Auditory Politics: On Contemporary Western Marxist Aesthetics

The thesis takes the contemporary Western Marxist aesthetics as the important theoretical source,selects four theoretical dimensions,and studies the aesthetic issues related to hearing,sound and political power,ideology.It is divided into Four chapters,auditory governance,auditory ethics,auditory criticality and auditory representation.The governance analysis of auditory uses Foucault’s body-power pedigree as the starting point for thinking.From the discipline power to the control of governance,modern power penetrates into the auditory perception,punishment power uses sound codes to shape individual auditory,and governance techniques act on the auditory perception of the group.Noise is not only a production of scientific classification of physics or pathology,but also an important political metaphor.The classification of sound is also a kind of power operation.Noise has irrational characteristics and is associated with the public.At the political metaphor level of sound,the control of noise is equivalent to the governance of the public.Tony Bennett’s cultural governance concept draws on Foucault’s governance theory,and considers how to participate in social governance at the cultural and aesthetic level.Sound is not only the object of governance,but also a governance technique.The ethical nature of auditory explores the problems of perceptual sensibility being forced,suppressed,and deprived.The auditory configuration carries political metaphors,which is related to the living conditions of minority groups such as the bottom people and marginal groups,and implies many problems in life politics.Vulnerable groups are either obscured by mainstream discourse and become the silent majority;the sounds are also treated as noise,erased by history,.The voice is surrounded by political power,participating in the classification of individuals or groups,and the audibility and inaudibility of sound become an important symbol of democratic politics.In the absence or presence of the public voice,the auditory distribution logic of modern democratic politics is reflected.Rancière believes that politics and art are two forms of sensible distribution.Politics occurs in the configuration of sensible experience.The implicit power relationship of auditory configuration is also presented in the auditory art of modern movies,music,and broadcasting.The criticality of auditory is the criticism of the power of hearing,the involvement of power in the perception of auditory perception.Bourdieu believes that auditory taste is the most differentiated aesthetic perception.Its particularity lies in the close connection between hearing and human mind,emotion and spirit.The classification practice of hearing has its social generation mechanism.As a kind ofaesthetic capital goes to market,Adorno finds the degrading trend of auditory taste in the auditory fetishism,the bourgeoisie creates the auditory business landscape,and modern capitalism enters the aesthetic consumption era with the aesthetic perception as the object and means,hearing Aesthetics is included in the link of capitalist commercial production and consumption.The bourgeoisie tries to create an aesthetic illusion of sound democracy from the auditory level.It relieves the anxiety and depression of the audience by satisfying the public’s auditory needs.The interval of auditory taste seems to be weak.True inequality is built into the marketization of auditory divisions.The representation of auditory aims to explore how modern power acts on the cultural representation of hearing.Hall’s representation theory reveals the cultural implications of symbols,and symbols are a kind of power-capital with important political functions.The cultural representation of hearing closely links the distinction between class,gender,and race.The auditory representation system is related to the temperament system.Different auditory symbol systems have different coding orders.As the sound of the mass memory code,the sound culture participates in the construction of the auditory culture.In the social practice of the auditory community,the inner connection between auditory and cultural memory,emotional identity,identity construction and other issues.With the change of media technology,the experience of auditory perception and voice interaction has changed.The auditory media takes the ideological function and participates in the shaping and rewriting of the auditory subject.In the expression mechanism of auditory politics,a radical discourse of anti-representationism is implied,involving the issue of free listening.This is the resistance politics from the auditory subject.