Partial Figures: Sound in Queer and Feminist Thought

By considering notions of musical flavor and corporeality (Chapter 1), queer sound ecologies (Chapter 2), and gendered ontologies of frequency and vibration (Chapter 3), I revisit key conceptual knots within theories of gender and sexuality that require a more sustained attention to sound and aurality.

I focus on two fundamental preoccupations within queer and feminist scholarship that, I argue, are reconfigured by the methodological, material, and historical resources of sound: corporeality (Chapter 1) and ecology (Chapter 2). From this assessment of sound’s essential resources for theories of gender and sexuality, Chapter 3 then moves, through a consideration of sexual difference as noise, to suggest that sonic ontologies likewise cannot properly be thought without queer and feminist method.

Chapter 3 considers noise as a figure for feminine sexual difference, suggesting that ontologies of sound must be conditioned by queer and feminist thought. My argument proceeds through an account of chatter, frequency, and perpetual motion, considering Drake’s “Hotline Bling,” chatbots, gifs, David Lynch’s 2006 film Inland Empire, consciousness-raising, and the work of artists Jessica Vaughn, Amber Hawk Swanson, and Pauline Oliveros. Questions of frequency and vibration have emerged as part of sonic ontologies in recent years; I trace the entry of vibration and “vibes” into U.S. popular discourse in the early 20th century through the theological and musicological writing of Sufi Inayat Khan. Among his areas of influence, I focus on the history of modern dance, particularly its Orientalist preoccupation with the animated wave-forms of loose fabric, which was demonstrably molded by Khan’s theories of vibration. This racially and sexually marked “signature” gesture was the subject of several intellectual property lawsuits that sustained legal ambiguity about the status of performance as property.

**Chapter 3 may be the most useful? 1 and 2 not-so-related