Sound has given rise to many rich theoretical reflections, but when compared to the study of images, it continues to occupy a rather marginalized status. This paradox may have something important to tell us not only about sound but also about processes of objectification in intellectual inquiry. How is the “sense” of sound constituted and elaborated linguistically, textually, technologically, phenomenologically, and geologically, as well as acoustically? How does sound become an object? Contributors to this special issue include well-established and junior scholars working in literature, film, media studies, music theory, philosophy, and science and technology studies.