Robin James is Associate Professor of Philosophy at the University of North Carolina, Charlotte, and author of Resilience and Melancholy: Pop Music, Feminism, Neoliberalism and The Conjectural Body: Gender, Race, and the Philosophy of Music.

“Through skillful and perceptive negotiations among diverse theoretical paradigms and material practices, Robin James articulates a bold thesis about the shift from the visual character of modernity articulated by Foucault to the sonic episteme characteristic of twenty-first-century biopolitical neoliberalism. In James’s hands, the sonic episteme becomes a diagnostic tool as well as an all-embracing metaphor of the way the new regime of neoliberal biopower works, its modes of governmentality, and its production of excluded groups. An outstanding book.” - Ewa Plonowska Ziarek, author of (Feminist Aesthetics and the Politics of Modernism) “The Sonic Episteme is a fascinating exploration of the problems of neoliberalism and the biopolitical that attends to the ways sound has come to be an object of study. Robin James asks readers to refuse the privileging of any one sense experience by examining the ways what she calls the sonic episteme is a part of neoliberal thought, not a break from it. The Sonic Episteme is about the practice of alternatives to the social order in thought and its epistemological possibilities rather than the search for alternatives emerging from the already given epistemological horizon and thrust of Western thought. As such, James offers a way to think sound studies, race, and material cultures together.” - Ashon T. Crawley, author of (Blackpentecostal Breath: The Aesthetics of Possibility) "James is an insightful philosopher and sharp cultural critic drawing comparisons between musical phenomena such as compression and the loudness wars, and the damages wreaked by neoliberal market economics." - Karen D. Tregaskin (The Wire) "What makes The Sonic Episteme an impressive accomplishment is its academically acceptable reliance on Philosophy combined with a crucial gesture, beyond Philosophy’s purview, to commercially successful pop music, which has the potential to present a crucial something else." - Jeff Heinzl (Spectrum Culture) "This extensive assemblage of source texts generates unexpected and often striking conclusions. Most valuably, James organises crucial texts at the intersection of sound studies and critical race studies, proffering their diverse methodologies as alternatives to the techniques of post-democratic perceptual coding. For those interested in the consequences of frequency modeling and the broader project of approaching philosophy through sound, The Sonic Episteme presents a bold . . . foray into the rich territory of neoliberal sonic representation." - Madeline Collier (Sound Studies) “Robin James’s The Sonic Episteme is an incredibly provocative, well-argued, well-written, and necessary study of popular music and neoliberalism. It will surely be of interest to those in philosophy, popular music studies, sound studies, cultural studies, and Black studies.” - Elliot H. Powell (Journal of Aesthetics and Art Criticism) “With The Sonic Episteme, James intervenes upon sound by asking us to think more critically, inclusively, and ethically with and about it.... [Its] topical and methodological breadth makes it a productive and useful addition to the field of popular music studies.” - Kate Galloway (Journal of Popular Music Studies) “Robin James’ latest book is a compelling and rewarding showcase of her ability to use music and sound as a means to interrogate an array of contemporary philosophical, political, cultural and scientific perspectives.... By aggregating vernacular and non-elite ways of knowing, as expressed through a range of music and sound practices, she has succeeded in developing credible and coherent alternatives.” - Matthew Lovett (Popular Music) "The Sonic Episteme promises to be an important addition to graduate syllabi and should push music scholars and practitioners to see how our ideas about the nature of sound might hamper our efforts to reshape the places, settings, and institutions where we make music."- Alexandra M. Apolloni (Journal of the Society of American Music)

• Acknowledgments  viiIntroduction  11. Neoliberal Noise and the Biopolitics of (Un)Cool: Acoustic Resonance as Political Economy  232. Universal Envoicement: Acoustic Resonance as Political Ontology  513. Vibration and Diffraction: Acoustic Resonance as Materialist Ontology  874. Neoliberal Sophrosyne: Acoustic Resonance as Subjectivity and Personhood  1265. Social Physics and Quantum Physics: Acoustic Resonance as the Model for a "Harmonious" World  158Conclusion  181Notes  185Bibliography  227Index  239

Robin James is Associate Professor of Philosophy at the University of North Carolina, Charlotte, and author of Resilience and Melancholy: Pop Music, Feminism, Neoliberalism and The Conjectural Body: Gender, Race, and the Philosophy of Music.

