top of page

CVSZ x CAC | Techno-culture:Wireless Media Cosmology in China

CVSZ x CAC | 技术文化:中国无线电宇宙论

Registration is Closed
See other events
CVSZ x CAC | Techno-culture:Wireless Media Cosmology in China
CVSZ x CAC | Techno-culture:Wireless Media Cosmology in China

Time & Location

May 13, 2021, 9:00 PM GMT+8 – May 14, 2021, 11:00 PM GMT+8

Zoom Meeting

About the Event

CVSZ 2021 Spring Season — CVSZ x CAC | 技术文化:中国无线电宇宙论

CVSZ x CAC | Techno-culture:Wireless Media Cosmology in China


Beijing Time May 13th 9:00pm--11:00pm



Meeting Number:899 862 3159

YouTube Live

Bilibili Live


Zhou Pengan, Cao XueFei, CAC

Guest Speaker:

Haroon Mirza, Anna Greenspan, Francesca Tarocco

Online Panel Synopsis:

In ancient China, religious cosmology had an impact on social order. People live in accordance with the laws of nature, explaining natural phenomena in folkloric framework. Meanwhile, it is also a political theology to maintain social order and hierarchy. Chinese Ancient astronomy and technology are also based on a practical way, and failed to achieve qualitatively scientific breakthroughs. Inventions such as the compass (Sinan) and gunpowder spread to the West, inspiring scientists on the Atlantic coast -- the atmosphere could be analyzed into chemical elements, and mysterious electromagnetic waves were objective and uncovered. A series of scientific discoveries and practices in the 19th and 20th centuries, such as vacuum experiments, electromagnetic induction experiments, electrical lighting, and radio communication, mirrored the Age of Enlightenment and shook religion-dominated understandings of the world. This is also the primary indicator of modernization. At that time, the globalization of colonization in return, reacted against the dominance of Confucianism, Taoism and Buddhism, and cultures in Shamanism, Western religions, and other folk customs.

In 1899, the Qing government began to install wireless transmitters on forts and warships in Guangzhou for military command and deployment. This was a prelude to the implementation of radio technology in China.The Boxer Rebellion(1900) had a strong impact on the conservative  Qing court reluctant to technological and social changes. Many modern technologies were more widely accepted by Chinese people during the New Deal of the late Qing Dynasty, launched for self-protection. In 1905, Yuan Shikai opened a radio training class in Tianjin, and the Chinese army began to systematically train radio talents and use radio technology.

In order to catch up with the "backward century", these new technologies, especially radio, developed in China almost at the same pace as the world. In November 1920, KDKA in Pittsburgh became the first radio station in the world, and only two years and two months later, in January 1923, China Radio Corporation Radio, a mainland newspaper set up by American businessmen, began broadcasting. Meanwhile, the local broadcasting of Chinese people was also brewing. In February 1923, the broadcasting experiment of Liu Han, "the father of Chinese broadcasting", achieved success in Harbin. In 1926, Harbin Radio Station began broadcasting, becoming the first radio station operated by a Chinese.

These radio developments in the early Republic of China also gave birth to a more modern, non-folkloric mass culture, with the emergence of a group of radio hobbyists. In the Collections of Rare Publications of Chinese Ham Radio from 1928 to 1949 shared by CRAC, we can have a glimpse of the active situation of the amateur radio community in the Republic of China period and explore the radio meme/fandom in the early stage of China's modernization.

A meme from Audiophile, for example, widely spread that different types of power plants will bring different effects for audio equipment: "hydropower cold, thermal power warm, nuclear power hard, Xinjiang Aksu wind power, loose and mellow.""And the origins of this joke can be traced back to early hobbyists discussing the different types of batteries used in radio equipment. In the Radio Question and Answer Journal in 1932, a fan asked: "A power with dry electricity, whether the sound is louder than hydropower."

Behind the techno fever were the rumblings of world war, the radio waves of "national boundaries", and a revolution in religious cosmology. Confucian, Taoist and folkloric views of nature were regarded as ‘superstition’, while radio technology connects humans to the sky in a modern sense.

