000			01907nam a22002297a 4500
005			20241230131117.0
008			241230b |||||||| |||| 00| 0 eng d
020			_a9781478006640
028			_a: International Book Distributors _b: Flat No.- 17, Prakash Apartment, 4405/2,5 Ansari Road, Daryaganj, New Delhi _c: 121072 _d: 17/12/2024
082			_a340.1 JAM
100			_aJames, Robin.
245			_aAcoustic Resonance, Neoliberalism, and Biopolitics. _c/ Robin James.
260			_a, London _b: Duke University Press _c, 2019.
300			_a245p. _c: 24cm.
365			_b1706
520			_aIn 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.
650			_a Acoustic resonance
650			_aSocial world
650			_aPhilosophy
700			_aRobin James
942			_cBOOK
999			_c62653 _d62653