Robin James – författare

Following the first edition’s breakthrough study of popular feminism in 2010s popular music, this new edition of Resilience & Melancholy expands its original analysis into the 2020s. Robin James reads pop music from artists like Taylor Swift, Charli XCX, Rihanna, Beyonce, and Lady Gaga against the work of philosophers, feminists, and media theorists like Michel Foucault, Patricia Hill Collins, and Steven Shaviro. The result is an accessible dive into the last two decades of pop music and its politics.Throughout the book, James shows how pop music and the politics of gender and race intersect in their discourse of resilience. While the book argues that resilience is a post-feminist strategy that invites female artists to lean into patriarchal, racial, capitalist privilege, it also finds that artists such as Beyonce, Rihanna, and Atari Teenage Riot offer a melancholic alternative to resilience in their work. As music has continued to evolve, this melancholic opposition has evolved and responded to the co-optation of melancholy into chill, the asset-ification of music, the de-monetization of musical labor, and the rise of a reactionary masculine resilience.

Grounded in continental philosophy, The Conjectural Body: Gender, Race, and the Philosophy of Music uses feminist, critical race, and postcolonial theories to examine music, race, and gender as discourses that emerge and evolve with one another.. In the first section, author Robin James asks why philosophers commonly use music to explain embodied social identity and inequality. She looks at late twentieth-century postcolonial theory, Rousseau's early musical writings, and Kristeva's reading of Mozart and Schoenberg to develop a theory of the "conjectural body," arguing that this is the notion of embodiment that informs Western conceptions of raced, gendered, and resonating bodies. The second section addresses the ways in which norms about human bodily difference-such as gender and race-continue to ground serious and popular hierarchies well after twentieth and twenty-first century art and philosophy have deconstructed this binary. Reading Adorno's work on popular music through Irigaray's critique of commodification, James establishes and explains the feminization of popular music. She then locates this notion of the feminized popular in Nietzsche, and argues that he critiques Wagner by making an argument for the positive aesthetic (and epistemological) value of feminized popular music, such as Bizet and Italian opera. Following from Nietzsche, she argues that feminists ought and need to take "the popular" seriously, both as a domain of artistic and scholarly inquiry as well as a site of legitimate activism. The book concludes with an analysis of philosophy's continued hostility toward feminism, real-life women, and popular culture. While the study of gender, race, and popular culture has become a fixture in many areas of the academy, philosophy and musicology continue to resist attempts to take these objects as objects of serious academic study.

In 1989, an Ohio radio station called WOXY launched a sonic disruption to both corporate rock and to its conservative home region, programming an omnivorous range of genres and artists while being staunchly committed to local independent art and media. In the 1990s, as alternative rock went mainstream and radio grew increasingly homogeneous, WOXY gained international renown as one of Rolling Stone's "Last Great Independent Radio" stations. The station projected a philosophy that prioritized such independence—the idea that truly progressive, transgressive, futuristic disruptions of the status quo were possible only when practiced with and for other people.In The Future of Rock and Roll, philosopher Robin James uses WOXY's story to argue against a corporate vision of independence—in which everyone fends for themselves—and in favor of an alternative way of thinking and relating to one another that disrupts norms but is nevertheless supported by communities. Against the standard retelling of the history of "modern rock," James looks to the local scenes that made true independence possible by freeing individual artists from the whims of the boardroom. This philosophy of community-rooted independence offers both a counternarrative to the orthodox history of indie rock and an alternative worldview to that of the current corporate mainstream.

In 1989, an Ohio radio station called WOXY launched a sonic disruption to both corporate rock and to its conservative home region, programming an omnivorous range of genres and artists while being staunchly committed to local independent art and media. In the 1990s, as alternative rock went mainstream and radio grew increasingly homogeneous, WOXY gained international renown as one of Rolling Stone's "Last Great Independent Radio" stations. The station projected a philosophy that prioritized such independence—the idea that truly progressive, transgressive, futuristic disruptions of the status quo were possible only when practiced with and for other people.In The Future of Rock and Roll, philosopher Robin James uses WOXY's story to argue against a corporate vision of independence—in which everyone fends for themselves—and in favor of an alternative way of thinking and relating to one another that disrupts norms but is nevertheless supported by communities. Against the standard retelling of the history of "modern rock," James looks to the local scenes that made true independence possible by freeing individual artists from the whims of the boardroom. This philosophy of community-rooted independence offers both a counternarrative to the orthodox history of indie rock and an alternative worldview to that of the current corporate mainstream.

