The desire-to-desire community

: An abolitionist critique of gatekeeping and the making of outsiders

Abstract

This thesis argues that the concept of community has been insufficiently theorised in contemporary abolitionist literature, hindering its radical potential. I introduce four original concepts: the ‘desire-to-desire’ community, ‘(b)orders,’ ‘the void’ and ‘radical musicking’ as an abolitionist praxis. I originally intended to address the criminalisation of rap music (UK Drill) and to explore rap-knowledge regarding knife violence. There were difficulties delivering fieldwork, resulting in my early exit. The project was redirected to analyse tensions that arose between community gatekeepers and researchers. Using Essex Discourse Analysis (EDA), I found that some gatekeepers foreclose those perceived to be critical or challenging, who are subsequently situated as outsiders. I explore this foreclosure and ask: what is the role of community in abolitionism? Can it reproduce power/policing? What is the subsequent relevance of music?
I therefore re-read abolitionism to explore its aspirations for community as an alternative to the criminal justice system (Verse One). I find that abolitionists primarily conceptualise power as an external force, therefore outsiders are treated with suspicion. I turn to analyse Foucault’s (1975) conceptualisation of disciplinary power and the naturalisation of carceral logic (Verse Two). Re-theorising power in the context of abolitionism, I problematise the romanticism of community. I emphasise that the discipline of power stems from its order. To explore the mechanisms of order I turn to Attali’s (1977) musical compositions leading me to argue that neoliberalism is a form of repetition and noise control (Verse Three). I liken this to Rancière’s (1995) ‘police order’ and the assignment of ‘proper’ place. Whilst equality maybe aspirational, it is impossible. Outsiders are continuously produced and policed.
By maintaining what I describe as (b)orders, I theorise that gatekeepers establish their own special knowledge-property. I develop a concept of ‘hipster academia,’ drawing upon Robin James’ (2014) ‘cool capital.’ This commodifies community materials such as music. I find that gatekeepers perform a desire-to-desire the community as an alternative to neoliberalism (Verse Four). They assert their moral standing and knowledge-property. They defend this property from outsiders. The construction of outsiders creates a ‘void.’ Drawing inspiration from Harney and Moten (2021; 2013) and Waltham-Smith’s (2024) Free Listening, I argue that the void has a creative and resistant quality which relinquishes knowledge-property and better aligns with abolitionism. My innovative concept of ‘radical musicking’ offers a way of playing with incompleteness and disorder as an abolitionist praxis (Verse Five). I agitate for new ways of relating and making noise without consolidating the insider/outsider binaries which reproduce carceral logic.

Date of Award	Nov 2025
Original language	English
Awarding Institution	University of Brighton
Supervisor	Clare Woodford (Supervisor)