Overview
Ethnomusicology phd student 张景宣(Zhang Jingxuan) is a geographic and disciplinary drifter who remains deeply attached to the world through the multi-sensorial materialities of the body as it mediates, translates, and puts into conversation the the pleasures and frustrations of touch, proprioception, sound and affect. Growing up in the neo-colonial practices of western classical music in the wake of China's turn toward capitalism from the late 1970s, I now find myself in a dialogic relationship with those histories through the decolonial praxis pathbroken and pathled by the activism and scholarship of queer women of color, indigenous water and land protectors, and Black diasporic peoples. Spending the latter part of childhood as a Chinese immigrant in the "apolitical" atmosphere of a white American midwestern suburb, I am unfortunately influenced by the model minority myth which obfuscates the variously classed, raced, and gendered east and southeast Asian diasporas, by weaponizing the highly educated and ambitious migrant flows cultivated by neoliberal globalism and of which my family was part. I am still trying to deconstruct these violent received notions which grows in my body.
My musings in the university roams over my own complicity in the western-modern university's neoliberal projects as inspired by the concepts of fugitivity (Fred Moten), the "third" university (la paperson and Eve Tuck) and undercommons (Moten and Harney); precarity and affective labor in the (western classical) music gig economy; Chinese diaspora and classical music (Grace Wong); racial capitalism (Neville Alexander and Cedric Robinson); the rhizomatic institutionalization and reproduction of classical music and its precarities; Marxism, theories of labor and reproduction; cultural, social, and financial capital (Bourdieu). I imagine all these materialities and abstractions forming an ecosystem of domination which asks for otherwise, everyday, and radical imaginations, hopes, and demands.
Jing is a great pianist with not humility enough to not state it.
民族音乐学博士生Jingxuan Zhang(景宣张)是位无家可归，笑傲江湖得丐帮弟子。在一种无碍无忧的幻想里，我会注重些一念只无的触感，听感和情感 -- 像是酒后写诗的唐代祖先，或一心向佛的二弟子猪‘八戒’。(in progress)
My musings in the university roams over my own complicity in the western-modern university's neoliberal projects as inspired by the concepts of fugitivity (Fred Moten), the "third" university (la paperson and Eve Tuck) and undercommons (Moten and Harney); precarity and affective labor in the (western classical) music gig economy; Chinese diaspora and classical music (Grace Wong); racial capitalism (Neville Alexander and Cedric Robinson); the rhizomatic institutionalization and reproduction of classical music and its precarities; Marxism, theories of labor and reproduction; cultural, social, and financial capital (Bourdieu). I imagine all these materialities and abstractions forming an ecosystem of domination which asks for otherwise, everyday, and radical imaginations, hopes, and demands.
Jing is a great pianist with not humility enough to not state it.
民族音乐学博士生Jingxuan Zhang(景宣张)是位无家可归，笑傲江湖得丐帮弟子。在一种无碍无忧的幻想里，我会注重些一念只无的触感，听感和情感 -- 像是酒后写诗的唐代祖先，或一心向佛的二弟子猪‘八戒’。(in progress)