在一個政治氣候充滿對立的世界裡，壓倒性的現實催化了大量的政治藝術。它經常成為一種旨在傳遞政治主張、讓人「得知、獲悉」的途徑。而聽覺所擁有的渲染能量，讓它的政治工具化成為必然。但其教條化，往往將人與藝術的關係限縮為一種語音中心式的關係，直至窒息了藝術。聲音政治作品究竟如何以一種哲學或政治辯論所無法達成的方式，確保新感知的創造與訊息可讀性的共同存在？
阿洛拉與卡蕯地亞（Jennifer Allora and Guillermo Calzadilla）是少數對軍國主義與聲音間的相互作用，持續保持著興趣的當代藝術家。本文以其《答聲》（Returning A Sound）和《鐘、怪手和熱帶製藥業》（The Bell, the Digger, and the Tropical Pharmacy）二件聲音政治作品為研究主要標的，探究他們如何透過隱喻，創造出他們稱之為「似怪物的藝術」（Monstrous Art）？透過亞里斯多德和迪德羅的怪物概念、洪希耶（Jacques Rancière）的「異質學」，本文將試著回答何謂「似怪物的藝術」？其核心概念為何？二位藝術家如何在避開政治教條化的同時，揭顯其政治主張？如何在藝術與邏各斯（logos）之間，進行困難的協商與角力？如何在已經沾黏了一層層已知陳套的聲音中，創造短路、進而反手劫持那些原已經被工具化了的聲音？　　
最後，這些背負著多重象徵的聲音物件，是否可能從一個完全相反的角度，展現出一種完全的「文化零度」、一種全然的物質向度？如何將「非人」納入政治思考範圍、開展出一種非人類中心的、更為開闊的政治想像視野?我們將從阿多諾的「否定的辯證」切入，探究藝術家如何透過音影進行細膩調度，透過物質之聲的強調，讓這件作品成為一件由聲音引領的物之政治異質學，向我們提示一種班涅（Jane Bennett）所倡議的「物的政治生態系」。

In a world in which the political climate is characterized by intense confrontations and constant anxiety, there has been a surge in the creation of political art aimed at highlighting and condemning political injustices. Artists who feel compelled to address these issues and raise awareness have turned political art into a powerful medium for conveying messages and keeping the public informed. The emotive energy of sound has made such art a potent tool and promoted its political instrumentalization. Auditory appeals add a sense of immediacy and intimacy that visual arts may sometimes lack. However, the instrumentalization of sound in political art often leads to dogmatization, whereby the relationship between the audience and the art becomes overly focused on discourse and argumentation. Dogmatization can stifle the organic and intuitive nature of art, suffocating its creative potential. Art, at its core, is meant to transcend conventional frameworks and offer new ways of perceiving the world; however, instrumentalization risks reducing art to a mere tool for communication. How can sound art maintain a delicate balance between creating new perceptions and effectively conveying information, which is often challenging to achieve in philosophical and political debates?
This paper aims to analyze the concept of “monstrous art” articulated by Jennifer Allora and Guillermo Calzadilla, who are among the few contemporary artists interested in the interplay between militarism and sound. We primarily examine two of their sound-based political artworks: Returning A Sound and The Bell, the Digger, and the Tropical Pharmacy. In this context, the term “monstrous” refers to the artists' intentions to challenge the existing norms and conventions of art, politics, and society. This represents their desire to create art that is disruptive, subversive, and unsettling, with the aim of provoking critical thinking and reflection. This paper will reference Aristotle's and Diderot's concept of the monster to demonstrate the connection between their ideas and Allora and Calzadilla's monstrous art. Since the concept of “monstrous art” is also closely related to Jacques Rancière's notion of “heterology,” we will also focus on Rancière's concept. Rancière characterizes heterology as a method of engaging with the elements that are not assimilable into the dominant order. Rancière believes that art can generate new ways of perceiving and comprehending through challenging existing forms of representation. Both “monstrous art” and “heterology” seek to challenge the established status quo. How do Jennifer Allora and Guillermo Calzadilla reveal their political views while avoiding falling prey to propaganda? In their artistic practices, how do they employ metaphorical strategies to navigate complex political issues? How do they engage in the difficult negotiation and wrestle between art and logos? How do these two artists short-circuit sounds that are already coated with clichés? How do they ultimately hijack these instrumentalized sounds and subvert their original intended purpose to open up possibilities for fresh perception and understanding?
Is it possible for these highly symbolically charged sound objects to exhibit a “zero-degree of culture” from a completely different perspective—namely, by focusing solely on their material qualities? How do these material sounds incorporate non-humans into the realm of political thought? In doing so, how do they expand our imagination of politics and encourage a perspective that is not centered on humans? To answer these questions, we will delve into Adorno's “negative dialectics” to explore how the artists subtly modulate audio-vision, emphasizing material sounds and transforming this work into a piece of political heterology guided by sound. This approach resonates with Jane Bennett's idea of a “political ecology of things,” which recognizes and incorporates the agency and influence of non-human entities in political discourse. By attributing importance and agency to these material sounds, the artists encourage us to adopt a broader, more inclusive perspective on politics that transcends the limitations of an anthropocentric worldview.