This article makes an argument for the postcritical treatment of the politics of sound art. Counterpointing an autoethnographic analysis of Kristina Kubisch’s Electrical Walks with Seth Kim-Cohen’s critical reading of the same work, I show how a critical position detached from the lived experience leaves behind a wealth of meanings necessary to understand the political potential of sound art. This gap, I argue, necessitates a ‘radical empiricist’ approach shifting the focus from the artistic intent to the lived experiences of the audience and the effects sound art may have on their lives. Drawing on autoethnographic and ethnographic accounts of Kaffe Matthews’s sonic bike rides and Benoît Maubrey Speaker Sculptures, as well as Rita Felski’s project of postcritical reading, I develop a theoretical framework for the politics of sound art based around the concept of affordance. The term ‘affordance’ in this context refers to the possibilities of political meaning or political action an artwork offers to the participants without imposing a particular interpretation on them. I finish by discussing three aspects of political affordances in sound art: meaning-making, uses of sound art and access to participation.

中文翻译：

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后批判性聆听：参与式声音艺术中的政治启示

本文为声音艺术政治的后批判处理提出了一个论据。对 Kristina Kubisch 的自我民族志分析进行反驳电气步行通过 Seth Kim-Cohen 对同一作品的批判性阅读，我展示了一个脱离生活经验的批判立场如何留下理解声音艺术的政治潜力所必需的丰富意义。我认为，这种差距需要一种“激进的经验主义”方法，将焦点从艺术意图转移到观众的生活体验以及声音艺术可能对他们的生活产生的影响。借鉴 Kaffe Matthews 的声波自行车骑行和 Benoît Maubrey 的自民族志和民族志记述扬声器雕塑，以及 Rita Felski 的后批判阅读项目，我基于可供性概念开发了声音艺术政治的理论框架。在这种情况下，“供性”一词是指一件艺术品向参与者提供的政治意义或政治行动的可能性，而不会对他们施加特定的解释。最后，我讨论了声音艺术中政治可供性的三个方面：意义创造、声音艺术的使用和参与的机会。