In 1983, an Ohio radio station called WOXY launched a sonic disruption to both corporate rock and to its conservative home region, programming an omnivorous range of genres and artists while being staunchly committed to local independent art and media. In the 1990s, as alternative rock went mainstream and radio grew increasingly homogeneous, WOXY gained international renown as one of Rolling Stone’s “Last Great Independent Radio” stations. The station projected a philosophy that prioritized such independence—the idea that truly progressive, transgressive, futuristic disruptions of the status quo were possible only when practiced with and for other people.In The Future of Rock and Roll, philosopher Robin James uses WOXY’s story to argue against a corporate vision of independence—in which everyone fends for themselves—and in favor of an alternative way of thinking and relating to one another that disrupts norms but is nevertheless supported by communities. Against the standard retelling of the history of “modern rock,” James looks to the local scenes that made true independence possible by freeing individual artists from the whims of the boardroom. This philosophy of community-rooted independence offers both a counternarrative to the orthodox history of indie rock and an alternative worldview to that of the current corporate mainstream.

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 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 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.

Discover the art of finding more through having less: more time, more calm, more energy, more money, more you.Filled with practical tips and ideas, this book will guide you toward a simpler way of life. Learn how to reduce your clutter and your stress levels, find advice on mastering your schedule and making time for what matters, and enrich your everyday by putting quality before quantity.From time to time, we all get lost in the flurry of a busy life, but we can always uncover a path back to our best and happiest selves. All you need is focus, a slower pace and the simple power of "less".

For over eighty years the SBS have sailed into the face of danger. Responsible for quick strikes, reconnaissance, and counter-terrorism, they are the world''s foremost marine special forces unit. The SBS risk their lives at sea and on land, undertaking the most dangerous missions. 1995, Spain. The Princess of Wales is enjoying a holiday in Catalonia when she becomes the target of an international terrorist''s vengeance. With the Princess kidnapped, can the SBS rescue her in time – or will their tried and tested methods fail against the wily and battle-hardened terrorist leader?

Discover the art of finding more through having less: more time, more calm, more energy, more money, more youFilled with practical tips and ideas, this book will guide you toward a simpler way of life. Learn how to reduce your clutter and your stress levels, find advice on mastering your schedule and making time for what matters, and enrich your everyday by putting quality before quantity.From time to time, we all get lost in the flurry of a busy life, but we can always uncover a path back to our best and happiest selves. All you need is focus, a slower pace and the simple power of "less".In this book you will find advice on:- Finding calm- Improving sleep- Managing your time- Creating more space at home- Enjoying nature- Feeling more joyLet go of chasing more and embrace the liberating power of less.

Find harmony in all aspects of your life with this beautiful guide to simple, balanced livingLife is full of demands and responsibilities that are constantly vying for our attention, and achieving a sense of equilibrium can be challenging. Despite the everyday noise and distractions, there are always steps you can take to find a more balanced, harmonious existence - and that's where this book comes in. With practical tips on everything from managing day-to-day stress to finding a work-life balance, How to Balance Your Life is your go-to guide to discovering lasting peace and harmony. This inspirational book will help you find ways to boost your well-being and be more mindful of the wider world and your impact on it, while making sure there is always room for "me" time.Inside you will find:- Techniques to soothe your mind and give yourself headspace- Practical advice on keeping physically fit and healthy- Tips for creating a peaceful home environment- Ideas for spending quality time with othersAnd much more! So, delve into these pages and take your first step towards a happier, healthier and more relaxed future.

In 1983, an Ohio radio station called WOXY launched a sonic disruption to both corporate rock and to its conservative home region, programming an omnivorous range of genres and artists while being staunchly committed to local independent art and media. In the 1990s, as alternative rock went mainstream and radio grew increasingly homogeneous, WOXY gained international renown as one of Rolling Stone’s “Last Great Independent Radio” stations. The station projected a philosophy that prioritized such independence—the idea that truly progressive, transgressive, futuristic disruptions of the status quo were possible only when practiced with and for other people.In The Future of Rock and Roll, philosopher Robin James uses WOXY’s story to argue against a corporate vision of independence—in which everyone fends for themselves—and in favor of an alternative way of thinking and relating to one another that disrupts norms but is nevertheless supported by communities. Against the standard retelling of the history of “modern rock,” James looks to the local scenes that made true independence possible by freeing individual artists from the whims of the boardroom. This philosophy of community-rooted independence offers both a counternarrative to the orthodox history of indie rock and an alternative worldview to that of the current corporate mainstream.