Abstract This paper discusses the role of design and material practices on the weaponization of quietness through the deployment of sound bombs by the Military Police of São Paulo, Brazil. Probing the contradiction of using a device that produces loudness to enforce silence laws, I offer an account of how designed artifacts and techniques can be instrumentalized by the State for the policing of racialized bodies and their sonic and musical practices. These artifacts and techniques create and reproduce mechanisms that produce both physical and social distance between bodies perceived to be “loud” and their silence-enforcing counterpart (i.e. the police). This extends the reach and scope of the segregation of (auditory) space with techniques besides architecture and urban planning alone. I begin with an analysis of a few, violent strategies employed by the Military Police to enforce silence laws in lower-class neighborhoods in the city, as depicted in a filmed raid edited and posted on their own social media channels. I then read these practices through the history of the so-called “stun grenade,” or sound bomb, and its use in both military and civilian contexts. Lastly, I examine a semi-fictional proposition found in Adirley Queirós’ 2015 film Branco Sai, Preto Fica (White Out, Black In) for disrupting the enforcement of silence, which in turn proposes a decolonizing shift in the perception of loudness and noise vis-à-vis racialized bodies.

中文翻译：

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武器化安静：声音炸弹和噪音的种族化

摘要 本文讨论了设计和材料实践对巴西圣保罗宪兵部署声音炸弹实现安静武器化的作用。探讨使用产生响度的设备来执行沉默法的矛盾，我提供了一个关于国家如何利用设计的人工制品和技术来监管种族化的身体及其声音和音乐实践的矛盾。这些人工制品和技术创造和复制了在被认为是“大声”的身体与其强制沉默的对应物（即警察）之间产生物理和社会距离的机制。这扩展了（听觉）空间隔离的范围和范围，除了建筑和城市规划之外的技术。我从几个分析开始，宪兵采用暴力策略在城市下层社区执行沉默法，如拍摄的突袭所描绘的那样，编辑并发布在他们自己的社交媒体频道上。然后，我通过所谓的“眩晕手榴弹”或声音炸弹的历史及其在军事和民用环境中的使用来阅读这些做法。最后，我研究了 Adirley Queirós 2015 年的电影 Branco Sai, Preto Fica（白出，黑入）中的一个半虚构命题，该命题扰乱了沉默的强制执行，这反过来又提出了响度和噪音感知的非殖民化转变。 -à-vis 种族化的身体。然后，我通过所谓的“眩晕手榴弹”或声音炸弹的历史及其在军事和民用环境中的使用来阅读这些做法。最后，我研究了 Adirley Queirós 2015 年的电影 Branco Sai, Preto Fica (White Out, Black In) 中的一个半虚构命题，该命题扰乱了沉默的执行，这反过来又提出了响度和噪音感知的非殖民化转变。 -à-vis 种族化的身体。然后，我通过所谓的“眩晕手榴弹”或声音炸弹的历史及其在军事和民用环境中的使用来阅读这些做法。最后，我研究了 Adirley Queirós 2015 年的电影 Branco Sai, Preto Fica (White Out, Black In) 中的一个半虚构命题，该命题扰乱了沉默的执行，这反过来又提出了响度和噪音感知的非殖民化转变。 -à-vis 种族化的身体。