“Through skillful and perceptive negotiations among diverse theoretical paradigms and material practices, Robin James articulates a bold thesis about the shift from the visual character of modernity articulated by Foucault to the sonic episteme characteristic of twenty-first-century biopolitical neoliberalism. In James’s hands, the sonic episteme becomes a diagnostic tool as well as an all-embracing metaphor of the way the new regime of neoliberal biopower works, its modes of governmentality, and its production of excluded groups. An outstanding book.” - Ewa Plonowska Ziarek, author of (Feminist Aesthetics and the Politics of Modernism) “The Sonic Episteme is a fascinating exploration of the problems of neoliberalism and the biopolitical that attends to the ways sound has come to be an object of study. Robin James asks readers to refuse the privileging of any one sense experience by examining the ways what she calls the sonic episteme is a part of neoliberal thought, not a break from it. The Sonic Episteme is about the practice of alternatives to the social order in thought and its epistemological possibilities rather than the search for alternatives emerging from the already given epistemological horizon and thrust of Western thought. As such, James offers a way to think sound studies, race, and material cultures together.” - Ashon T. Crawley, author of (Blackpentecostal Breath: The Aesthetics of Possibility) "James is an insightful philosopher and sharp cultural critic drawing comparisons between musical phenomena such as compression and the loudness wars, and the damages wreaked by neoliberal market economics." - Karen D. Tregaskin (The Wire) "What makes The Sonic Episteme an impressive accomplishment is its academically acceptable reliance on Philosophy combined with a crucial gesture, beyond Philosophy’s purview, to commercially successful pop music, which has the potential to present a crucial something else." - Jeff Heinzl (Spectrum Culture) "This extensive assemblage of source texts generates unexpected and often striking conclusions. Most valuably, James organises crucial texts at the intersection of sound studies and critical race studies, proffering their diverse methodologies as alternatives to the techniques of post-democratic perceptual coding. For those interested in the consequences of frequency modeling and the broader project of approaching philosophy through sound, The Sonic Episteme presents a bold . . . foray into the rich territory of neoliberal sonic representation." - Madeline Collier (Sound Studies) “Robin James’s The Sonic Episteme is an incredibly provocative, well-argued, well-written, and necessary study of popular music and neoliberalism. It will surely be of interest to those in philosophy, popular music studies, sound studies, cultural studies, and Black studies.” - Elliot H. Powell (Journal of Aesthetics and Art Criticism) “With The Sonic Episteme, James intervenes upon sound by asking us to think more critically, inclusively, and ethically with and about it.... [Its] topical and methodological breadth makes it a productive and useful addition to the field of popular music studies.” - Kate Galloway (Journal of Popular Music Studies) “Robin James’ latest book is a compelling and rewarding showcase of her ability to use music and sound as a means to interrogate an array of contemporary philosophical, political, cultural and scientific perspectives.... By aggregating vernacular and non-elite ways of knowing, as expressed through a range of music and sound practices, she has succeeded in developing credible and coherent alternatives.” - Matthew Lovett (Popular Music) "The Sonic Episteme promises to be an important addition to graduate syllabi and should push music scholars and practitioners to see how our ideas about the nature of sound might hamper our efforts to reshape the places, settings, and institutions where we make music."- Alexandra M. Apolloni (Journal of the Society of American Music)

• Acknowledgments  viiIntroduction  11. Neoliberal Noise and the Biopolitics of (Un)Cool: Acoustic Resonance as Political Economy  232. Universal Envoicement: Acoustic Resonance as Political Ontology  513. Vibration and Diffraction: Acoustic Resonance as Materialist Ontology  874. Neoliberal Sophrosyne: Acoustic Resonance as Subjectivity and Personhood  1265. Social Physics and Quantum Physics: Acoustic Resonance as the Model for a "Harmonious" World  158Conclusion  181Notes  185Bibliography  227Index  239

Robin James is Associate Professor of Philosophy at the University of North Carolina, Charlotte, and author of Resilience and Melancholy: Pop Music, Feminism, Neoliberalism and The Conjectural Body: Gender, Race, and the Philosophy of Music.