Modernization includes transnational construction and global distribution of limited resources by different countries and authorities, as well as the excavation in a planetary scale. It is an unstoppable international war, wrapped in mass information. For example, radio is widely used for military communications and political propaganda. Chinese film The Eternal Wave (1958) tells the story of the confidential radio work of the Party members during the Sino-Japanese War. The film also represents the way political education was conducted after the founding of the People's Republic: convey collective consciousness through broadcasting.

On April 24, 1970, China successfully launched its first artificial satellite. The ladder to the sky was extended further. Fabulous news was spread by posters, films, and radio, extending the antennas to every family and community. Villagers came out from narrow rooms and gathered in spacious public sites, listening to the triumph on the radio and staring at the sky for this moment. Events were synchronized in commemoration: China had finally caught up with the space race and filled the void of collective worship.

Along the characteristic socialist road, the voice of collective worship turns to individual daily life. Superstitions that had been knocked down after the founding of the People's Republic also revived. In CVSZ Issue77Cold War Cybernetics: Information Fantasy and Power Stratification, we introduced the "Qigong fever" in China in the late Cold War. This collective illusion also reflects a new way of life for individuals: our bodies and society are connected with radio technology. Since the 1990s, personal radio communication has profoundly changed the daily life of Chinese people. From "holding a cell phone in hand and carrying a BB machine on the waist" to "holding a small smart phone in hand and standing in the wind and rain", operating wireless communication technology is no longer the patent of a few professionals, but has become a part of the daily life of many people.The emergence of wireless local area networks, smart phones and high-speed mobile networks has also profoundly affected the shape of Chinese technology and Internet industry.

Guest Speaker Introduction:

Haroon Mirza

Haroon Mirza (b. 1977, London) has won international acclaim for installations that test the interplay and friction between sound and light waves and electric current. An advocate of interference (in the sense of electro-acoustic or radio disruption), he creates situations that purposefully cross wires. He describes his role as a composer, manipulating electricity, a live, invisible and volatile phenomenon, to make it dance to a different tune and calling on instruments as varied as household electronics, vinyl and turntables, LEDs, furniture, video footage and existing artworks to behave differently. Processes are left exposed and sounds occupy space in an unruly way, testing codes of conduct and charging the atmosphere. Mirza asks us to reconsider the perceptual distinctions between noise, sound and music, and draws into question the categorisation of cultural forms. "All music is organised sound or organised noise," he says. "So as long as you’re organising acoustic material, it’s just the perception and the context that defines it as music or noise or sound or just a nuisance" (2013).

Anna Greenspan

Anna Greenspan is an Assistant Professor of Contemporary Global Media, NYU Shanghai; Global Network Assistant Professor, NYU. She holds a PhD in Continental Philosophy from Warwick University, UK. While at Warwick, Anna was a founding member of the Cybernetic Culture Research Unit (CCRU). Her research focuses on urban China and emerging media. Anna was the co-founder of the Shanghai Studies Society as well as the research hub Hacked Matter. She also runs a digital humanities project, Moveable Feasts, that maps Shanghai’s street food. Her latest book Shanghai Future: Modernity Remade was published by Oxford University Press in 2014. Anna is currently working on a book on China and the Wireless Wave. She maintains a personal website at

Francesca Tarocco

Francesca Tarocco is an Associate Professor at Ca’ Foscari University of Venice and a Visiting Associate Professor of Buddhist Cultures at NYU Shanghai. She is a scholar of Chinese Buddhism, visual and material culture and the author of The Cultural Practices of Modern Chinese Buddhism and of Altar Modern: Buddhism and Technology in the Chinese World (forthcoming). Tarocco is the co-founder and director of the international research initiative Shanghai Studies Society and a fellow of the Critical Collaborations network at the Institute for Advanced Study (NYU). She is the recipient of awards from the Leverhulme Trust, the Sutasoma Foundation and the Chinese Ministry of Education, among many others. Tarocco is a frequent contributor to multiple exhibition catalogues and art magazines.

