Eric Voegelin, one of today's leading political theorists and author of the contemporary classic "The New Science of Politics," here contends that certain modern movements, including Positivism, Hegelianism, Marxism and the "God is Dead" movement, are variants of the Gnostic tradition of antiquity. He attempts to resolve the intellectual confusion that has resulted from the dominance of gnostic thought by clarifying the distinction between political gnosticism and the philosophy of politics. Highly provocative, this book is essential reading for students of modern politics, philosophy, and religion.

In 1959, Bridget Riley's copy of Georges Seurat's Bridge at Courbevoie (1886-87) offered the artist a new understanding of colour and tone, which led her to produce her first major works of pure abstraction during the early 1960s. In 2015-16, an exhibition at the Courtauld Gallery, London, presented seven of Riley's paintings and this key Pointillist work by Seurat from the museum's collection. Brought together for the first time, the exhibition demonstrated the two artists' shared preoccupation with perception by looking at pivotal points throughout Riley's career. Alongside full-colour illustrations, this publication features two essays written by Riley that offer the artist's insights on Seurat's importance to her own practice. An interview with the artist by Eric de Chassey, complemented by an introductory text by Karen Serres and Barnaby Wright, make this an important resource for art historians and general readers alike.

Build confidence for the written and oral assessments with hours of essential grammar practice activities and opportunities to develop writing skills. - Ensure structured language practice through comprehensive coverage of all IB grammar points and in-depth practice of core reading and writing skills based around the main text types. - Provide revision opportunities alongside material for ab initio students in the Transition section. - Effectively teach students at two levels with differentiated activities at Standard and Higher level.

Uncurating Sound performs, across five chapters, a deliberation between art, politics, knowledge and normativity. It foregrounds the perfidy of norms and engages in the curatorial as a colonial knowledge project, whose economy of exploitation draws a straight line from Enlightenment's desire for objectivity, through sugar, cotton and tobacco, via lives lost and money made to the violence of contemporary art. It takes from curation the notion of care and thinks it through purposeful inefficiency as resistance: going sideways and another way. Thus it moves curation through the double negative of not not to "uncuration": untethering knowledge from the expectations of reference and a canonical frame, and reconsidering art as political not in its message or aim, but by the way it confronts the institution. Looking at Kara Walker's work, the book invites the performance of the curatorial via indivisible connections and processes. Reading Kathy Acker and Adrian Piper it speculates on how the body brings us to knowledge beyond the ordinary. Playing Kate Carr and Ellen Fullman it re-examines Modernism's colonial ideology, and materialises the vibrational presence of a plural sense. Listening to Marguerite Humeau and Manon de Boer it avoids theory but agitates a direct knowing from voice and hands, and feet and ears that disorder hegemonic knowledge strands in favour of local, tacit, feminist and contingent knowledges that demand like Zanele Muholi's photographs, an ethical engagement with the work/world.

In 2012, Thomas Gardner and Salome Voegelin hosted a colloquium, entitled "Music - Sound Art: Historical Continuum and Mimetic Fissures", at the London College of Communication, University of the Arts London. This colloquium dealt with the current fervent debate concerning the relationship between sound art and music. This book proposes the opening of the colloquium to a wider readership through the publication of a decisive range of the material that defined the event.

In this collection of essays, which covers the years from 1934 to1939, we see Eric Voegelin in the role of both scholar and public intellectual in Vienna until he was forced to flee the Nazi terror that descended on Austria in 1938. Revealing the broad spectrum of thinking and scientific study of this relatively young scholar, Voegelin's essays range from Austrian politics, Austrian constitutional history, and European racism to questions of the formation and expression of public opinion, theories of administrative law, and the role of political science in public university education. Several essays serve as useful commentaries on, elaborations of, or synopses of arguments Voegelin made in the five books he had published between 1928 and 1938.

Within these topical headings, there are multiple thematic threads that wind their way through these essays and that remain of interest to contemporary readers. Thirteen of the pieces contained in this collection are short items that Voegelin published in trade journals and newspapers, of which nine appeared in the "Wiener Zeitung" in 1934 and the "Neue Freie Presse" in 1937. In these we see two brief periods in which Voegelin played the role of public intellectual not only as a lecturer but also in print.

These essays will be of interest to a wide range of scholars, including constitutional historians, historians of political science, political theorists, and students of Voegelin's later work.

