Shuwen QU

Jinan University, School of Journalism &Communication, Faculty Member

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Qu Shuwen has a Ph.D. in Cultural Studies from The Chinese University of Hong Kong. Her research interests include cultural studies, popular music, music technology and communication, and sound studies. Now she is working on the research projects of the platformization of music industry and its impacts on the music production and consumption, and other musical experiences.

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音乐幽灵学的不满与希望[The Discontent and Hope of Music Hauntology]

by Shuwen QU and Xin Wang

中国图书评论, 2024

《我⽣命中的幽灵》是英国⽂化批评家马克·费舍尔的代表作。他通过“幽灵学”与“失去的未来”两个概念，反思了怀旧重复与创新乏力的音乐现象背后的资本主义现实主义的困境和问题。其对幽灵回返的谨慎态度和对... more 《我⽣命中的幽灵》是英国⽂化批评家马克·费舍尔的代表作。他通过“幽灵学”与“失去的未来”两个概念，反思了怀旧重复与创新乏力的音乐现象背后的资本主义现实主义的困境和问题。其对幽灵回返的谨慎态度和对未来的悲观倾向，也引发了“反幽灵学”的批判声音。然⽽，仔细梳理幽灵学的缘起和争辩，会发现幽灵学思考中潜藏着希望线索：即利用幽灵回返与技术加速的合力撕开资本主义现实主义的光滑平面，指认社会创伤、暴露技术诡异性；抑或是在历史幽灵同⼀性重复的切⽚中辨识相似的情感结构和⽂化诉求，激活过去的想象⼒重获得创新潜⼒，从而想象一个更加多元与自由的世界。"Ghosts of My Life" is a representative work by British cultural critic Mark Fisher. Through the concepts of "hauntology" and "lost futures," Fisher reflects on the phenomenon of nostalgic repetition and the lack of innovation in music, addressing the dilemmas and issues of capitalist realism. His cautious attitude towards the return of ghosts and his pessimistic tendencies about the future have also sparked critical voices of "anti-hauntology." However, a closer examination of the origins and debates surrounding hauntology reveals underlying threads of hope: leveraging the combined force of ghostly returns and technological acceleration to tear open the smooth surface of capitalist realism, identifying social traumas, and exposing the uncanny nature of technology; or recognizing similar emotional structures and cultural demands in the repeated slices of historical ghosts, thereby activating the imaginative potential of the past to regain innovative possibilities, and thus imagining a more diverse and free world.

聆听的颠覆性：平台音综《乐队的夏天2》的阴性噪音与声音政治[The Disruptive Nature of Listening: the Feminine Noises and Sound Politics of Platform Music Show The Big Band 2]

文艺理论研究, 2024

摇滚乐是音乐工业非秩序化噪音生产的重地，其中负载着性别主体身份符码的摇滚乐人的歌唱中潜藏着大量性别化的噪音。由平台发起，独立唱片公司与乐人共同参与制作的平台音综《乐夏2》在全面呈现另类噪声的同时... more 摇滚乐是音乐工业非秩序化噪音生产的重地，其中负载着性别主体身份符码的摇滚乐人的歌唱中潜藏着大量性别化的噪音。由平台发起，独立唱片公司与乐人共同参与制作的平台音综《乐夏2》在全面呈现另类噪声的同时创造了不少性别化的“聆听的颠覆性”时刻，为剖析女性乐人的另类发声美学，反思性别秩序与社会意识形态提供了土壤。结合音乐学，性别研究与文化研究理论提出嗓音/发声的阴性噪音分析框架，指出了非韧性的、身体性的阴性噪音再现了位于工业和社会边缘的生命体验和族群历史，是反抗新自由主义韧性生命政治与平滑数字审美的颠覆性声音。不过，仍需留意音综噪音中看似颠覆实则与音乐工业和平台资本同构的伪阴性噪音。 Rock music has been a central space for production of noises in music industries. Rockers’ singing, as bearer of gendered subject identities harbors rich gendered noises. The variety show The Big Band2, launched by Aiqiyi and participated by indie record companies and musicians, offers a contested soundscape of Chinese gendered rock noises that engender moments for “disruptive nature of listening”. This offers a critical lens for examing alternative voicing of female rock singers, and reflecting on gender order and social ideology. Based on theories of musicology, gender studies and cultural studies, this paper raises a voice/voicing theoretical framework to understand feminine noises, and demonstrates that the non-resilient, bodily feminine noises represent living experience and ethnic minorities’ history of those people lingering at the margins of music industries and larger society. Their noises are subversive because they resist resilient biopolitics and smooth digital aesthetics under force of neoliberalism. However, we need to be alert to those seemingly subversive pseudo feminine noises compliant with industry commodification and platform capitalism. Keywords: feminine noise; platform music show; bodily; resilient biopolitics; smooth aesthetics; The Big Band 2

“无家可归，无处可依？”：虾米难民的记忆想象与情动怀旧 [ "No Home to Go to; No World to Be in?": Mnemonic Imagination and Affective Nostalgia of Xiami Refugees]

by Shuwen QU and Min Xu

《国际新闻界》(Chinese Journal of Journalism & Communication), 2024

Research on memory practices has richly discussed representational and archival memory practices,... more Research on memory practices has richly discussed representational and archival memory practices, but has not yet fully analyzed imaginative, non-representational and affective memory practices. This paper analyzes three types of affective mnemonic imagination of Xiami Refugees' "difficulties" and the related affective nostalgic connotations. The mnemonic imagination of daily recommendations demonstrates the affective experience of flipped music discovery and a mediated sense of being-in-the-world. The mnemonic imagination of genre labeling integrates a nonhumancentered world imagery in the recollection of post-rock and ambient music. The mnemonic imagination of playlist and music library demonstrates the affective connection of individual, community, and the platform in the construction of collective vernacular music archiving as well as the public value behind cultural heritage. These three kinds of emotional mnemonic imagination are the momentum of Xiami Refugee's affective nostalgia. What underneath the affective nostalgia of "No home to go to, and no world to be in" is the ethics of hope: clarifying people's longing for online public music life, reflecting on the precarity of mediated being-in-the-world with three strategies to cope with it, relying on residuals of body memory and affective memory to re-explore relational connection with multiple bodies.

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