The affective work of sound: the case of Pussy Riot’s noise

In recent years, the anti-Putin content of Pussy Riot’s work has received sustained scholarly attention. The author argues, however, that it is not only in content but also in force – in operationality of noise, in its capacity to act and incite – that Pussy Riot engaged with Russia’s regimes of power. Once Pussy Riot emerged as a feminist collective performing noisy interventions in public spaces and mapping them onto cyberspace, their performances were described as non-musical and aesthetically unpleasant based on negative stereotyping of noise. This article takes the ambiguous feeling of the non-musical as a point of departure and explores how sound was integral to the formation of Pussy Riot’s identity as noisemaker in the face of the Kremlin’s noise-abatement campaign associated with the moral project of silence. It builds on a philosophical framework proposed by Michel Serres and the latest theoretical developments in sound and affect studies to examine the urgency of Pussy Riot’s work in the contemporary political climate.