"Published Essays, 1966-1985" includes some of the most trenchant and compelling of Eric Voegelin's work and is an indispensable companion to his Anamnesis and to the fourth and fifth volumes of "Order and History, " which were prepared for publication during the same period, the last two decades of the author's life. These essays are quintessential Voegelin.

Voegelin was an essayist at heart, and the pieces gathered here bear on almost every aspect of his philosophy. They range in subject matter and tone from a scalding critique of the German intellectual establishment during the Hitler period and a satire upon contemporary vulgarian culture to magisterial analyses of immortality, reason, and consciousness. The essays also embrace Voegelin's elaboration of the theory of equivalent experiences and symbolizations over human history and his meditation upon the lure of extremes in the rebellion of magic against reason in various modernist attacks on culture. The scope of Voegelin's work is magnified by the collection's final essay, a touching and profound deathbed reflection on God.

Running through all the material is Voegelin's conviction that the truly scientific or philosophical life is ordered through an Anselmian "fides quaerens intellectum, " a faith in search of understanding. Thus, the assertion that "all men by nature desire to know," which opens Aristotle's "Metaphysics, " is rightly completed by the words the divine Ground of being. It is the search of the Ground by a mystic philosopher-consciously indebted to such great contemplatives as Plato, Anselm, of Canterbury, jean Bodin, and Henri Bergson-that distinguishes Voegelin's own pilgrimage through time in partnership with God. Nowhere does this come more powerfully and luminously clear than in the pages of "Published Essays, 1966-1985."

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"Thirty-five years ago few could have predicted that "The New Science of Politics" would be a best-seller by political theory standards. Compressed within the Draconian economy of the six Walgreen lectures is a complete theory of man, society, and history, presented at the most profound and intellectual level. . . . Voegelin's work] stands out in bold relief from much of what has passed under the name of political science in recent decades. . . . The New Science is aptly titled, for Voegelin makes clear at the outset that a 'return to the specific content' of premodern political theory is out of the question. . . . The subtitle of the book, An Introduction, clearly indicates that The New Science of Politics is an invitation to join the search for the recovery of our full humanity."--From the new Foreword by Dante Germino
"This book must be considered one of the most enlightening essays on the character of European politics that has appeared in half a century. . . . This is a book powerful and vivid enough to make agreement or disagreement with even its main thesis relatively unimportant."--"Times Literary Supplement "
"Voegelin . . . is one of the most distinguished interpreters to Americans of the non-liberal streams of European thought. . . . He brings a remarkable breadth of knowledge, and a historical imagination that ranges frequently into brilliant insights and generalizations."--Francis G. Wilson, "American Political Science Review "
"This book is beautifully constructed . . . his erudition constantly brings a startling illumination."--Martin Wright, "International Affairs "
"A ledestar to thinking men who seek a restoration of political science on the classic and Christian basis . . . a significant accomplishment in the retheorization of our age."--Anthony Harrigan, "Christian Century "

From its use in literary theory, film criticism and the discourse of games design, Salomé Voegelin expands ‘possible world theory’ to think the worlding of sound in music, in art and in the everyday. The modal logic of possible worlds, articulated principally via David K. Lewis and developed through Maurice Merleau-Ponty’s phenomenological life-worlds, creates a view on the invisible slices of the world and reflects on how to make them count, politically and aesthetically. How to make them thinkable and accessible as the possibility of the everyday and of art: to reach a new materialist understanding from the invisible and to develop an ear for the as yet inaudible. This revised edition continues Voegelin’s exploration of the sonic possibility of the world into the sonic possibility and impossibility of the body. Listening to work by �ine O’Dwyer, Hannah Silva and Jocy de Oliveira, it considers sonic possible worlds’ radical power to rethink normative constructions and to fabulate a different body from its sound: Hearing the Continuum Between Plural Bodies; between humans, humanoid aliens, monsters, vampires, plants, things and anything we have no name for yet but which a sonic philosophy might start to hear and call.

Volume 6 of "The Collected Works of Eric Voegelin" offers the first translation of the full German text of "Anamnesis" published in 1966. The previous English edition, translated by Gerhart Niemeyer, focused largely on the sections of "Anamnesis" dealing directly with Voegelin's philosophy of consciousness. It omitted some of the extensive historical studies on which the philosophy of consciousness was based. To properly understand Voegelin's work, however, it is essential to give equal weight to the empirical as well as the philosophical aspects. This complete version of "Anamnesis" captures the full integrity of his vision. It is at once scientific, in the sense of fidelity to the demands of historiographic scholarship, and philosophical, in exploring the significance of the texts for the meaning of human existence in society and history.

