Tacet [ Texto impreso] : Sound in the arts : Sounds of Utopia = Sonorités de l'utopie / issue edited by Matthieu Saladin, Haute école des arts du Rhin.

Introduction : Listening to Utopia is straining toward an imposible ear / Matthieu Saladin -- FLUX: The story of Agatha / Cornelius Cardew -- The sound-sweep / J. G. Ballard -- The acousmatic non-place / François J. Bonnet -- Field recordings and shared places / Pali Meursault -- Where wáter is boss sound must obey / Em'kal Eyongakpa & Amal Alhaag -- Musical utopianism in the Princeton School, pre- and post-turn / Scott Gleason -- Utopian atmospheres: an ethnographic account of music in the Richmond City Jail / Andy McGraw -- The meaning of my avant-garde hillbilly and blues music / Henry A. Flynt, Jr. -- Henry Flynt and the reinvention of cultural roots / Christophe Levaux -- Sound plasma: Horatio Radulescu's Oto-utopia / Francis Heery -- From the voices of the dead to algorithmic goles: utopías and distopias in sound technology / Jonathan Sterne -- Sonic utopías in the realm of science fiction. The silence and music of gravity / Filipe Barros Beltrao & Andrew Gray -- Lexicon / Pascal Broccolichi -- INFLUX: The mobilisaion and cosmologisation of sound in Zbigniew Karkowski and Michael Gendreau / Thibault Walter -- Moments of (in)attention. On suspended temporality in the Works of Max Neuhaus / Anne Zeitz -- White Noise: the establishment of a musical object / Loïc Bertrand -- The world's musics as languages: phases of cross-cultural analysis of mainstream music / Henry A. Flynt, Jr. -- Correspondence with Pierre Schaeffer (3 letters) / Luc Ferrari -- REFLUX: Collection rip on/off / Xavier Hug -- Ultra-red, URXX nos. 1-9 / Douglas Barrett

"Utopia belongs to those concepts that haunt both the history of ideas and the history of artistic practice. This persistence reflects contemporary unease, and simultaneously the necessity -and even urgency- for the reflection about difference that utopia has already contributed to forging, in its formulation and its implementation, even when ephemeral and limited by circumstances. The history of Sonic art and experimental music is no exception: we find reflection about utopia in terms of space (enclave, island or heterotopia) or time (uchronia, heterochronia, or projecting a future based on contemporary concerns) [...] In the manifesto published in preamble to the very first issue of TACET, we expressed the hope of bringing together in its influx section articles that while not directly connected to the theme of the issue would add contrapuntal tensión to the principal motif. This ambition has perhaps never been as legible as in the present issue. From Zbigniew Karkowski and Michael Gendreau's cosmologisation of sound studied by Thibault Walter, to the extracts of correspondence between Luc Ferrari and Pierre Schaeffer, from Max Neuhau's aesthetic of (in)attention in an article by Anne Zeitz, to Loïc Bertrand's constitution of white noise as a musical object, and to a second essay by Henry Flynt, the texts of this section, each in their own manner, strain toward an ear, an impossible ear, open to the sounds of utopia." (Introduction, p. 14 y 20)