This article, published in 2015 in the 4th issue of Tacet, entitled The Sounds of Utopia, aims to study field recording practices through the relationships they maintain with “places.” Returning to the documentary aspects and musical demands that organize their production and reception, the aim is to consider phonographic practices as culturally “situated” and as cultivating certain relationships with exoticism. The use of the phonograph in colonial history allows us to analyse how field recording produces relationships between an elsewhere and a here, and how the production of otherness in listening is also a sign of cultural reproductions. Finally, field recording is considered through the prism of its sonic utopias, which contribute to the production of a “listening body.”