What new can you “hear” if you listen to the sound from the space of philosophy? Why did the study of sound problems turn out to be limited to the spheres of science and art, and more often does not leave the territory of technology at all? These questions became the starting points of the book by Anatoly Ryasov, a researcher who combines philosophical analysis with many years of sound engineering practice and management of the music studios of the Mosfilm film concern. Turning to the concepts of Martin Heidegger, Jacques Derrida, Jean-Luc Nancy and Mladen Dolar, the author considers sound and listening as points of intersection of semiotic, psychoanalytic and phenomenological discourses, but at the same time as mysterious gaps in the history of thought. The chosen issues are related to the field of sound research, but the conclusions of the work are largely formulated in polemics with this direction of humanitarian thought. Moreover, if sound studies, media theories, and passion for technology are chosen here as a kind of “targets,” it is primarily because the task of the study is to search for their ontological foundation. Along the way, the author examines many examples from literature, music and cinema, and in the last chapter reflects on the mystery of the appeal of early cinema and the mass of sounds hidden by its silence.