Thinking sound is an activity. Thinking with sound; thinking about sound; thinking through sound: these are all modalities of living with sound as a physical, vibrating reality. Because sound is matter in motion — resonating and reverberating — it resists conceptualization as an object or as a static concept. It cannot be held in a container but rather expends itself in the world, swallowed up by other vibrations and the inertia of matter. It has no body of its own but requires embodiment to exist and propa-gate. This combination of materiality and ephemerality subverts the documentation of sound and thinking about sound, and instead invites thinking that embraces mutability, motion, and dynamism.As sound waves radiate out from their source and disperse in the environment, they enact a momentary entanglement of the media and bodies that surround that source, each of which in turn also embody — physically give their bodies to — its sound waves. In interpreting sound, these listening bodies take on spe-cial valence. Their ability to respond to sound, whether to enable or obstruct it, provides a real-time conceptualization of sound in its fleeting impermanence. Salomé Voegelin describes this as a “verb-ness” that “invents places and things whose audience is their producer” (Voegelin 2010, 14). Because sound is such a fluid, incorporeal phenomenon, its material reality is produced quite literally by the “audience” of media and bodies in which it reverberates. Thought about in this way, sound “is not interest-ed to linger and hear its outcome. It is perpetually on the move, making time and tenses rather than following them” (ibid.). As it molds the dynamism of time, its spatial reality is constructed by the bodies it encounters, which fabricate it as a material force through their own sympathetic resonance. Sound is “always the heard, immersive and present” (ibid., xiv). Sound’s relation to these bodies that comprise the heard is collaborative, for they make sound material. It is sound that “delivers the world in all its materiality while already disappearing into the ether” (La-belle 2010, 1). But how discrete is the temporal ephemerality of sound? If sound is entangled in these audiating, resonating bod-ies, then how separable are they? And if they are entangled, then is sound really immaterial? Despite its ephemeral reverberation in the world, is it not still sutured to the bodies that excite its impulse and those that swallow it up as its vibrations die out?