This study of the subtlety, complexity, and variety of modes of
hearing maps out a "sonorous archipelago"-a heterogeneous set of
shifting sonic territories shaped by the vicissitudes of desire and
discourse. Profoundly intimate yet immediately giving onto distant
spaces, both an "organ of fear" and an echo chamber of anticipated
pleasures, an uncontrollable flow subject to unconscious selection
and augmentation, the subtlety, complexity, and variety of modes of
hearing has meant that sound has rarely received the same
philosophical attention as the visual. In The Order of Sounds,
Francois J. Bonnet makes a compelling case for the irreducible
heterogeneity of "sound," navigating between the physical models
constructed by psychophysics and refined through recording
technologies, and the synthetic production of what is heard. From
primitive vigilance and sonic mythologies to digital sampling and
sound installations, he examines the ways in which we make sound
speak to us, in an analysis of listening as a plurivocal phenomenon
drawing on Foucault, Deleuze and Guattari, Barthes, Nancy, Adorno,
and de Certeau, and experimental pioneers such as Tesla, Bell, and
Raudive. Stringent critiques of the "soundscape" and "reduced
listening" demonstrate that univocal ontologies of sound are always
partial and politicized; for listening is always a selective
fetishism, a hallucination of sound filtered by desire and
convention, territorialized by discourse and its authorities.
Bonnet proposes neither a disciplined listening that targets sound
"itself," nor an "ocean of sound" in which we might lose ourselves,
but instead maps out a sonorous archipelago-a heterogeneous set of
shifting sonic territories shaped and aggregated by the
vicissitudes of desire and discourse.
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