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, Fran ois 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.
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
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 for The Order of Sounds: A Sonorous Archipelago
Bonnet's writing, dense, full of unexpected turns and remarks, is intelligent and meticulous. -Daniel Contarelli, CRITIQUE D'ART Operating at high theoretical altitude, in The Order of Sounds, Francois Bonnet sets himself a Herculean task: nothing less than the retheorisation of sound as such. -Drew Daniels, THE WIRE * Reviews * To the theoretical propensities imprinted on the domain of sound by a rational order, Francois 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 Mace, Filigrane * Reviews * Bonnet's writing, dense, full of unexpected turns and remarks, is intelligent and meticulous. -Daniel Contarelli, CRITIQUE D'ART * Reviews *