"Anamnesis" is a pivotal work within Voegelin's intellectual odyssey. Alone among Voegelin's books, it reveals an author looking back and taking stock of his growth rather than customarily forging ahead into new regions and new problems. This critical work is both a recollection of Voegelin's own development, reaching back even to his infant memories, and a demonstration of the anamnetic method as applied to a wide range of historically remembered materials.

Written as more than just a collection of essays, "Anamnesis" is the volume in which Voegelin works out for himself the reconceptualization of what "Order and History, " and by definition his central philosophical approach, is going to be. By revisiting his previous work--a departure from Voegelin's usual scholarly habits--he found at last the literary form for the kind of empirical philosophical meditation that had long absorbed his labors.

Parts I and III contain biographical and meditative reflections written by Voegelin in 1943 and 1965, respectively. The first part details the breakthrough by which Voegelin recovered consciousness from the current theories of consciousness. Part III begins as a rethinking of the Aristotelian exegesis of consciousness, and then expands into new areas of awareness that had not come within the knowledge of classic philosophy. Between these two meditative selections are eight studies that demonstrate how the historical phenomena of order gave rise to the type of analysis which culminates in the meditative exploration of consciousness.

In Search of Order brings to a conclusion Eric Voegelin's masterwork, Order and History. Voegelin conceived Order and History as "a philosophical inquiry concerning the principal types of order of human existence in society and history as well as the corresponding symbolic forms." In previous volumes, Voegelin discussed the imperial organizations of the ancient Near East and their existence in the form of the cosmological myth; the revelatory form of existence in history, developed by Moses and the prophets of the Chosen People; the polis, the Hellenic myth, and the development of philosophy as the symbolism of order; and the evolution of the great religions, especially Christianity.

This final volume of "Order and History" is devoted to the elucidation of the experience of transcendence that Voegelin discussed in earlier volumes. He aspires to show in a theoretically acute manner the exact nature of transcendental experiences. Voegelin's philosophical inquiry unfolds in the historical context of the great symbolic enterprise of restating man's humanity under the horizon of the modern sciences and in resistance to the manifold forces of our age that deform human existence. His stature as one of the major philosophical forces of the twentieth century clearly emerges from these concluding pages. "In Search of Order" deepens and clarifies the meditative movement that Voegelin, now in reflective distance to his own work, sees as having been operative throughout his search.

Because of Voegelin's death, on January 19, 1985, "In Search of Order" is briefer than it otherwise might have been; however, the theoretical presentation that he had set for himself is essentially completed here. Just as this volume serves Voegelin well in his striking analyses of Hegel, Hesiod, and Plato, it will serve as a model for the reader's own efforts in search of order.

In The Later Middle Ages, the third volume of his monumental History of Political Ideas, Eric Voegelin continues his exploration of one of the most crucial periods in the history of political thought. Illuminating the great figures of the high Middle Ages, Voegelin traces the historical momentum of our modern world in the core evocative symbols that constituted medieval civilization. These symbols revolved around the enduring aspiration for the sacrum imperium, the one order capable of embracing the transcendent and immanent, the ecclesiastical and political, the divine and human. The story of the later Middle Ages is that of the "civilizational schism" -- the movement in which not only the reality of but the aspiration for the sacrum imperium gradually disappeared.

His recognition of this civilizational schism provides Voegelin with a unique perspective on medieval society. William of Ockham, Dante, Giles of Rome, and Marsilius of Padua all emerge in Voegelin's study as predecessors to modern thought; each turns to personal authority and intellectual analysis in an attempt to comprehend the loss of the sacrum imperium.

Yet the story of the later Middle Ages does not merely revolve around disintegration. Voegelin recognizes the emergence of the constitutional political tradition as the most positive development of this period. His study of the English political pattern is matched only by his unique perspective on the German imperial zone.

The Later Middle Ages is at once a brilliant examination of medieval society and a remarkable predecessor to Voegelin's study of the modern world, beginning with the Renaissance and the Reformation.

