Geography of sound has no maps; it produces no cartography. It is the geography of encounters, misses, happenstance and events: invisible trajectories and configurations between people and things, unfolding in the dimension of the actual while formlessly forming the dimensions of its possibility, and secretly performing the impossible territories of a poet on the night-time sea – on the ocean in the dark, she hears the rhythms and textures that are the material and content of an invisible terrain that leaves no trace and holds no certainty beyond its experience on the body as a material among things. These textures and rhythms can’t be measured and drawn on a flat surface to make maps or a score. They can’t be rendered visible but hold a knowledge of the world that lies in its invisible contingency: in its capacity as a time-space place not to refer back to the dialectic – the opposition between time and space, whose purpose and ideology furnish the visible and produce its bias for division, control and definition – but to perform its indivisibility in the voluminous movement of a watery earth. Thus we have to enter into its undulations, to feel our bodies perform the geography of waves, the volume of water and the fragile connections between all that moves in its dark expanse. — Salomé Voegelin, The Political Possibility of Sound. 2018, p.75