Sampling is an instance of exological skepticism. […] If non-sonics can be qualified as ‘skeptical’, then skeptical non-sonics is in a strictly active or pragmatic sense concomitant with sampling insofar as both constitute rigorously perceptual yet non-audible practices. For peculiar to such non-musicological ‘skepticism’ is an entirely positive perceptual dimension that falls outside the purview of the audible distinction between ‘un-hearable’ and ‘hearable’, ‘unheard’ and ‘heard’. The ‘non-audible’ skepticism exemplified by non-sonics accords with a paradigm of listening that suspends the authority of audible Composition and uses the listened in order to proceed in a rigorously perceptual fashion from the un-listened (the radical Sound) towards the un-listened (the non-Dogmatic Universe). […] Skepticism as construed does not consist in unhearing the listened on the basis of a presupposition that one can discriminate between listening and un-listening, which is to say, listen that one does not listen. […] Exological skepticism is the unleashing of universal noise in an attempt to puncture the artistically enforced bounds of audible meaning and to wash away the socially manufactured horizons of perceptual sense.
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