Browsing by Subject "voice"

This dissertation examines how un(der)employed South Korean young adults maintain optimism in their pursuit of a “good life” that itself is contingent on regular employment. Based on fieldwork about everyday economic insecurity in neoliberal Seoul, I propose that the labor invested to keep their employability viable includes a labor of the voice. I examine how my informants cultivate the aesthetic, poetic, and communicative qualities of their voice in order to get ahead in a world in which quantitative assessments, communicative labor exchange, and technological mediation—the “digitalities of neoliberalism”—confer value on particular kinds of voice. I attend to the shifting demands that inform what one’s voice can do or should be (or not) to be aurally recognized as an employable subject, arguing for how this conceptual instability keeps Koreans’ aspirational pursuits continuously unfinished, and their social mobility largely horizonal. Listening durationally to how my informants’ vocal articulations register this potential, this dissertation critiques the teleological orientations of neoliberal (im)possibility that aurally implicates their voice and limits their futurity otherwise. Terming this specific process “analog optimism,” I propose that laboring (over the voice) is a process which continuously hints at the qualitative capaciousness of more life, both in the future and the meantime, even as the rationalized logics of a knowledge economy compresses the vitality of life, reduces time for pleasure, incites exhaustion, and complicates their status as a liberal human.

Abstract

Mexico City's punk scene has a notorious reputation, based on the supposedly angry, rude, and destructive behavior of its integrants. Certainly, participants in the punk scene value intense affects, aesthetics, and interpersonal exchange, but see them as means to amplify their political consciousness, their attempts to create alternative social networks. In this dissertation thesis, based on an extended period of ethnographic fieldwork in Mexico City's punk scene, I investigate the co-constitution of the aesthetic and political for participants of the punk scene and ask what "the political" might entail for the city's marginalized punk youth. In pursuing a local punk aesthetics that is both righteous and profane, to borrow descriptive terminology from Dick Hebdige, I argue for close formal analysis of musical, artistic, and other social performance. I employ formal analysis to evaluate the flourishing of punk in the context of "el DeFectuoso"--as residents name the hard-scrabble, global South metropolis of Mexico City--decades after punk's initial arrival in Mexico. Deluezian network theory and social movement theory more broadly help me argue for a politically constituted music "scene," created largely through U.S.-Mexico cross-border relations, without fixing its boundaries or stultifying its politics. Additionally, I explore the affective dimensions of punk performance, the role of music in subjectivization, and the importance of the body trained intersubjectively for both listening and performing. It is at the points of convergence of these three approaches that I locate a punk aesthetics as at once a punk ethics, animated by an ideal of "direct action." Within chapters organized through broad themes like networks, violence, labor, and solidarity, I address topics from the harsh, hard-working vocal performances punks employ to the various anarchist currents that shape an always-tenuous, specifically Mexican punk solidarity, constituted through practices like street sing-alongs, the creation of alternative DIY networks of exchange, and fanzine writing and design. Within these routes of investigation, I elucidate the ways in which participants in Mexico City's punk scene use profanity and outrage in the performance of a righteous ethic that informs their struggles to maintain solidarity and make a difference, through an explicitly political social network that is nevertheless grounded in aesthetic experience.