Over the past 30 years, in the United Kingdom, Canada and the United States, classical music has come to function as a sonic weapon. It is used a means of dispelling and deterring ‘loiterers’ by making particular public and privately owned public spaces – such as shopping malls, bus stations, shop fronts and car parks – undesirable to occupy. In this article, I present weaponized classical music as a ‘revanchist’, audio-affective deterrent. Drawing upon Neil Smith’s description of the revanchist city, I examine how weaponized classical music works to affectively police neoliberal ‘public’ space. While credited with the capacity to ‘soothe away’ deviant behaviour through its calming influence, weaponized classical music ultimately aims to ‘remove’ the figure of the threatening and menacing ‘loiterer’ insofar as it is heard as repellent. Although affect has often been understood in contradistinction to social determinisms, weaponized classical music exemplifies the capacity of musical affects to function as a technology of social reproduction.

中文翻译：

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要抚慰还是去除？情感，传播和古典音乐的武器使用

在过去的30年中，在英国，加拿大和美国，古典音乐逐渐成为一种声音武器。它被用来驱散和阻止“游荡者”，使特定的公共和私人公共场所（例如购物中心，公交车站，店面和停车场）不受欢迎。在本文中，我将武器化的古典音乐介绍为一种“复仇者”，对声音有影响的威慑力。借鉴尼尔·史密斯（Neil Smith）对这座革命城市的描述，我考察了武器化的古典音乐如何有效地监管新自由主义的“公共”空间。武器音乐古典音乐因其具有镇定的影响力而具有“抚平”异常行为的能力，但最终目的是“消除”威胁性和威胁性的“游荡者”的身影，因为它被认为具有驱避作用。