Here’s a the bio that I usually send out upon request, so please feel free to use this:

Robin James is Associate Professor of Philosophy at UNC Charlotte and co-editor of The Journal of Popular Music Studies. She is author of three books. The Sonic Episteme: acoustic resonance & post-identity biopolitics is under contract with Duke University Press. She also wrote Resilience & Melancholy: pop music, feminism, and neoliberalism (Zero, 2015), and The Conjectural Body: gender, race and the philosophy of music was published by Lexington Books in 2010. Her work on feminism, race, contemporary continental philosophy, pop music, and sound studies has appeared in The Guardian, The New Inquiry, Noisey, popula, SoundingOut!, Hypatia, differences, Contemporary Aesthetics, and the Journal of Popular Music Studies. She loves dogs, gardening, running, and face-melting industrial techno.


You can listen to recordings of some of her lectures here. She is also a digital sound artist and musician, and also works as a member of citation:obsolete.

The most current version of Robin’s CV.



I’m in the middle of writing a manuscript titled (for now) The Sonic Episteme. It argues that various early 21st century theories such as neoliberal political economy, post-identity biopolitics, predictive analytics/algorithmic culture, even new materialist theory and string theory all turn to metaphors of sound–especially sound understood as acoustic resonance–in order to mark their difference from and progress past Western post/modernity. Because Modernity’s epistemology and ontology is widely understood to be visual (think about Foucault’s Order of Things–it’s an account of modernity’s episteme that begins with an analysis of a painting about the gaze), sonic epistemologies and ontologies feel “neo-” and “post-” Modernity’s visuality. Theorists’ move from visual to sonic metaphors both marks and performs the move past Modernity, the move that makes neoliberalism “neo-“. Most theorists think acoustic resonance fixes Modernity’s problems–patriarchy, white supremacy, conceptual abstraction. However, political ontologies modeled on acoustic resonance naturalize the relationships and practices that post-identity biopolitics uses to organize and manage white supremacist patriarchy. Acoustic resonance is a compelling metaphor because it translates the mathematical relationships used in financialization, predictive analytics, and biopolitical statistics into non-quantitative terms.



Contact Robin: 


rjames7 AT uncc DOT edu