This article discusses three different conceptions of ethics within contemporary feminist theory and how they depict the connection between ethics and politics. The first position, represented by Wendy Brown, mainly describes ethics as a sort of anti-political moralism and apolitical individualism, and hence as a turn away from politics. The second position, represented by Saba Mahmood, discusses ethics as a precondition for politics, while the third position, represented by Vikki Bell, depicts it as the ‘external consciousness’ of the political, and (...) as destabilising political discourse by confronting it with singularity and ‘radical’ difference. Though they represent distinct positions, the article argues, all three suffer from a tendency to reify ethics by failing to give a contextualised account of it. The article then introduces the ethical perspective of Judith Butler, arguing that she – while offering both a transhistorical and a contextualised dimension – tends to psychologise and individualise ethics and politics. The last part of the article introduces Terry Eagleton and what, in a Marxist vein, could be called a ‘materialist ethics’ or an ‘ethics of socialism’, and argues that this way of framing the relationship between ethics and politics provides a solution to the trap of reification identified in the three described positions. This part also discusses how Eagleton’s theory relates to – but also differs from – arguments made by Butler. One advantage of Eagleton’s work, the article argues, is that it does not psychologise and individualise ethics and politics as Butler’s work does. (shrink)

I argue that sound-centric scholarship can be of use to feminist theorists if and only if it begins from a non-ideal theory of sound; this article develops such a theory. To do this, I first develop more fully my claim that perceptual coding was a good metaphor for the ways that neoliberal market logics (re)produce relations of domination and subordination, such as white supremacist patriarchy. Because it was developed to facilitate the enclosure of the audio bandwidth, perceptual coding is especially (...) helpful in centring the ways that patriarchal racial capitalism structures our concepts and experiences of both sound and technology. The first section identifies sonic cyberfeminist practices that function as a kind of perceptual coding because they subject ‘sound’ and/or ‘women’ to enclosure and accumulation by dispossession. The second section identifies a type of sonic cyberfeminism that tunes into the parts of the spectrum that this perceptual coding discards, building models of community and aesthetic value that do not rely on the exclusion of women, especially black women, from both humanist and posthuman concepts of personhood. Here I focus especially on Alexander Weheliye’s ‘phonographic’ approach to sound, technology and theoretical text. This approach, which he develops in his 2005 book of that title and in recent work in collaboration with Katherine McKittrick, avoids fetishising tech and self-transformation and focuses on practices that build registers of existence that hegemonic institutions perceptually code out of circulation. I conclude with examples of such phonographic compression, including Masters At Work’s ballroom classic ‘The Ha Dance’ and Nicki Minaj’s ‘Anaconda’. (shrink)