We have turned this question into an essay on alterity in music, on how we can bend the boundaries of the sound we already know, and how we can now project it towards the infinite, the endless sound, and that which is yet to be known.

It's about exposing an uneasy experience of thinking that inhabits and is present in a teacher - musician - researcher, and listener who hears voices that confirm the incompleteness of what he is made of when confronted with the infinity and materiality of sounds.

So here are some fragments of this meditative discourse. Here are the most recent declarations-eruptions of this volcanic activity on his thinking, in which what is most clear is, above all, the emergence of what is said, not so much because of its truth, or even falsity, but much more because of what is said.

falsity, but much more because of his desire for contact and wandering between concepts that project him onto the sonorous face of the Other.

It's important to make it clear that the Other is not a threat, but a challenge, and this must be affirmed.

Based on long-standing research associated with post-doctoral studies, the idea of which is called 'infinite listening', we present here, for a collective comparison between peers, the substantive elements of this work. To showcase this work, we'd address a community of listeners in training - students of music, performance and the arts. The data collected from an extensive reading on the state of the art of listening, drawing on authors close to the post-structural, critical, and continental philosophy atmosphere (Rosa Braidotti, Gilles Deleuze, Karen Barad, Peter Pal Pelbart and Jacques Derrida, Adorno and Walter Benjamin).

This reflection leaves us with the idea that it's worth adding what we've already heard to what we haven't heard, in the hope of being able to remake - this is our micro utopia - the profile of existing music. To do this, we need to embrace the sound that has always been marginalised, by questioning the canons and endowing music - this is post-music - with the power of the multiple, of the porous and the strangeness that comes from sonic otherness and that can be rehearsed from a device - a war machine that we now call the aesthetic literacy of otherness. When we talk about post-music, we are talking about the previous futurity that it contains, because it is this that forces us to feel it as a negation of the finite. Post-music is a sonic case of excess because it is capable of being unfaithful to the culture and history that subtracts from it. When we talk now about the aesthetic literacy of alterity, we are at the epicentre of an epistemic hurricane because we know that no two listenings are the same. Because of this, we suspect that no two places of speech are the same either. If that's the case, why don't we propose plural ways of understanding the world and let ourselves get caught up in the one-way street of the hierarchical comfort of sameness? By fighting for the device of the aesthetic literacy of otherness, we are summoning all of us to an exercise of disobedience to the canon and affirming that listening is no longer just about obeying (listening in Latin means obeying, obeying).

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