Table of Contents

Preface: Peter Szendy, 'The Otographer'; Foreword; I. The Grip of Sound: The Trace of Sound; Imprints; Zone and Metamorphoses; The Grip of Sound; II. Apprehending Sound: Perceive, Hear, Listen; The Nature of Sound: Phenomenon vs. Event; The Range of Sound; Perception-Continent; III. Form and Voice of Sound: The Sonorous Object; There Is No Reduced Listening; Autonomous Sound; Beliefs and Perceptions; IV. Desiring-Listening and Fetishism of Listening: Desiring-Listening; Listening and Fetishism; Beyond Sound; Music and Crystallization; Fiction-Listening; V. Authoritarian Listening: Discourse and the Anchoring of Sound; Listening, Instrument of Authority and Power; Modelisations; Territorial Logics and Metaphors: The Archipelago; Insularity and Authority; VI. Phonophanies: Extraterritorialities; Oblique Strategies I. The Shifting Sands of the Given-to-be-Heard; Oblique Strategies II. Explosion of the Non-Sign; Sonorous Resistance; Phonophany vs. Apophenia; Epilogue

About the Author

Fran ois J. Bonnet is a composer, visual artist, recording artist (as Kassel Jaeger), Director of Groupe de Recherches Musicales of the National Audiovisual Institute (INA-GRM) in Paris, and part-time Lecturer at the Universite de Paris 1.

Robin Mackay is a philosopher, Director of the UK arts organization Urbanomic, and Associate Researcher at Goldsmiths University of London.

Reviews

Operating at high theoretical altitude, in The Order of Sounds, François Bonnet sets himself a Herculean task: nothing less than the retheorisation of sound as such.—Drew Daniels, THE WIRE

To the theoretical propensities imprinted on the domain of sound by a rational order, François J. Bonnet opposes a veritable thinking of disorder, a “sonorous archipelago” rather than a “theory of sound.” This unprecedented and salutary enterprise outlines a new path for a future “acoulogy.”—Pierre-Yves Macé, Filigrane

Bonnet's writing, dense, full of unexpected turns and remarks, is intelligent and meticulous.—Daniel Contarelli, CRITIQUE D'ART