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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 Áine 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.
Salomé Voegelin is Professor of Sound at the London College of Communication, UAL, UK. An artist and writer, she is the author of Listening to Noise and Silence (Bloomsbury, 2010) and The Political Possibility of Sound: Fragments of Listening (Bloomsbury, 2018).
Introduction
1. The Landscape as Sonic Possible World
2. Into the World of the Work: The Possibility of Sound Art
3. Sonic Materialism: the Sound of Stones
4. Hearing the Continuum of Sound
5. Listening to the Inaudible: the Sound of Unicorns
6. Possible and Impossible Bodies
Notes
Bibliography
List of works
Index
