Interrogates the meeting point between Afrofuturism and Black Sound Studies.

The digital turn has created new opportunities for scholars across disciplines to use sound in their scholarship.

[In] a critical response to what has been called the "whiteness of sound studies," Dylan Robinson evaluates how decolonial practices of listening emerge from increasing awareness of our listening positionality.

Attending to disparate aspects of sound in Africa, South and Southeast Asia, Latin America, the Middle East, Micronesia, and a Southern outpost in the global North, this volume broadens the scope of sound studies and challenges some of the field's central presuppositions.

Extends the burgeoning field of media philosophy, which so far is defined by a strong focus on cinema, to the field of sound.

Follows what happens when a colonial sound archive is repurposed and reimagined by local artists in post-apartheid South Africa.

Touches on key themes like noise and silence; architecture, acoustics and space; media and reproducibility; listening, voices and disability; culture, community, power and difference; and shifts in the form and meaning of sound across cultures, contexts and centuries.

Examines innovations in the realm of sound and space after 1850.