I argue that sound-centric scholarship can be of use to feminist theorists if and only if it begins from a non-ideal theory of sound; this article develops such a theory. To do this, I first develop more fully my claim that perceptual coding was a good metaphor for the ways that neoliberal market logics (re)produce relations of domination and subordination, such as white supremacist patriarchy. Because it was developed to facilitate the enclosure of the audio bandwidth, perceptual coding is especially helpful in centring the ways that patriarchal racial capitalism structures our concepts and experiences of both sound and technology. The first section identifies sonic cyberfeminist practices that function as a kind of perceptual coding because they subject ‘sound’ and/or ‘women’ to enclosure and accumulation by dispossession. The second section identifies a type of sonic cyberfeminism that tunes into the parts of the spectrum that this perceptual coding discards, building models of community and aesthetic value that do not rely on the exclusion of women, especially black women, from both humanist and posthuman concepts of personhood. Here I focus especially on Alexander Weheliye’s ‘phonographic’ approach to sound, technology and theoretical text. This approach, which he develops in his 2005 book of that title and in recent work in collaboration with Katherine McKittrick, avoids fetishising tech and self-transformation and focuses on practices that build registers of existence that hegemonic institutions perceptually code out of circulation. I conclude with examples of such phonographic compression, including Masters At Work’s ballroom classic ‘The Ha Dance’ and Nicki Minaj’s ‘Anaconda’.

我认为，以声音为中心的学术研究只有当它始于非理想的声音理论时，才对女性主义理论家有用。本文发展了这样的理论。为此，我首先更全面地提出我的观点，即感知编码是新自由主义市场逻辑（重新）产生支配和从属关系（例如白人至上主义者的父权制）的方式的一个很好的隐喻。因为它是为便利音频带宽的封闭而开发的，所以感知编码在集中重男轻女的种族资本主义构建我们的声音和技术概念和经验的方式方面特别有用。第一部分确定了声音网络女权主义实践，因为它们使“声音”和/或“女性”受到剥夺的影响并积累起来，因此它们起着一种感知编码的作用。第二部分确定了一种类型的声音网络女权主义，调入了这种知觉编码所抛弃的频谱部分，建立了不依赖于将女性特别是黑人女性排除在人文主义和后人类概念之外的社区和审美价值的模型的人格。在这里，我特别关注亚历山大·韦赫里耶（Alexander Weheliye）对声音，技术和理论文本的“录音”方法。他在2005年的同名书籍中以及与凯瑟琳·麦基特里克（Katherine McKittrick）合作的最新工作中发展了这种方法，避免了迷恋技术和自我改造，而侧重于建立霸权机构在感知上无法流通的存在记录的实践。我以这样的留声压缩示例为例，