Sixth Tone Launched a Newsletter, You Should Sign Up

Radii exists in a constellation of media sites trying to provide an alternative narrative around China that breaks away from the expected, often outdated tropes that tend to be overused in English-language coverage of this place. One kindred publication high up on our own reading list is Sixth Tone, a site launched just over a year ago that aims to cover “issues from the perspectives of those most intimately involved to highlight the nuances and complexities of today’s China.”

They do a great job of that, too. I’m biased, having written a few articles about music for them in the past, but I can generally rely on Sixth Tone to unearth interesting, well-reported stories I don’t see anywhere else in the China-watching Anglosphere. Nuala Lam’s excellent piece on Chinese survivors of the Titanic and Bibek Bhandari’s interview with the architect of “China’s first ‘forest city’” were among my personal highlights over the last few days.

Well, now you can let page-views and algorithmic sorting deliver highlights such as these straight to your inbox, as Sixth Tone has just launched an email newsletter. They say to expect a weekly digest of “news, deep dives, and commentaries [that] give a human perspective on the latest news and trending topics from China.” Neato.

Sign up here.

Photo of the Day: Half-Erased EXAS

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Today’s photo — the last in our weekly series on “handwriting” — depicts a colorful tag by EXAS, one of Beijing’s most ubiquitous street writers, in a process of half-hearted deletion. If you walk around Beijing’s central Gulou neighborhood, EXAS is everywhere: on storefronts, street signs, side-alley stoops. He even has a sticker of his tag for convenient pasting on the run.

I’ve always liked this photo — which I took to accompany a 2013 interview I did with EXAS and the equally ubiquitous ZATO — because it indexes a bit of interactivity. Someone disliked this pink-bordered EXAS enough to throw some industrial-grade solvent at it. But then halfway through they said fuck it and left the tag in situ, still pretty much legible, just now in two distinct tones.

No idea if that thing’s still there. Given central Beijing’s current overhaul, it’s probably gone, converted into a gray blank slate or a pile of red bricks. EXAS himself has spent the last few years studying at an art school in New York, but he tells me he’s just wrapped that up and will be coming back to Beijing in September. Can’t wait to see what fresh ideas he’ll have in store.

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New Fronts in the Battle Over Scholarship and Ideology in China

Earlier this month, the Cambridge University Press (CUP), publisher of the China Quarterly, one of the most important journals for scholarship on Modern China, announced that it was removing 300 articles from its Chinese website following a request from the Press’s partners in China.

Angry academics rarely make the news, but this particular tempest quickly exploded the tea cup, and even though CUP backtracked a week later, the damage had been done.

Intellectual freedom is the bedrock of the academic exercise, at least in theory. But China in the 21st century has created its own gravitational pull, and access to China — whether to its publishing market, or simply for scholars to do research — is treated by the government as a holy sacrament which can be revoked should the resulting scholarship offend the sensibilities of China’s leaders.

Nor are China’s state interests feeling particularly apologetic for putting CUP in this position.

The Global Times — a State-backed paper whose status as “government mouthpiece” is sometimes overblown, but which in this case is expressing sentiments that seem in lockstep with Party leadership — was blunt in their assessment. “Western institutions have the freedom to choose,” read an editorial published earlier this week in the English-language edition of the newspaper. “If they don’t like the Chinese way, they can stop engaging with us.” The editorial also labelled Westerners who disagree as “arrogant and absurd.”

One of those Westerners is apparently the distinguished historian James Millward, who is no stranger to being on the outside looking in when it comes to the Chinese government’s view of inconvenient scholarship. Professor Millward has been denied visas on several occasions because of his research into China’s borderlands, in particular Xinjiang.

In a strongly worded piece posted before CUP reversed their decision to pull the articles, Professor Millward wrote:

Cambridge University Press’s current concession is akin to the New York Times or The Economist letting the Chinese Communist Party determine what articles go into their publications  —  something they have never done. It would be unimaginable for these media to instead collaborate with PRC party censors to excise selected content from their daily or weekly editions.

