Abstract: Listening is a complicated act that is often reduced to the function of receiving encoded messages. In this paper, I will explore and examine other functions of the ear that resist and yet are integral to meaning generation. In particular, I will bring the concept of “vestibularity,” as developed by Rizvana Bradley in Anteaesthetics (2023) and Hortense Spillers in “Mama’s Baby, Papa’s Maybe: an American Grammar Book” (1987) with reference to black art and black feminine subjectivity respectively, into a conversation with Derrida’s examination of Tympan (eardrum), which is central for understanding how philosophy resists itself, in Margins of Philosophy (1982). The purpose of this study is to find a mode of attunement to different frequencies of sounds of protest that fall on the ear as murmurs and reverberate long after the meaning content of those sounds has been analyzed, discussed, debated, decimated, and digested. These murmurs that carry a specific charge of protest, and which resist the analytical functions noted above, are interlaced within the very materiality of the sounds but often remain undetected or are entirely undetectable. An attunement to these frequencies will make audible how we can resist the neutralization and reduction of protests to their base meaning. To this end, I will examine protest recordings, music by artists such as Nina Simone, James Baldwin’s radio recordings, and Franz Fanon’s “The Voice of Algeria” (1965), among other sources.
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