Naomi Waltham-Smith (Reader)
I work at the intersection between sound studies and modern European philosophy and literary theory, especially deconstruction. I am interested in how aurality is imbricated in some of the most significant and urgent political issues in contemporary neoliberalism, including the impact of digital political economies on listening practices and the transforming conditions of vocality amid the crisis of political representation we are witnessing today. I use field recordings to explore urban ecologies of sound and their political significance and I also study sonic activism and political sound-art interventions.
My first book, Music and Belonging Between Revolution and Restoration (Oxford University Press, 2017) explores how the instrumental music of Haydn, Mozart, and Beethoven is implicated in a politics of belonging, understood in the double sense of inclusion and possession. Putting this music in dialogue with the thought of Derrida, Nancy, Agamben, and Badiou, it examines how aesthetics is always already unravelling in the direction of collective production.
My second monograph, Shattering Biopolitics: Militant Listening and the Sound of Life (Fordham University Press, 2021), develops my interests in the role of sound and listening in the philosophical tradition from Plato to contemporary French thought. It examines how sound is imbricated in the politics of life as it is theorised in the thought of Derrida, Cixous, Agamben, and Malabou, exploring the ramifications for the politics of sound, listening, and voice today.
In the wake of a resurgence of anti-racist organising on both sides of the Atlantic, I am in the midst of writing a third monograph entitled Mapping (Post)colonial Paris by Ear (forthcoming with Cambridge University Press) that reinvents the bourgeois figure of the flâneur as a feminist-decolonial activist and configures listening as an expressly spatial practice of mapping the traces of France's colonial history in the quartiers populaires today. My fourth monograph is devoted to the topical questions of freedom of expression and academic freedom, approached somewhat novelly from the angle of listening.
In addition to these theoretical perspectives, my work also involves a field-recording and creative practice. For projects funded by the Mellon Foundation and a fellowship at the Akademie Schloss Solitude, I have used field recordings and sound walks as methods to investigate precarity, gentrification, and environmental issues. A sound and photograph installation entitled Anti-Fascist Silent Disco, which was based on some of this research, was exhibited in Stuttgart in 2019 and a vitrine showcasing a project Out of Work funded by the Warwick Global Research Priority “Productivity and the Futures of Work” was on display in autumn 2020. I am co-curating a participatory project on “Sampling Sounds of Coventry's Future” with CIM colleague Noortje Marres and Nirmal Puwar (Goldsmiths) as part of Coventry City of Culture.
I am currently Deputy Chair (Education) of the Faculty of Social Sciences and am also an elected representative of the Assembly on the Senate with a commitment to listen above all to those voices most marginalised in our university community. I was humbled to have been nominated by students for and have won a Warwick Award for Teaching Excellence in 2021.
Sound studies; recent French philosophy; politics of listening and democracy; urban sound ecologies; environmental humanities; literary sound studies; sonic art and activism.
Prior to joining CIM in January 2019, I taught Music and Comparative Literature at the University of Pennsylvania (2012–2018). Before that, I held postdoctoral fellowships at City University and Indiana University, and taught at the University of Cambridge. I am a graduate of Selwyn College, Cambridge and King’s College London.
Current research projects
My ongoing empirical work deploys a creative praxis of field recording in combination with continental political philosophy to investigate urban sound ecologies and the conditions of aurality under neoliberal capital and with the rise of right populisms. Supported by grants from the Mellon Humanities+Urbanism+Design Initiative and the Price Lab for Digital Humanities, this work has involved a study of the sound of precarity in the Parisian banlieues and investigations into practices of sound activism. I was awarded a fellowship at the Akademie Schloss Solitude in 2019–20 to continue this work on urban soundscapes with a project entitled “Cart-otographies of Cities: Soundmapping Urban Political Economies.” I am currently engaged in an ESRC IAA-funded impact project with Latin Elephant and members of Ultra-red in Southwark and also working on a longer-term project on "Listening and Democracy: Theory, Practice, Crisis."
Future plans include a project on “ec(h)otechnics” that explores the technological modulation of listening and posthuman modes of aural attunement to the environment. An article beginning to explore this subject has bene published in a special issue of Diacritics on “The Turn.”
Co-edited books and special issues
Co-edited with Alexander Rehding, A Cultural History of Music, vol. 5, The Industrial Age (1790–1914), (London: Bloomsbury) [in preparation].
Recent journal articles and book chapters
“Deconstruction,” in Oxford Handbook of Western Music and Philosophy, ed. Jerrold Levinson, Nanette Nielsen and Tomas McCauley (New York: Oxford University Press, 2020).
Translator’s introduction to Jean-Luc Nancy, “Galant Music,” in ibid.
“Listening as Monument,” invited essay on Emeka Ogboh’s sound installation Logan Squared: Ode to Philly featuring poet Ursula Rucker, in Monument Lab: Creative Speculations for Philadelphia, ed. Ken Lum and Paul M. Farber (Philadelphia: Temple University Press, 2019).
IM937: Listening to Urban Waters
Centre for Interdisciplinary Methodologies
University of Warwick
Email: Naomi dot Waltham-Smith at warwick dot ac dot uk
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