In this talk, Marcus Boon considers sound as a mode of vibration, and vibration as containing the possibilities for warfare and violence (as in Steve Goodman's Sonic Warfare), and healing and love (as in Lawrence's Love Saves the Day).

Why do these possibilities emerge out of sound and vibration and how do different kinds of sonic communities (Putumayo shamanism, minimalist drone music, queer hiphop) negotiate this space between love and violence? To what degree are these possibilities already captured within the logic of global capital? As experimental sonic communities become increasingly attuned to vibration-in-itself, what kinds of new political and social possibility might arise?