The USC U.S.-China Institute and the USC East Asian Studies Center present a screening of Americaville. Followed by Q&A with Director Adam James Smith.
The USC U.S.-China Institute hosts a video conference looking at what the key issues were in the election and what the election means for Taiwan domestic policies, for cross-strait relations, and for U.S.-Taiwan relations.
Please join The Heritage Foundation and Global Taiwan Institute on the Monday after the Taiwan election to assess the results.
Join the Wilson Center for a discussion on the implications of the Taiwan's latest election results and how they will impact U.S.-Taiwan relations as well as cross-Strait relations on the political, economic, and security fronts.
To enable business leaders to better develop new strategies and thrive in the Asian Century, Asian Century, Asia Society Southern California is collaborating with the McKinsey Global Institute (MGI) on a series of live webcast events over 2020.
Longtime instructor Guang-Li (David) Zhang, a graduate of the Shanghai Art Academy teaches beginner and advanced students Chinese Calligraphy in mixed lecture and workshop classes.
Exhibition: December 6, 2019 – January 14, 2020
Opening Reception: December 6, 2019 | 6-8 PM
Taiwan-based artist Esther Lin’s practice explores the modern systems in which we live, whether physical or psychological. The exhibition Revolving Corridor (n.) evokes imaginary alternative spaces through objects, videos, audio samples, lights, and text combined in an installation, which showcases her most recent artworks. The title refers to sushi corridor restaurants where diners create their own physical space through time while waiting for food to pass. A sushi corridor is an in-between space that allows people to connect while preserving a sense of personal psychological space. In a similar way, Lin generates a space for people to move along the long South Gallery so that they may explore the transitional zones between languages and actions in daily life as they walk from one work to the other. By acknowledging the gallery as a space that challenges the traditional white cube due to its particular elongated and vaulted architecture and the continuous movement of artists accessing their studios, Lin invites viewers to move at their own pace to dialogue with each of her works and create an insightful territory of their own. Inspired by everyday details, Esther utilizes previous works created in various cities around the world (London, Taipei, Los Angeles) to inspire conversation about the past, the present, and the future by addressing the movement of time and human desire as driving forces behind civilizations.
The exhibition includes a three channel video accompanied by digital printed works, a lighting installation and samples of a book, printed receipts, images and text along with sound, and objects in various materials (such as glass and pigments).
In conjunction with the opening of Revolving Corridor on December 6 from 6-8 PM, local artists will open their studios in the Airport Hangar and studio tours will be offered to visitors throughout the event. They include M. Susan Broussard, Susie McKay Krieser, Gregg Chadwick, Eric Merola, and more.
Esther Lin’s exhibition and three-month Artist Residency is generously supported by the Ministry of Culture, Taiwan and Taiwan Academy.
“Nannü pingdeng” (gender equality) was one of the key principles of the Chinese Communist Party’s platform before and during the Mao era. Widely celebrated in political campaigns and social policies alike, it has acquired a status in the historiography of modern and contemporary China as one of the pillars of the revolutionary programme of social transformation undertaken by the CCP. Scholarly research has long demonstrated that the promise of gender equality was only ever partially realized after 1949, yet the assumption has been that even if limited in its social implementation, the term “gender equality” signified an emancipatory aspiration shared by all. Based on long-term archival and ethnographic research in a deprived neighbourhood in central Beijing, now facing its last stages of demolition and gentrification, this talk argues that far from being shared by all, “gender equality” barely featured amongst the capital’s subalterns as a significant term in memories of everyday life during and since the Mao era. At the same time, in contrast with their mothers and grandmothers, women who grew up under Mao’s banner had access to opportunities for education and employment, limited though they were, and claimed recognition for their determination to keep their families going through long decades of scarcity and hardship. Drawing on Butler’s and Mahmoud’s arguments, this paper analyses the apparent paradox of women’s independence in income generating activities and their attachment to deeply embedded and apparently conservative ideas about women’s gender roles and relationships. Why is it that the key slogan and policy of nannü pingdeng seems to have completely passed them by? What do we understand by change and by agency?
1:00-1:30 Kirie Stromberg 益田雾繪 (UCLA 加州大學洛杉磯分校): Beyond Form:
Preliminary Thoughts on Music and Visual Abstraction in Early China 早期中國的音樂與視覺抽象化表达
1:40-2:20 Gao Jiangtao 高江涛 (CASS 中國社會科學院考古研究所):Comprehensive Analysis of Musical relics Unearthed from Taosi Site 鼍鼓逢逢：陶寺遗址出土乐器综析
2:30-3:00 Zhang Wenjie 張聞捷 (Xiamen University 厦门大學) New Thinking on the Chime Bells of Wangsun Gao 對王孫誥編鐘的一些新思考
3:10-3:40 Li Guangming 李光明 (UCLA 加州大學洛杉磯分校) The Tonal Structure of the Yajiang Chimes: On the Missing Shang Note in Western Zhou Music and Guanzi Tonal Theory 从亚弜编铙音列结构看周乐戒商及管子生律法之由来
3:50-4:20 Zhu Guowei 朱國偉 (China University of Mining and Technology 中國礦業大學）A review on experimental music archaeology and its prospect in China 實驗音樂考古研究綜述及其在中國的研究展望
4:30-5:00 Lee Mei-Yen 李美燕 (National Pingtung University 國立屏東大學) Western
Cultural Origin of Musical Instruments Found on the Musical Icons in Yungang Grottoes 雲岡石窟音樂圖像中的西方源流