"This book has been conceived as both a prism and a manual. Following the “traditional” arc of electroacoustic composition (listen—record—compose—deploy—feel), each of the contributions collected together here focuses in on a personal aspect, a fragment of that thrilling territory that is sonic and musical experimentation.

 Although the term “experimental music” may now have be understood as referring to a genre, or even a particular style, we ought to hold on to the original use of this term, which was based more on an approach than on any particular aesthetic line to be followed. The experimental is first and foremost a spirit, the spirit of the exploration of unknown territories, a spirit of invention which sees musical composition more as a voyage into uncertain territories than as a self-assured approach working safe within the bosom of fully mapped out and recognized lands."

Contents:

1. Chris Watson: Recording
2. Brunhild Ferrari: The Microphone’s Gaze
3. Espen Sommer Eide: Exercices d’écoute non-humaine
4. Beatriz Ferreyra: Perceive, Feel, Hear…
5. Drew Daniel: Towards a Heterology of Sound: on Bataille and Musique Concrète
6. Eliane Radigue: Time Is of No Importance
7. Stephen O’Malley: Sound Matters
8. François J. Bonnet: Underneath Listening
9. Jim O’Rourke: Chair and Table
10. Régis Renouard Larivière: Acousmatic Recreations
11. Daniel Teruggi: Spaces of Mind
12. Félicia Atkinson: On the Patio: The Voice, Doubt, Perspective and Immersion
13. François Bayle: Space in Question