EOS Radio kicks off the festival with lectures by Steve Goodman and Carmen Herold and a screening by Tianzhuo Chen.

EOS-06 continues to explore the intertwined paths of club culture and its entanglements with society and economics, fostering discourse and intellectual exchange. Two lectures by Steve Goodman on Audio Virology,and Carmen Herold on Sinotronica, amalgamate viruses rendered audible with digital capitalism, as well as reveal the cultural significance of Chinese influences on (electronic) dub music, and the unsettling effects of derivative concepts like Sinofuturism on China’s current electronic music underground. The lectures conclude with a Q&A session hosted by Patrick Raddatz and a subsequent screening of The Dust (2021), a performance video conceived and directed by Tianzhuo Chen.

Steve Goodman (UK)
Audio Virology

From data sonifications to sonic fictions of contagious music, Audio Virology explores the short history of viruses rendered audible in the context of the current pandemic, and the virality of digital capitalism.

Dr Steve Goodman (aka Kode9) is an artist, writer, DJ and electronic musician. His book Sonic Warfare: Sound, Affect and the Ecology of Fear was published on MIT Press in 2009. In 2019, as a member of AUDINT, he co-edited Unsound: Undead published on Urbanomic Press. His sound installations have been featured at Tate Modern, the Barbican and Arebyte Gallery in London, CAC in Shanghai and more. Steve founded the record label HYPERDUB in 2004 and has released three albums, numerous mix CDs and remixes. He also runs Flatlines, a record label for audio essays, and the London based experimental club events Ø.

Carmen Herold (DE/CN)
Technoculture, Ethnicity and Chinese Pop Music

Techno-orientalist depictions of the Asian other as exceedingly mechanical, robotic, or extraterrestrial, as literary scholar Betsy Huang argues, can not only be attributed to the zenith of 1980s Japan panic but instead must be traced back to the outset of the industrial modernity. Disposed of any subjectivity, Asian coolie laborers were imagined as obedient engines in the name of progressive developmentalism. The fixity of this mode of representation becomes ever more apparent when Asian subjects are constantly and continuously considered to be deprived of any innovative or creative potential.

However, considering Jamaica’s vernacular music culture alone shows that Chinese-Jamaican’s creative contribution was central to the emergence of its creole sonic modernity. Against the backdrop of techno-orientalism’s deindividualizing agenda and discursive perseverance, Carmen Herold evinces why Hakka Chinese involvements in the incipiencies of Jamaican reggae and dub music were repeatedly invisibilized. Drawing on the scholarly insights of Tao Leigh Goffe and Andrew F. Jones, Carmen unsettles ethnocentric inclinations of (electronic) dub music historiographies. Techno-orientalism’s racialization logic will also reveal why conceptual derivatives such as Sinofuturism tend to, once again, efface the cultural significance of China’s current electronic music underground. This is particularly noteworthy since many Chinese producers borrow heavily from the repertoire of syncopated dub rhythms, which expose an idiosyncratic sonic vestige from Shanghai via London all the way to Kingston.

Stemming from this premise, Carmen Herold affirms an understanding of sound, which is divested of ideas and ideals of “nativeness” or “rootedness” in favour of an unsystematic, fractal concept of sound that emphasizes emergence instead of permanence.

Carmen Herold is a cultural theorist, club owner and independent curator currently based in Berlin. Formerly employed in the cultural department of the Goethe-Institut Beijing, Carmen has been intimately engaged in the Sino-German cultural landscape for years. In 2017, she co-founded the electronic music club and cultural space Zhao Dai 招待所 in Beijing, where she oversees all music and culture related projects. Following the venue’s successful establishment, she helped initiate China’s largest independent festival for electronic music as well as the queer cultural platform East Palace West Palace 东宫西宫. Currently, Carmen Herold is terminating her graduate program in which she pursued her academic interest in Chinese popular culture, post-colonial subjectivity and intellectual history. Her publications have been featured in international scientific magazines such as SFRA Review and others.

Tianzhuo Chen (CN)
The Dust / 尘埃

The Dust (2021) presents a performance video that situates farming tools and ceremonial objects as the primary protagonists, while humans remain noticeably absent. The artist’s lens shifts from water-powered prayer wheels to a celestial burial ground, telling a story from the beginning of life, evolution, and blooming desires to perishing bodies, through shots of farming and ceremonial relics.

The video takes on a Sisyphean quality — the tools and relics of worship symbolize the hardships through which humans atone for original sin. A performance without the presence of human figures therefore has no social order. Romances, fights, and disasters never exist, and the only events that take place are those deriving from the original source of everything.

Director: Tianzhuo Chen
Music: 33EMYBW
CGI: Cattin Tsai, Tianzhuo Chen
Text: Oxi Peng, Tianzhuo Chen
Editor & VFX: Ren Xingxing
Camera: Yu Hao, Li Kaiqiang

The EOS-06 daytime programme is moderated by Patrick Raddatz (EOS Radio, Institut für Klangforschung, Robert Johnson Theorie).

← back