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Calling out the nameless: CocoRosie's Posthuman sound world
- Author(s):
- Jake Johnson (see profile)
- Date:
- 2017
- Group(s):
- American Musicological Society, Music and Sound
- Subject(s):
- Musicology, Popular music, Sound--Study and teaching
- Item Type:
- Article
- Tag(s):
- Popular music, posthumanism, Queer Studies, sound studies, voice, Popular Music Studies, Queer and feminist performance, Sound studies, Voice
- Permanent URL:
- http://dx.doi.org/10.17613/M6PV7M
- Abstract:
- “To engage with CocoRosie requires absolute suspension of disbe- lief,” writes The Guardian. This has as much to do with their music as their appearance, for sisterly duo CocoRosie have embraced what they call a “posthuman kind of style” rooted in the dissolution of gender. In an effort to imagine a world beyond human constructions of gender, CocoRosie creates a sound world that reflects this aesthetic of a genderless futurity. Following Donna Haraway’s notion of the posthuman occupying a “post-gender world” and Drew Daniel’s contention that “all sound is queer,” supposing sound can sound gendered or de-gendered centers the discussion of posthumanity around the production and reception of sound. This discussion of CocoRosie, then, offers music scholars a particularly apt discursive model for examining what a post-gender (and thus posthuman) sound world sounds like. CocoRosie’s strange music, I contend, carries a transformative impulse and in turn sounds the undoing of gender itself.
- Metadata:
- xml
- Published as:
- Journal article
- Status:
- Published
- Last Updated:
- 5 years ago
- License:
- All Rights Reserved
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