Race and State is the second of five books that Eric Voegehn wrote before his emigration to the United States from Austria in 1938. First published in Germany in 1933, the year Hitler came to power, the study was prompted in part by the rise of national socialism during the preceding year. Yet Voegelin neither descended to the level of contemporary debates on race nor dismissed these debates by way of value judgments. Although still young when he wrote this book, Voegelin already demonstrates his singular analytical capacity as well as his ability to put political phenomena into a new perspective. In Part I Voegelin analyzes contemporary race theories by placing the question of race in the context of the more comprehensive philoiophical problem of the interrelationships of body, mind, and soul. He demonstrates the intellectual shortcomings and theoretical fallacies of current theories; more important, he contributes to the development of a modern philosophical anthropology that aims, as Helmuth Plessner put it in a review of Race and State, "at a concept of the human being that does justice to its multilayered existence as a physical, vital, psychic, and intellectual being, without making one of these layers the measure and explanatory basis for the others." In Part II Voegelin deals with race ideas, which he distinguishes from race theories. Race ideas, like other political ideas, form a part of political reality itself, contributing to the formation of social groups and societies. Voegelin shows that the modern race idea is just one "body ideal" among others, such as the tribal state and the Kingdom of Christ, each offering a different symbolic image of community. He traces the rise of the modem race idea, analyzes its function to structure community, and offers an answer to the question of why race ideas became successful in Germany. Voegelin's meticulous sifting of all the Nazi race literature finally arrives at this blunt statement regarding its overall validity: "In order to preclude even the slightest possibility of a misunderstanding, let us again point out emphatically that the contrasting descriptions of the Semitic and the Aryan, the Jewish and the German character . . . contain little that is true about the nature of Jewishness.

Reaching into our own time, "Crisis and the Apocalypse of Man" confronts the disintegration of traditional sources of meaning and the correlative attempt to generate new sources of order from within the self. Voegelin allows us to contemplate the crisis in its starkest terms as the apocalypse of man that now seeks to replace the apocalypse of God. The totalitarian upheaval that convulsed Voegelin's world, and whose aftermath still defines ours, is only the external manifestation of an inner spiritual turmoil. Its roots have been probed throughout the eight volumes of "History of Political Ideas, " but its emergence is marked by the age of Enlightenment.

In our postmodern era, discussions of the collapse of the "enlightenment project" have become commonplace. Voegelin compels us to follow the great-souled individuals who sought to go from disintegration of the present toward evocations of order for the future. Such thinkers as Comte, Bakunin, and Marx suffered through the crisis and fully understood the need for a new outpouring of the spirit. They resolved to supply the deficiency themselves. As a consequence they launched us irrevocably on the path of the apocalypse of man.

One of the great merits of Voegelin's analysis is his exposition of the pervasive character of this crisis. It is not confined to the megalomaniacal dreamers of a revolutionary apocalypse; rather, echoes of it are found in the more moderate Enlightenment preoccupation with progress to be attained through application of the scientific method. Faith in the capacity of instrumental reason to answer the ultimate questions of human existence defined men such as Voltaire, Helvetius, Diderot, D'Alembert, and Condorcet. It remains the authoritative faith of our world today, Voegelin argues, demonstrated by our continuing inability to step outside the parameters of the Enlightenment. Are we condemned, then, to oscillate between the rational incoherence of a science that never delivers on its promises and a now discredited revolutionary idealism that wreaks havoc in practice? This is the question toward which Voegelin's final volume points. While not direct, his response is evident everywhere. "Crisis and the Apocalypse of Man" could have been written only by a man who had reached his own resolution of the crisis.

Philosopher C.S. Morrissey adapts Hesiod's two great works, "Theogony" and "Works and Days," taking into account the poet's essential meditative insights that paved the way for the subsequent achievements of Greek philosophy, most notably of Plato, and thereby gave a distinctive shape to all of Western philosophy. "Theogony" recounts the genesis of the first generations of the Greek gods and recollects how Zeus used both force and persuasion to establish his cosmic reign of justice. "Works and Days" tells the story of the origin and ordination of human beings within this cosmos and their perennial struggle to win order from disorder in a world overwhelmed by harsh sorrows and injustice.

In the wake of personal adversity and suffering, Hesiod was inspired by the Muses to sing out against the untruth of society and to disclose the truth about justice in the cosmos. "Theogony," which won him his laurels in a poetic competition, begins by telling of how the Muses chose him as an individual vessel of inspiration, to be a rival to Homer and the old myths with a newer vision of the struggle for justice among the gods. In "Works and Days," Hesiod includes these autobiographical details within a reflection on the two-fold role of competition in life: "the bad strife" is visible everywhere in the manifold forms of universal disorder, although "the good strife" is part of the struggle to maintain order in the wake of chaos and the primeval void.

