In this essay I consider the politics and aesthetics of racialised acoustics throughout the Americas through debates generated by two recent innovative books in Latin American and Caribbean sound studies, Acoustic Properties: Radio, Narrative, and The New Neighborhood of the Americas by Tom McEnaney and Audible Geographies in Latin America: Sounds of Race and Place by Dylon Lamar Robbins. These two books take interdisciplinary, transhistorical, multilingual, and transnational approaches to sound technologies and the politics and aesthetics of mediated voices. In their work, we see the relationship between sound technologies, white or whitening political and aesthetic hegemonies, and formative practices that resist, interfere with, and transform these hegemonies across what McEnaney refers to as the “sonic color line.”

在本文中，我通过Tom McEnaney和Audible近期在拉丁美洲和加勒比海地区进行的两本创新书籍《声学性质：广播，叙事》和《美国新邻居》引发的辩论，探讨了整个美洲的种族声学的政治和美学。拉丁美洲地理：种族与地方的声音Dylon Lamar Robbins着。这两本书采用跨学科的，跨历史的，多语言的和跨国的方法来处理声音技术以及中介声音的政治和美学。在他们的工作中，我们看到了声音技术，白人或白人的政治和美学霸权与抵制，干扰和转变这些霸权的形成性做法之间的关系，麦凯纳尼称之为“音色线”。