This dissertation establishes a two-part reflection that is on the one hand, anchored in the experience of art to address politics and on the other, engaged in political thought in order to understand the political nature of the relationship created between the listener in the city, and the world. In bringing together philosophical reflections that explore spaces where “one” interacts with plurality (Jürgen Habermas, Hannah Arendt, Giorgio Agamben, Tiqqun, Marina Garcés) and the sound art practices that invest the shared spaces of our cities (Christina Kubisch, Andra McCartney, Udo Noll, noTours, Audiotopie, Max & Julian Stein, Soundwalk), I weave together ways of thinking (theory) and ways of acting (practice) that interrogate the political dimension of our human existence.

In this dissertation, shared spaces are understood as concrete sites for political potentiality, that is, sites where something unpredictable can happen between our shared and anonymous presences. The practices of bringing awareness to the shared world that the sound experiences crafted by the artists interviewed in the course of this research call into question present themselves as critical acts and – ethical – ways of being and connecting in the world, ways in which the relationship between the “one” and the common can be reimagined. As sensorial and intercorporeal experiences, they contribute to the political thought on shared spaces that acknowledge the complexity, the conflict and the unpredictability that are inherent to our plural condition.

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