CVSZ x CAC | 技术文化:中国无线电宇宙论


5月2日北京时间GMT 9:00pm--11:00pm



加入 Zoom 会议

会议号:899 862 3159





哈伦·米尔扎(Haroon Mirza)

安娜·格林斯潘(Anna Greenspan)

弗朗西斯卡·塔罗科(Francesca Tarocco)


单元策划:曹雪菲 | 本期编辑:曹雪菲

✦出品人: 徐頔 |  研究室主任: 翁静妍













本次,CVSZ与新时线媒体艺术中心合作的线上讨论会将从艺术家哈伦·米尔扎(Haroon Mirza)的创作分享开始,探讨声音、光波与电流之间的相互作用;并通过上海纽约大学交互媒体艺术系教授安娜·格林斯潘(Anna Greenspan)对于无线电技术在亚洲哲学中的意义之分析,思考亚洲城市、新兴技术与人之间的互动关系;视觉与媒体文化学者弗朗西斯卡·塔罗科(Francesca Tarocco)亦将介绍技术佛教(techno-buddalism)作为一种视觉文化的研究。软件工程师、复古计算研究者周蓬岸作为中文母语研究者,将与上述学者一同探讨无线通信技术在中国背景下发展的叙事性与可能性。


哈伦·米尔扎(Haroon Mirza)


安娜·格林斯潘(Anna Greenspan)

安娜·格林斯潘现任上海纽约大学当代全球媒体助理教授,纽约大学全球特聘助理教授。Greenspan教授在英国华威大学获得哲学博士学位。在华威大学就读博士期间,Greenspan教授曾是“控制论文化研究组”的创始人。她的研究方向为中国城市与新媒体。她是“上海研究协会”(Shanghai Studies Society)和Hacked Matter研究中心的联合创始人。Greenspan教授目前正主持一项名为“移动的盛宴”的数字人文研究项目,意在绘出 。她近期著有《上海的未来:现代性重塑》(Shanghai Future: Modernity Remade)一书,2014年由牛津大学出版社出版。Greenspan教授目前正在撰写一本关于中国和无限网络浪潮的学术著作。Greenspan教授的个人网站为

弗朗西斯卡·塔罗科( Francesca Tarocco)

弗朗西斯卡·塔罗科现任上海纽约大学佛教文化访问副教授。加入上海纽约大学前,她曾任英国曼切斯特大学佛学研究讲师和Leverhulme Trust中国历史研究员。塔罗科教授在伦敦大学东方与非洲研究学院获得博士学位,在威尼斯大学获得硕士学位。 塔罗科是中国佛教、视觉和物质文化的学者,著有Cultural Practices of Modern Chinese Buddhism 以及Altar Modern: Buddhism and Technology in the Chinese World (即将出版)。她也是国际研究计划“上海研究学会”的联合创始人兼主任,纽约大学全球高等研究院关键性合作工作小组研究员,此前曾获Leverhulme Trust, Sutasoma基金会以及中国教育部等机构授予的奖项。Tarocco教授是当代视觉文化杂志Parkett、Flash Art International和 Frieze的定期撰稿人。



Established in 2013, Chronus Art Center (CAC) is China’s first nonprofit art organization dedicated to the presentation, research / creation and scholarship of media art. CAC with its exhibitions, residency-oriented fellowships, lectures and workshop programs and through its archiving and publishing initiatives, creates a multifaceted and vibrant platform for the discourse, production and dissemination of media art in a global context. CAC is positioned to advance artistic innovation and cultural awareness by critically engaging with media technologies that are transforming and reshaping contemporary experiences.



毕业于伦敦大学金史密斯学院,Conversazione撰稿人。曾撰稿于电影媒体、协助独立影展与电影节策划。现关注全球南方历史与思辨 未来议题,研究方向为地缘政治下的技术与文化,中国城市空间与思想变迁。


  • RSVP




Share This Event

bottom of page