Casey Robertson

This chapter explores the tripartite relationship between transgender identities, political activism, and sonic practice. In particular, this chapter employs theorizations of noise to explore a rupture in the prevalent binarisms of sound and gender in the American punk scene and its aesthetics. Drawing upon theoretical frameworks such as Herbert Marcuse’s one-dimensional society and Jean-François Lyotard’s conception of a libidinal economy, the sonic practices of trans-feminist artists such as GLOSS (Girls Living Outside Society’s Shit) and the HIRS Collective are re-examined to interrogate their capacities to initiate acts of intentional antagonism to construct new spaces for the invisible and/or overlooked. Through such a trajectory, the intended goal is to reveal not only such trans-feminist artists’ collective actions of political resistance towards the modern neoliberal state, but perhaps most importantly, the typically less examined yet far-reaching ramifications of their inherent situatedness outside of such socio-political structures and machinery. While such artistic practice pits itself against the increasingly one-dimensional state of commodification in the punk genre, it also probes deeper to illuminate the related homonormative currents which have exerted considerable effort to flatten notions of diversity and difference within contemporary LGBTQ2S communities. It is ultimately through this complex matrix of identity, affective flows, and a political (dis)engagement with the dynamics of the American punk genre that we can begin to bear witness upon a modern form of sonic anarchism; one which fragments itself off from previous constructions yet reveals a possibility for new formations to those previously rendered silenced, both figuratively and literally.

This essay explores the complex relationship between gender and aesthetics, namely through the lens of the transgender movement. After a brief study of the challenges related to the history of gender variance and normativity, the essay will follow the trajectory of Kant’s Critique of Judgment, focusing primarily on the conception of the sublime, and move to explore connections with the work of gender theorist and public health advocate Benjamin T. Singer, whose work develops a rhizomatic model of the transgender sublime. Utilising this framework, the discussion will then examine connections and parallels with the work of Rancière and later Gianni Vattimo. The final section will then explore the concept of aesthetic emergencies from Santiago Zabala, Vattimo’s pupil, who associates both Rancière and Vattimo with this concept while at the same time drawing from Heidegger’s writings. Through a re-examination of the sublime and the work of these theorists, this paper will illuminate potential new connections, pathways, and possibilities for the transgender movement, aesthetic theory, and political engagement.

This essay examines the cultural phenomena of noise in its perceived social constructions and demonstrates its emergence as a form of resistance against prevailing dominant hegemonic codes of culture. In particular, the paper explores the ability of noise to be enacted as a tool to escape the shackles of heteronormative constructions of sexuality and gender in the cultural landscape of the United States. Examined to support this argument are the contrasting works of two American artists: John Cage and Emilie Autumn. Through Cage and his avant-garde articulations of sound, covert acts of resistance against the dominant heteronormative constructions of masculinity are explored, and through Autumn’s classical crossover work, a more overt and explicit form of resistance to subvert gender stereotypes and structures of normality and patriarchy are illuminated. Additionally, the paper explores possibilities for artists to engage with other movements, such as disability activism to create new possibilities for change.