“Through skillful and perceptive negotiations among diverse theoretical paradigms and material practices, Robin James articulates a bold thesis about the shift from the visual character of modernity articulated by Foucault to the sonic episteme characteristic of twenty-first-century biopolitical neoliberalism. In James’s hands, the sonic episteme becomes a diagnostic tool as well as an all-embracing metaphor of the way the new regime of neoliberal biopower works, its modes of governmentality, and its production of excluded groups. An outstanding book.” - Ewa Plonowska Ziarek, author of (Feminist Aesthetics and the Politics of Modernism) “The Sonic Episteme is a fascinating exploration of the problems of neoliberalism and the biopolitical that attends to the ways sound has come to be an object of study. Robin James asks readers to refuse the privileging of any one sense experience by examining the ways what she calls the sonic episteme is a part of neoliberal thought, not a break from it. The Sonic Episteme is about the practice of alternatives to the social order in thought and its epistemological possibilities rather than the search for alternatives emerging from the already given epistemological horizon and thrust of Western thought. As such, James offers a way to think sound studies, race, and material cultures together.” - Ashon T. Crawley, author of (Blackpentecostal Breath: The Aesthetics of Possibility) "James is an insightful philosopher and sharp cultural critic drawing comparisons between musical phenomena such as compression and the loudness wars, and the damages wreaked by neoliberal market economics." - Karen D. Tregaskin (The Wire) "What makes The Sonic Episteme an impressive accomplishment is its academically acceptable reliance on Philosophy combined with a crucial gesture, beyond Philosophy’s purview, to commercially successful pop music, which has the potential to present a crucial something else." - Jeff Heinzl (Spectrum Culture) "This extensive assemblage of source texts generates unexpected and often striking conclusions. Most valuably, James organises crucial texts at the intersection of sound studies and critical race studies, proffering their diverse methodologies as alternatives to the techniques of post-democratic perceptual coding. For those interested in the consequences of frequency modeling and the broader project of approaching philosophy through sound, The Sonic Episteme presents a bold . . . foray into the rich territory of neoliberal sonic representation." - Madeline Collier (Sound Studies) “Robin James’s The Sonic Episteme is an incredibly provocative, well-argued, well-written, and necessary study of popular music and neoliberalism. It will surely be of interest to those in philosophy, popular music studies, sound studies, cultural studies, and Black studies.” - Elliot H. Powell (Journal of Aesthetics and Art Criticism) “With The Sonic Episteme, James intervenes upon sound by asking us to think more critically, inclusively, and ethically with and about it.... [Its] topical and methodological breadth makes it a productive and useful addition to the field of popular music studies.” - Kate Galloway (Journal of Popular Music Studies) “Robin James’ latest book is a compelling and rewarding showcase of her ability to use music and sound as a means to interrogate an array of contemporary philosophical, political, cultural and scientific perspectives.... By aggregating vernacular and non-elite ways of knowing, as expressed through a range of music and sound practices, she has succeeded in developing credible and coherent alternatives.” - Matthew Lovett (Popular Music) "The Sonic Episteme promises to be an important addition to graduate syllabi and should push music scholars and practitioners to see how our ideas about the nature of sound might hamper our efforts to reshape the places, settings, and institutions where we make music."- Alexandra M. Apolloni (Journal of the Society of American Music)

• Acknowledgments  viiIntroduction  11. Neoliberal Noise and the Biopolitics of (Un)Cool: Acoustic Resonance as Political Economy  232. Universal Envoicement: Acoustic Resonance as Political Ontology  513. Vibration and Diffraction: Acoustic Resonance as Materialist Ontology  874. Neoliberal Sophrosyne: Acoustic Resonance as Subjectivity and Personhood  1265. Social Physics and Quantum Physics: Acoustic Resonance as the Model for a "Harmonious" World  158Conclusion  181Notes  185Bibliography  227Index  239