Whiteness and the Ontological Turn in Sound Studies
Whiteness and the Ontological Turn in Sound Studies
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白度与声音研究的本体论转向
DOI：
10.1080/13534645.2017.1339967
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发表时间：
2017
期刊：
影响因子：
0.3
通讯作者：
Marie Thompson
中科院分区：
文献类型：
--
作者：
Marie Thompson
在这篇文章中，我考虑了声学理论中对本体论重新燃起的兴趣如何与种族问题联系在一起。批判性思维转向本体论的征兆是，在健全的研究中转向本体论是建立在一个“起源神话”的基础上的，这个“起源神话”否定了文化、能指、话语和同一性的“旧”问题，并促进了物质、情感、现实和存在的“新”问题。随着克里斯托弗·考克斯的唯物主义音响哲学的引入，这个起源神话被重新阐明，他听到了最丰富的声音艺术，因为它给出了“音响的本质”的声音。建立在尼基·沙利文的白色光学概念的基础上，我认为考克斯的本体论是基于一种“适度的”白色听觉--一种既有境遇又具有普遍性的种族主义知觉立场。正如白色不仅仅是一种被占有的个体特征，白色听觉也不是考克斯所特有或拥有的；事实上，我认为在考克斯的作品中，白色听觉在一定程度上要归功于与约翰·凯奇的一种特殊接触：这种接触放大了凯奇作品中社会性和本体论之间的明显区别，同时掩盖了其政治维度。通过对两部声音作品的比较，白色听觉的概念得到了进一步的例证：劳伦斯·英格利希的《机场交响曲》(2007)和奇诺·阿莫比的《黑人的机场音乐》(2016)，前者被认为是向音速共性迈进的一步，后者恰如其分地借用了弗雷德·莫滕将黑人视为仿生物破坏的概念，听起来像是发出了客体的种族主义暴力，而声音哲学的白色听觉往往听不到。
In this article, I consider how the revived interest in ontology within sonic theory connects to questions of race. Symptomatic of a broader ‘turn’ to ontology in critical thought, the (re)turn to ontology in sound studies is predicated on an ‘origin myth’ that disavows ‘old’ questions of culture, signi- fication, discourse and identity, and promotes ‘new’ questions of materiality, affectivity reality and being. This origin myth is re-articulated with the intro- duction of Christoph Cox’s materialist sonic philosophy, which hears the ‘richest’ sound art as giving voice to ‘the nature of the sonic’. Building on Nikki Sullivan’s notion of white optics, I suggest that Cox’s ontology is predi- cated upon a ‘modest’ white aurality – a racialized perceptual standpoint that is both situated and universalizing. Just as whiteness is not simply an individ- ual trait that is possessed, white aurality is not specific to or possessed by Cox; indeed, I suggest that in Cox’s work, white aurality is partly indebted to a particular engagement with John Cage: an engagement that amplifies an apparent distinction between the social and the ontological in Cage’s work, while muffling its political dimensions. The notion of white aurality is further exemplified through the comparison on two sound works: Lawrence English’s Airport Symphony (2007) which is heard to enact a move toward sonic generality; and Chino Amobi’s Airport Music for Black Folk (2016), which, apropos of Fred Moten’s notion of blackness as paraontological disruption, is heard as sounding the racialized violence of objecthood that often goes unheard by sonic philosophy’s white aurality.