These new translations are contextualized with a foreword by distinguished philosopher Roger Scruton and text by the late philosopher and historian Eric Voegelin, who argues the magnitude of Hesiod's influence on Greek philosophy and Western history, and how his sublime contribution to literature has formed a signal bridge between myth and metaphysics.

This is a fresh, bold study of the emerging field of Sound Art, informed by the ideas of Adorno, Merleau Ponty and others. "Listening to Noise and Silence" engages with the emerging practice of sound art and the concurrent development of a discourse and theory of sound. In this original and challenging work, Salome Voegelin immerses the reader in concepts of listening to sound artwork and the everyday acoustic environment, establishing an aesthetics and philosophy of sound and promoting the notion of a sonic sensibility. A multitude of sound works are discussed, by lesser known contemporary artists and composers (for example Curgenven, Gasson and Federer), historical figures in the field (Artaud, Feldman and Cage), and that of contemporary canonic artists such as Janet Cardiff, Bill Fontana, Bernard Parmegiani, and Merzbow. Informed by the ideas of Adorno, Merleau-Ponty and others, the book aims to come to a critique of sound art from its soundings rather than in relation to abstracted themes and pre-existing categories. "Listening to Noise and Silence" broadens the discussion surrounding sound art and opens up the field for others to follow.

From its use in literary theory, film criticism and the discourse of games design, Salomé Voegelin expands ‘possible world theory’ to think the worlding of sound in music, in art and in the everyday. The modal logic of possible worlds, articulated principally via David K. Lewis and developed through Maurice Merleau-Ponty’s phenomenological life-worlds, creates a view on the invisible slices of the world and reflects on how to make them count, politically and aesthetically. How to make them thinkable and accessible as the possibility of the everyday and of art: to reach a new materialist understanding from the invisible and to develop an ear for the as yet inaudible. This revised edition continues Voegelin’s exploration of the sonic possibility of the world into the sonic possibility and impossibility of the body. Listening to work by �ine O’Dwyer, Hannah Silva and Jocy de Oliveira, it considers sonic possible worlds’ radical power to rethink normative constructions and to fabulate a different body from its sound: Hearing the Continuum Between Plural Bodies; between humans, humanoid aliens, monsters, vampires, plants, things and anything we have no name for yet but which a sonic philosophy might start to hear and call.

In 1924, not quite two years after receiving his doctorate from the University of Vienna, Eric Voegelin was named a Laura Spelman Rockefeller Memorial Fellow and thus given the opportunity to pursue postdoctoral studies in the United States. For the next twenty-four months, Voegelin worked with some of the most creative scholars in America and at several of the country's great universities, an experience that undoubtedly influenced his scholarly and personal perspectives throughout his life. A more immediate result was the publication in 1928 of "On the Form of the American Mind, " the young philosopher's first major work, in which his acute perceptions and analyses combine with a conceptual vocabulary struggling to find its own coherence and form.Voegelin begins his inquiry into the form of the American mind with a complex discussion of the concepts of time and existence in European and American philosophy and continues with an extended interpretation of George Santayana, a study of the Puritan mystic Jonathan Edwards, a presentation on Anglo-American jurisprudence, and a consideration of the historian, economist, and political scientist John R. Commons (Voegelin was particularly interested in Commons' views on the mental, political, social, and economic aspects of democracy in modern urban and industrial America). Although admitting that this diversity of themes seems only loosely connected," Voegelin demonstrates the actual overall unity of these various subjects: each concerns linguistic expressions of a theoretical nature.

Analysis of "On the Form of the American Mind" indicates that Voegelin integrated the approaches of "Lebensphilosophie" into what Georg Misch called the "philosophical combination of anthropology and history," which characterized contemporary trends within the discourse of the "Geisteswissenschaften" and finally resulted in a theoretical paradigm of philosophical anthropology.

Jurgen Gebhardt and Barry Cooper provide access to this brilliant study with their two-part introduction. The first part considers "On the Form of the American Mind" in the context of methodological debates ongoing in Germany at the time Voegelin was writing the book; the second describes Voegelin's American experience and compares his work with similar studies written during the post-World War I period.