“Cambridge University Press,” Millward writes, “is agreeably donning the hospital gown, untied in the back, baring itself to the Chinese scalpel, and crying ‘cut away!’ But even this metaphor fails, since CUP is actually assisting, like a surgical nurse, in its own evisceration.”

Other organizations joined the fray. The American Association of Asian Studies, which publishes the Journal of Asian Studies released its own statement, saying, “We oppose censorship in any form and continue to promote a free exchange of academic research among scholars around the world.”

There are several theories as to why state organs are taking action now, and in this manner. Obviously, the upcoming 19th Party Congress means a general crackdown on dissent across the board. There may also be interests involved looking to curry favor with a leadership who has clearly sent the message that international scholarship in the humanities is not only irrelevant to their goals for China, but is openly subversive.

In an op-ed for The Guardian, Tim Pringle, Senior Lecturer in Labour, Social Movements and Development and the editor of the China Quarterly, expressed his concerns about the reach of the state in quashing uncomfortable views around the world.

This attempt to deny access might be the result of over-reach by Chinese censorship bodies, such as the recently created General Administration of Press and Publication. But it might also be the outcome of a push by the government to exclude voices from outside the party-led system. The evidence of new regulatory, and apparently ideological, constraints on academic freedom and public engagement in China that have emerged since 2012 suggest that the parlous state of affairs with regard to academic freedom is policy-driven. What is unprecedented is that its reach has now stretched to international institutions.

In many ways, the CCP has never been more secure in its power. Xi is the strongest Chinese leader in decades. At the same time, state actions to curtail the free flow of information inside, and increasingly outside, the country’s borders suggests a grim fixation on maintaining their legitimacy. The Party feels like it is locked in an ideological death roll with Western institutions. It is also beginning to smell blood in the water.

Despite Cambridge University Press’s sudden development of testicular fortitude, the problem is real, and it is growing.

China-based scholar Christopher Balding wrote in Foreign Policy this week:

Western universities’ traditional response to criticisms on China’s restrictions on free inquiry was to claim that they could help liberalize their Chinese counterparts by establishing contact with them. What has happened instead is that they’ve ended up importing Chinese academic censorship into their own institutions. Cambridge University Press censoring on behalf of Beijing is not the first time elite British universities have opted for the bottom line over principle in accepting Chinese censorship contributions.

Inside China, institutions which formerly were ignored, for example programs which enrolled primarily international students, are now finding themselves uncomfortably under the microscope. At least one international program has been asked to submit their teaching materials for review. There were no problems, the director of the program wrote in an email, but it was the first time since the program opened that the university had requested to review their textbooks.

Whether this is a temporary freeze until after the 19th Party Congress or, as Professor Pringle suggests, a new front in the Party’s ideological and information wars with the West, remains to be seen.

Photo of the Day: Kowloon King Bootleg in Beijing

Today’s photo was taken by Beijing-based filmmaker and musician Joshua Frank. It’s the outside seating area of a newly opened noodle restaurant in Beijing’s upscale Sanlitun neighborhood, “in ‘soft opening mode’, with lines out the door. They sold out of noodles.”

The reason I’m including it with this week’s photo theme — “handwriting” — is the decor: the chicken scratch on the back wall and the railing next to the diners is a blatant ripoff of the inimitable King of Kowloon:

Tsang was born in Liantang Village (蓮塘村), Gaoyao, Zhaoqing, Guangdong, China. He travelled to Hong Kong at the age of 16, he was a poor worker and was barely literate. He began to mark the streets of Hong Kong with his distinctive graffiti at the age of 35. He claimed that he had studied his ancestral tree and discovered that most of the land of Kowloon belonged to his ancestors. He said that Kowloon belonged to his grandfather. There are no records to back up Tsang’s claim.

