Fractured Scenes

1. Introduction: Nomadism, Fragmentation, and Marginality - The Hong Kong Music Underground in the East Asian Context; Damien Charrieras and François Mouillot.- Part One: Perspectives on the Hong Kong Underground.- 2. Ice Skating and Stinky Foods: Notes from the Hong Kong Underground, 2018–2019; Ken Ueno.- 3. Interview of Xper.Xr; Damien Charrieras and François Mouillot.- 4. Interview with Kung Chi Shing; François Mouillot and Damien Charrieras.- Part Two, Take 1: Individual Case Studies in Noise/ Experimental Music/Free Improvisation.- 5. The Politics of Noise: An Interview with Sound Scientist Dennis Wong; Blair Reeve.- 6. Opportunities in Theatre Performing Arts Advancement in Bettering Underground Music Development: A Reflection on the Relevance of the Technical Production in Local/Global Experimental Music Performances; Kam-po Tse.- 7. A “No-Venue Underground”: Making Experimental Music Around Hong Kong’s Lack of Performance Spaces; Gabriele de Seta.- Part Two, Take 2: IndividualCase Studies in Sound and Contemporary Art.- 8. Interview with Samson Young; François Mouillot and Damien Charrieras.- 9. Noises That No One Else Hears; Cédric Maridet.- 10. In Crevices, Stairwells, and Ever-Changing Tides: A Personal Reflection on Holding Up a Walking and Listening Body; Yang Yeung.- Part Two, Take 3: Individual Case Studies in Indie-Rock/ Indie-Pop and Electronic Music.- 11. From Indie to Underground: The Hong Kong DIY Rock Scene in the Post-Hidden Agenda Era; Ahkok Chun-kwok Wong.- 12. The Transformation of Indie Music in Hong Kong; Stella Lau.- 13. Underground Club Music After Social Media: A Study of Hong Kong Underground Club Music Scene Through Absurd TRAX from 2016 to 2018, A Personal Perspective; Alex Yiu.- Part Three: Interfaces.- 14. Radical Participation: The Politics of Performance in Chinese Punk-Rock Concerts; Nathanel Amar.- 15. An Underground Music Venue in Beijing: fRUITYSPACE; Edward Sanderson.- 16. History of Sound in the Arts in Japan Between the 1960s and 1990s; Katsushi Nakagawa.- 17. “Like the Apocalypse Is Imminent by Guys Who Could Barely Play Guitar”: Performing Amateurism in the Garage Rock Underground of Tokyo; José Vicente Neglia.- 18. Conclusion: Notes on Cities, Undergrounds and Closed Upper Rooms; Will Straw.