Sonic Possible Worlds: Hearing the Continuum of Sound

Inspired by its use in literary theory, film criticism and the discourse of game design, Salomé Voegelin adapts and develops “possible world theory” in relation to sound. David K Lewis' Possible World is juxtaposed with Maurice Merleau-Ponty's life-world, to produce a meeting of the semantic and the phenomenological at the place of listening.

The central tenet of Sonic Possible Worlds is that at present traditional musical compositions and contemporary sonic outputs are approached and investigated through separate and distinct critical languages and histories. As a consequence, no continuous and comparative study of the field is possible.

In Sonic Possible Worlds, Voegelin proposes a new analytical framework that can access and investigate works across genres and times, enabling a comparative engagement where composers such as Henry Purcell and Nadia Boulanger encounter sound art works by Shilpa Gupta and Christina Kubisch and where the soundscape compositions of Chris Watson and Francisco López resound in the visual worlds of Louise Bourgeois.

Table of Contents

Acknowledgments
Introduction
Chapter 1: The Landscape as Sonic Possible World
Chapter 2: Into the World of the Work: The Possibility of Sound Art
Chapter 3: Sonic Materialism: the Sound of Stones
Chapter 4: Hearing the Continuum of Sound
Chapter 5: Listening to the Inaudible: the Sound of Unicorns
Notes
Bibliography
List of Works
Index

“Listening is an important sensory process through which one receives the feeling of 'being there': the experience of presence in a rapidly changing spatial-temporal world. Using a sensitive phenomenological approach, Salomé Voegelin leads the reader through sonic worlds (everyday events, sound art, music) with the aim of raising awareness of existential questions about the inaudible, invisible 'being' that the feeling of 'being there' normally makes tangible only as a 'Quod' (what it can be) but not as a 'Quid' (what it is). Voegelin’s book is an essential contribution to the current discourse in aesthetics.” – Prof. Dr. Helga de la Motte-Haber, Technische Universität Berlin, and editor of Klangkunst. Die gedanklichen und geschichtlichen Voraussetzungen (1999)

“Sound is like a dream--fleeting and difficult to remember and describe. Sonic Possible Worlds is a grand tour through the depths of ways of listening and responding. In these pages we find the making of auditory language that can balance with visual language to bring forward the sonic underpinnings of our lives and dreams. The structure of life is both audible and in audible. These listening possibilities help us to hear our way to new understandings.” – Pauline Oliveros, Founder, Deep Listening Institute, Ltd.

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