The Sonic Episteme: Acoustic Resonance, Neoliberalism, and Biopolitics
In The Sonic Episteme Robin James examines how twenty-first-century conceptions of sound as acoustic resonance shape notions of the social world, personhood, and materiality in ways that support white supremacist capitalist patriarchy. Drawing on fields ranging from philosophy and sound studies to b...
Gespeichert in:
| 1. Verfasser: | |
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| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Durham
Duke University Press
[2019]
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| Schlagworte: | |
| Online-Zugang: | DE-1043 DE-1046 DE-859 DE-860 DE-473 DE-739 DE-858 URL des Erstveröffentlichers |
| Zusammenfassung: | In The Sonic Episteme Robin James examines how twenty-first-century conceptions of sound as acoustic resonance shape notions of the social world, personhood, and materiality in ways that support white supremacist capitalist patriarchy. Drawing on fields ranging from philosophy and sound studies to black feminist studies and musicology, James shows how what she calls the sonic episteme-a set of sound-based rules that qualitatively structure social practices in much the same way that neoliberalism uses statistics-employs a politics of exception to maintain hegemonic neoliberal and biopolitical projects. Where James sees the normcore averageness of Taylor Swift and Spandau Ballet as contributing to the sonic episteme's marginalization of nonnormative conceptions of gender, race, and personhood, the black feminist political ontologies she identifies in Beyoncé's and Rihanna's music challenge such marginalization. In using sound to theorize political ontology, subjectivity, and power, James argues for the further articulation of sonic practices that avoid contributing to the systemic relations of domination that biopolitical neoliberalism creates and polices |
| Beschreibung: | Description based on online resource; title from PDF title page (publisher's Web site, viewed 28. Sep 2020) |
| Beschreibung: | 1 online resource (256 pages) 1 illustration |
| ISBN: | 9781478007371 |
| DOI: | 10.1515/9781478007371 |
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| 520 | |a In The Sonic Episteme Robin James examines how twenty-first-century conceptions of sound as acoustic resonance shape notions of the social world, personhood, and materiality in ways that support white supremacist capitalist patriarchy. Drawing on fields ranging from philosophy and sound studies to black feminist studies and musicology, James shows how what she calls the sonic episteme-a set of sound-based rules that qualitatively structure social practices in much the same way that neoliberalism uses statistics-employs a politics of exception to maintain hegemonic neoliberal and biopolitical projects. Where James sees the normcore averageness of Taylor Swift and Spandau Ballet as contributing to the sonic episteme's marginalization of nonnormative conceptions of gender, race, and personhood, the black feminist political ontologies she identifies in Beyoncé's and Rihanna's music challenge such marginalization. In using sound to theorize political ontology, subjectivity, and power, James argues for the further articulation of sonic practices that avoid contributing to the systemic relations of domination that biopolitical neoliberalism creates and polices | ||
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| spelling | James, Robin Verfasser aut The Sonic Episteme Acoustic Resonance, Neoliberalism, and Biopolitics Robin James Durham Duke University Press [2019] © 2019 1 online resource (256 pages) 1 illustration txt rdacontent c rdamedia cr rdacarrier Description based on online resource; title from PDF title page (publisher's Web site, viewed 28. Sep 2020) In The Sonic Episteme Robin James examines how twenty-first-century conceptions of sound as acoustic resonance shape notions of the social world, personhood, and materiality in ways that support white supremacist capitalist patriarchy. Drawing on fields ranging from philosophy and sound studies to black feminist studies and musicology, James shows how what she calls the sonic episteme-a set of sound-based rules that qualitatively structure social practices in much the same way that neoliberalism uses statistics-employs a politics of exception to maintain hegemonic neoliberal and biopolitical projects. Where James sees the normcore averageness of Taylor Swift and Spandau Ballet as contributing to the sonic episteme's marginalization of nonnormative conceptions of gender, race, and personhood, the black feminist political ontologies she identifies in Beyoncé's and Rihanna's music challenge such marginalization. In using sound to theorize political ontology, subjectivity, and power, James argues for the further articulation of sonic practices that avoid contributing to the systemic relations of domination that biopolitical neoliberalism creates and polices In English MUSIC / History & Criticism bisacsh Music Political aspects History 21st century Music Social aspects History 21st century https://doi.org/10.1515/9781478007371 Verlag URL des Erstveröffentlichers Volltext |
| spellingShingle | James, Robin The Sonic Episteme Acoustic Resonance, Neoliberalism, and Biopolitics MUSIC / History & Criticism bisacsh Music Political aspects History 21st century Music Social aspects History 21st century |
| title | The Sonic Episteme Acoustic Resonance, Neoliberalism, and Biopolitics |
| title_auth | The Sonic Episteme Acoustic Resonance, Neoliberalism, and Biopolitics |
| title_exact_search | The Sonic Episteme Acoustic Resonance, Neoliberalism, and Biopolitics |
| title_exact_search_txtP | The Sonic Episteme Acoustic Resonance, Neoliberalism, and Biopolitics |
| title_full | The Sonic Episteme Acoustic Resonance, Neoliberalism, and Biopolitics Robin James |
| title_fullStr | The Sonic Episteme Acoustic Resonance, Neoliberalism, and Biopolitics Robin James |
| title_full_unstemmed | The Sonic Episteme Acoustic Resonance, Neoliberalism, and Biopolitics Robin James |
| title_short | The Sonic Episteme |
| title_sort | the sonic episteme acoustic resonance neoliberalism and biopolitics |
| title_sub | Acoustic Resonance, Neoliberalism, and Biopolitics |
| topic | MUSIC / History & Criticism bisacsh Music Political aspects History 21st century Music Social aspects History 21st century |
| topic_facet | MUSIC / History & Criticism Music Political aspects History 21st century Music Social aspects History 21st century |
| url | https://doi.org/10.1515/9781478007371 |
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