I employ the term megaphony (since 1989) to describe audio works (performance, installation, audio/video recordings) in which the portable megaphone (bull horn, voice gun) is the main source. By blowing, licking or sucking the megaphone's mouth piece ( the microphone), in other words pretending that it was some kind of airphone instrument, I am able to extort yet unheard sounds: nothing pretentious but rather primitive noise, somewhere between animal screaming and alien vocal signals, farting and explosion. Megaphonic sounds are mentally and physically difficult to endure, are vextatic and irritating. The Anti-Cycles of Megaphony is a work in progress dedicated to the exploration of this specific sound. Because the megaphone is mostly used as a low-tech tool by riot police, demonstrators or street speakers, its image and sound reflects the accuracy of social unrest, frustration and alert.