共聽的情感實作：臺灣當代女同志獨立音樂聆聽經驗

二十一世紀的臺灣女同志社群中，「獨立音樂」的聆聽與其文化的再生產，是當今女同志的重要文化符碼之一，也是以此為樞紐開展更多集結的管道，在女同志作為酷兒個體的聆聽過程中，更透過了聆聽經驗建構了情感政治以及聲音研究上的共鳴性。這樣的「共聽體」透過網際網絡虛擬空間的集結，以及線下live house的音樂聆聽經驗相互謀合，與臺灣女同志文學與文化系譜學的發展息息相關，更與當前臺灣酷兒空間與獨立音樂消費文化的發展緊密黏合。本研究試圖探討臺灣女同志的聆聽經驗作為一酷兒情感共做體的可能，透過對於女同志文化系譜的爬梳，反思音樂聆聽取向發展所具有的歷史性與社會性，以及「獨立音樂」在臺灣音樂地景中，與消費文化及酷兒社群的關係。本研究更透過共聽民族誌（resonant ethnography）的撰寫，反思酷兒共鳴經驗於聆聽以及情感實踐上的政治潛能，同時關照臺灣作為一大國邊陲之特殊政治主體，在此狀態下的酷兒公民所經歷的情感結構，以及與此相關的音樂實踐，在當今新自由主義的全球化社會中，如何透過「共鳴」與「共作」回應既有的政治情境，並試圖藉此酷兒生命語境，作為抵抗現今異性戀與大國主義霸權的策略。

關鍵字

酷兒音樂學；獨立音樂；女同志研究；酷兒理論；情感政治；臺灣研究

並列摘要

Taiwanese “indie” music, a subcultural product with a unique history of development since 1980s, embodies the feelings of struggles, rebellions, solitudes of local soundscapes. To be noted, there has been a comprehensively high preference of Taiwanese indie music within local lesbian communities, differing from other terms of LGBT communities and heterosexual popular music preferences. Such phenomenon not only serves as a way for lesbians to express their personal affections and emotions, but also works as an approach to network peoples within lesbian communities together for further alliance. Based on the fieldwork with Taiwanese lesbian community members to depict a queered soundscape on indie music perception, this research aims to reconstruct the genealogy of hearing and feeling in the aspect of lesbian identification and the construction of affect politics. This ethnography seek to reveal how such listening experiences permeate the heteronormative gender hierarchy through the process of indie listening, creating possible traits of queer affect politics. By elaborating how Taiwanese lesbian communities embody personal queer subjectivities through listening, I hope to develop an alternative reflection on affect studies based on the elaboration of queer feelings and its relation with indie musicscapes in the socio-political structure of twenty-first century Taiwan.