Beyond the social and even the human, sound opens onto the intertwining of movements animating the lived experience. A sonic epistemology considers not only that the acoustic ecologies are enunciative of social relations and power dynamics, but also that they tell about the way reality is lived, experienced, organised: they are expressive, in themselves. This means, for an epistemology of phonosophy, that every perception of a sound implies a conceptual movement, which carries a mental dimension that could become the material for another thinking practice, for a sophia. This article approaches music as thinking in itself: a thought of the sonic. This affirmation will be expanded through the contribution of process philosophy (Whitehead, Deleuze and Guattari, Manning, etc.), which allows a musical event to be considered as an ecology, produced by the encounter of a multiplicity of bodies (human, sonic, technological, etc.). The processes of capture of forces involved and the different techniques required to increase the expressive potentialities of the musical assemblage will be unfolded through the case of Résonances manifestes, a comprovised music piece based on a sound score composed of field recordings from autonomous demonstrations.

中文翻译：

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音乐思考过程：展开作品的创作 Résonances manifestes

超越社会甚至人类，声音打开了运动的交织，使生活体验充满活力。声音认识论不仅认为声音生态学是对社会关系和权力动态的阐述，而且还认为它们讲述了现实生活、体验和组织的方式：它们是富有表现力的，在他们自己。这意味着，对于语音学的认识论来说，对声音的每一次感知都意味着一个概念运动，它带有一个心理维度，可以成为另一种思维实践的材料，对于一个索菲亚来说。本文将音乐视为自身的思考：对声音的思考。这种肯定将通过过程哲学（怀特黑德、德勒兹和加塔里、曼宁等）的贡献得到扩展，它允许将音乐事件视为一种生态，由多种身体（人类、声音、技术等）。捕捉所涉及的力量的过程以及增加音乐组合的表现潜力所需的不同技术将通过 Résonances manifestes 的案例展开，