Chapter 2 threads an intellectual story about hearing as a sense through a line of examples, both scholarly (example: Michel Serres) and literary (Gerard Manley Hopkins). Perception-into-writing is the focus. The point is that in language, we replace and re-enact an enormous range of movements within the material surround that perception has needed in order to perform. That is how we bring the instinctual, which is invisible, up into the visible, which is the legible. In this book the sentence, and the stringing of sentences called scene, are the carriers of animalist perception. Art sentences, in a novel by Louise Erdrich or in a poem by Ted Hughes, make us more conscious of our positions in time, space, hierarchy, society, the planet.