Uncurating Sound performs, across five chapters, a deliberation between art, politics, knowledge and normativity. It foregrounds the perfidy of norms and engages in the curatorial as a colonial knowledge project, whose economy of exploitation draws a straight line from Enlightenment's desire for objectivity, through sugar, cotton and tobacco, via lives lost and money made to the violence of contemporary art. It takes from curation the notion of care and thinks it through purposeful inefficiency as resistance: going sideways and another way. Thus it moves curation through the double negative of not not to "uncuration": untethering knowledge from the expectations of reference and a canonical frame, and reconsidering art as political not in its message or aim, but by the way it confronts the institution. Looking at Kara Walker's work, the book invites the performance of the curatorial via indivisible connections and processes. Reading Kathy Acker and Adrian Piper it speculates on how the body brings us to knowledge beyond the ordinary. Playing Kate Carr and Ellen Fullman it re-examines Modernism's colonial ideology, and materialises the vibrational presence of a plural sense. Listening to Marguerite Humeau and Manon de Boer it avoids theory but agitates a direct knowing from voice and hands, and feet and ears that disorder hegemonic knowledge strands in favour of local, tacit, feminist and contingent knowledges that demand like Zanele Muholi's photographs, an ethical engagement with the work/world.

This volume contains selected correspondence written by Eric Voegelin during the period 1924 to 1949.The Editorial Board of the "Collected Works of Eric Voegelin" agreed from the beginning that a representative number of Voegelin's letters should complete the edition in an attempt to provide the reader with insights into Voegelin's intellectual life and into the fundamental experiences that went into shaping the growth of his personality. It was the board's aim to select material in accordance with the guidelines that Voegelin himself laid down as fundamental to a hermeneutical understanding of spiritual reality. Voegelin wrote that, in studying a thinker, one must try to elucidate the biographical ""radices "of philosophizing." He said that one must penetrate to the "experiences that impel him] toward reflection, and do so because they have excited consciousness to the 'awe' of existence." Voegelin made these remarks on the occasion of conducting anamnetic experiments, which reveal the motivational center of his own life. At the core of Voegelin's concept of political science is a noetic interpretation of man, society, and history that confronts the conception of order prevalent in the surrounding society with the criteria of the critical knowledge of order. From the 1930s onward, Voegelin labored to find a satisfactory self-reflexive explication of the principles of a contemplative understanding of human reality, one grounded in the spiritual experience of reason. Naturally, it is the published word that determines a thinker's scholarly stature. But Voegelin's letters also grant insight into the development of his thought; document the author's struggle with himself, the "telos "of his scholarship; and reveal an often involuntary conflict with his life-world. These letters shed light on an ongoing and open-ended thought process from which a multifaceted, sometimes apparently contradictory, work emerged. Because of the enormous number of letters that Voegelin wrote in his later years--now published in the second volume of the "Selected Correspondence "(Volume 30 of the" Collected Works")-- the editors agreed that these bookswould contain only letters "from" Eric Voegelin. While such a selection of letters cannot provide the completeness that the publication of both dialogue partners would provide, nevertheless they reveal Voegelin's ongoing reflection on human affairs. They reveal patterns of thought and their development in the atmosphere of intimate communication that personal and intellectual "elective affinities" produce, and they also disclose the silences that accompany such discourse. This volume is certain to interest all readers concerned with political theory and with better understanding of Voegelin's intellectual pilgrimage from his earliest academic years to his emergence as one of the most significant philosophers of our time.

The essay is the perfect format for a crisis. Its porous and contingent nature forgives a lack of formality, while its neglect of perfection and virtuosity releases the potential for the incomplete and the unrealizable. These seven essays on The Political Possibility of Sound present a perfectly incomplete form for a discussion on the possibility of the political that includes creativity and invention, and articulates a politics that imagines transformation and the desire to embrace a connected and collaborative world. The themes of these essays emerge from and deepen discussions started in Voegelin's previous books, Listening to Noise and Silence and Sonic Possible Worlds. Continuing the methodological juxtaposition of phenomenology and logic and writing from close sonic encounters each represents a fragment of listening to a variety of sound works, to music, the acoustic environment and to poetry, to hear their possibilities and develop words for what appears impossible. As fragments of writing they respond to ideas on geography and migration, bring into play formless subjectivities and trans-objective identities, and practice collectivity and a sonic cosmopolitanism through the hearing of shared volumes. They involve the unheard and the in-between to contribute to current discussions on new materialism, and perform vertical readings to reach the depth of sound.