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Sonic Politics after December 3 - Exploring the Sounds of the Square and Theoretical Horizon

  • Journal of Popular Narrative
  • 2025, 31(2), pp.463~496
  • Publisher : The Association of Popular Narrative
  • Research Area : Interdisciplinary Studies > Interdisciplinary Research
  • Received : May 6, 2025
  • Accepted : June 16, 2025
  • Published : June 30, 2025

LIM, TAEHUN 1

1성균관대학교

Accredited

ABSTRACT

This study examines the sonic practices in public assembly spaces from the perspective of sonic politics following the declaration of emergency martial law on December 3, 2024. During this period, the public square functioned as a field of affective solidarity, mediated by sound and vibration, where participants transitioned into political subjects. This research analyzes how sonic elements such as choruses, chants, and shouts constituted the conditions for political subjectification. It specifically focuses on clarifying the organization of sound, the operational structure of affect, and the formation process of new subjects. The theoretical foundation is reconstructed through a critical adaptation of sound theories from R. Murray Schafer, Steve Goodman, Holger Schulze, and Kodwo Eshun. By applying these preceding theories to the specific Korean context, it presents a conceptual framework for analyzing the protest culture after the December 3rd incident. The analysis utilizes five key concepts: 'soundscape,' 'sonic warfare,' 'auditory assemblage,' 'sonic fiction,' and 'sonic persona.' These concepts provide a framework for comprehensively investigating how the sound environment of assembly spaces functions as a condition for affective political practice. The tension between state power and citizens took the form of a multi-layered sonic warfare. The collective resonance formed in the square established a political presence that transcended individual subjects. The shared rhythms and vibrations inscribed on the participants' bodies became the foundation for forging an intense solidarity. This achievement is significant in that it engendered a new form of affective participation and an ethics of enunciation, distinct from the 2016-2017 candlelight vigils. State power attempted to maintain social order through auditory assemblages such as warning broadcasts and noise regulations. In contrast, citizens countered that control by forming a counter-assemblage with their own voices and songs.

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