He was arrested for his graffiti several times, but the police usually just gave him a warning or a small fine. His family disowned him, saying he was mentally unbalanced and a public nuisance and his wife had grown tired of his obsession and left him.

I went on the hunt for work by the King a few years ago and didn’t find much. There’s a single column with his scrawls preserved behind a plexiglass window at Hong Kong’s Tsim Sha Tsui Pier, and I saw a motorbike covered in his hand at this ridiculously bourgie street-art themed bar. While he attained some recognition late in life (he passed away in 2007, at age 85), for the majority of his public art career he was regarded as a vandal, and his works were erased almost as soon as they went up. They now live on only in photos and a few works in private hands.

So, yeah. Systematically scrubbed from Hong Kong only to re-appear as decoration in an overpriced hipster noodle shop in Beijing. The irony’s a bit much but I suppose posthumous commodification is better than being forgotten.

Yin: Hard Sci-Fi Glitch from Alex Wang

Yin (, “music”) is a weekly Radii feature that looks at Chinese songs spanning classical to folk to modern experimental, and everything in between. Drop us a line if you have a suggestion.

Today we hear the latest from Beijing’s Do Hits, who live on the edge of the city’s underground electronic music scene. Do Hits has been pushing against boundaries in the Beijing club circuit since 2011, starting off as a monthly party and in the last few years morphing into a label. A few weeks ago they put out Black Dragon, an EP for New York-based producer Alex Wang. The album writeup fits neatly with Do Hits’s overall Sinofuturist aesthetic:

Black Dragon is a self-learning AI, which has gone out of programmer’s control, so it starts surveilling every action of human beings. It keeps watch on you through your Samsung TV, locates you with CCTV everywhere in the street, spies on your social network, knowing whether you like Coca Cola better or Pepsi, your favorite color, and your bank balance…

Alex Wang studied Recording Art at China’s Central Conservatory of Music, and continued his formal training with a degree in Computer Music Composition at the Peabody Institute conservatory program at Johns Hopkins University in Baltimore. Now he lives in NYC and cranks out esoteric, conceptual cracked-glass masterpieces like Black Dragon, running his interests in electronica, hip hop, trap and jazz through a digital shredder and feeding what comes out the other end to his likeminded comrades at Do Hits HQ in Beijing.

Do Hits hits the Great Wall

If you happen to be in China, catch Alex Wang and fellow New York-based Do Hits affiliate YLLIS on their four-date Exodus tour:

8/25 Beijing, YUE Space

9/1 Shanghai, ALL

9/2 Hangzhou, Loopy

9/8 Chengdu, Nu Space

Watch: Mild-Mannered Tree Suddenly Bursts into Flames from Chongqing Sunlight

Trees.

They do a lot of things. They synthesize energy from the sun’s rays. They produce oxygen all over the world, for which we are all very grateful. They make a great garden feature that can tie together a whole lawnscape.

One thing trees are not known for is spontaneously bursting into flames of their own accord. Residents in Chongqing were treated to a spectacle they “haven’t seen before” (you can say that again, pal), when an otherwise calm and placid tree decided to do just that.

We would speculate on a combination of factors. One, Chongqing is super hot right now. Actually, a huge portion of China is experiencing record high temperatures at the moment. Two, the top of the tree that caught fire looks like it would have a lot of little, jagged pieces of dry wood, making it kind of an ideal spot for a sudden psychosatanic-meteorological phenomenon (if you’ve never heard that terminology, it’s because we just made it up). And three, there’s no leaf coverage there at the top. That poor wood up there just had to endure the brutal direct sunlight until it couldn’t take it anymore. Everyone has a breaking point.

The people taking the video were pretty positive about it. They’re just happy and interested – Chongqing weather is awesome!

The fire department came by later to squelch the strange occurrence, and everybody left safe and happy. Except for the tree, crushed for daring to be different. Check out Pear Video’s footage of the weirdness.