“德勒兹与声音：讲座与音乐会”，2013密集音乐节杭州站，1月8日。
2012参与组织跨学科艺术研究生会议，主办方为俄亥俄大学跨学科艺术学院，4月14日。
2011参与组织与申请项目基金“Sonorous Presence:中美实验音乐合作”。邀请中国三位声音艺术家与两位美国实验音乐艺术家于芝加哥、哥伦布和雅典市进行演出、工作坊交流、与电台采访演出。项目支持方包括Arts for Ohio,School of Interdisciplinary Arts,School of Theater,School of Music,Aesthetic Technologies Lab and Center for International Studies.
近期论文
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2020
Wang,Jing.“Shanshui-thought in Experimental Music Practices:China and Beyond”in Organised Sound 25(3):292–301，2020.A&HCI
2019
Wang,Jing.“Throbbing Crowds:of Dancing Grannies and Acoustic Milieus in Contemporary China”in Social Science Information.April 19,2019.SSCI
2018
Wang,Jing.“On Acoustic Milieus”in Communication and the Public.2018.12.Vol.3(4)283–289.
2017
王婧，“作为艺术媒介的声音：寂静，感受力，与“怪物”奇美拉”,《新美术》，2017.12
Wang,Jing.“Global Sounds and Local Sentiments:A Survey of Improvised Music in Contemporary China”in Critical Studies in Improvisation/études critiques en improvisation,Vol 11,No 1.2017.
editorial:Special Issue of Communication and the Public,“Sound and the Public,”ed.with Marina Peterson(2017.12)
2016
Wang,Jing.“Affective Listening as a Mode of Coexistence:The Case of China’s Sound Practice”in Representations 136,Fall 2016:112-31.SSCI,A&HCI
Wang,Jing.'To Make Sounds Inside of A'Big Can':Proposing a Proper Space for Works of Sound Art'LEONARDO,Vol.49,No.1.2016:38-47.A&HCI
2015
Wang,Jing.“Considering the Politics of Sound Art in China in the 21st Century”in Leonardo Music Journal 25,December 2015.A&HCI
Wang,Jing.“Utopian Impulses in China’s Sound Culture:The Raying Temple Subculture Collective,”The Journal of Popular Music Studies,Vol.25,Issue 1,2015:2-24.A&HCI
2014
Wang,Jing.“Mapping An Existential Territory:An Autoethnogaphy of a Sound Researcher”International Review of Qualitative Research.7.4.2014:486-501.
2012
Wang,Jing.“The Coffee/Café-Scape in Chinese Urban Cities”M/C Journal:A Journal of Media and Culture15.2.,2012
http://journal.media-culture.org.au/index.php/mcjournal/article/viewArticle/468
Wang,Jing.“Affective Listening:China’s Experimental Music and Sound Art Practice”The Journal of Sonic Studies2.2012
http://journal.sonicstudies.org/cgi/t/text/text-idx?c=sonic;sid=228329111373730315c58f57ec4b160c;view=text;idno=m0201a11;rgn=main
2011
王婧.“从起点离开徘徊——中国声音工作者及其他”,《音乐研究》，第四期，2011年7月，第26－35页。
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