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Index
Cover
Half-title
Title
Contents
Acknowledgments
Introduction
1 The landscape as sonic possible world
Listening to the possibility of the landscape
The possible time and space of sound: Palm houses and ghost trains
Sonic environment as possible timespace world
An affective geography of possible worlds, generating the sonic environment
Reciprocating the affect: Listening to a sonic possible life-world
The possibilities of the acousmatic landscape
Conclusion: Phenomenological possibilism
2 Into the world of the work: The possibility of sound art
The sound artwork as environment: Cells and murmurs
Listening across works: Aesthetic accessibility
Sonic centering, decentering, and recentering
Sound words
Sonic representation, reference, and truth
An ethical center of listening
Performing the shape of things themselves
Conclusion: Consequences of a contingent sonic truth
3 Sonic materialism: The sound of stones
Conceptual sound
The sonic thing
The sound of stones: The material of histories and geographies
Sonic crossing: Intertwining without fissure
Crossing geography: Crossing identity
The magnitude and might of sound
Conclusion: There is no sonic sublime
4 Hearing the continuum of sound
Organized, disorganized, and reorganized sound
Vertical music
Musical worlds
Musical geography
A joint critical framework
Conclusion: the un-sound and the unheard
5 Listening to the inaudible: The sound of unicorns
The sound of unicorns
But what about the sound of the unicorn, what is its name?
Inaudible soundscapes
The sound of impossible things
The aesthetic inaudible
The politics of possible-impossible-inaudible-things
Sonic horizons
Notes
Bibliography
List of works
Index
Copyright
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