This article deconstructs some of the underlying assumptions that inform projects in Paynter and Aston's 1970 book, "Sound and Silence." Foucauldian and Deleuzian technologies of power and technologies of desire are used to frame an argument that Paynter and Aston's projects play into the fabrication of sonorous bodies and sonic selves but also provide potentialities for the creativity of the subject. Sound and silence as material-in-flux is analysed through notions of temporality and affect to argue for a context of hope in acoustic topographies and auditory histories of schooling.