This article proposes approaching the phenomenon of sound as a fabric of relationships. Critiquing the notion of a sound object as it has become defined thanks to the fixity enabled by sound recording, it focuses on the characteristics of sound that converge towards a relational approach and suggests that there is an inextricable link between the vibrating object, the milieu in which the vibration spreads and the subject who listens. It is probably for this reason that current research — whether in music, sound art or other disciplines that centre on sound, from sound studies to environmental ecology — implicitly seeks to move beyond the concept of sound alone in favour of compounds that combine sound with other elements. While the notions of sound ‘spaces’ and sound ‘environments’ appear as the default options here, three other compounds in particular highlight, in their own way, the relational approach: ‘soundscapes’, ‘sound milieus’, and sound ‘ambiances’ and ‘atmospheres’.

Introdução do livro homônimo, onde o autor discute o que chama de recentramento do som, ou seja, a passagem de uma cultura musical centrada no tom para uma cultura do som. Referência: SOLOMOS, Makis. De la musique au son. L’´emergence du son dans la musique des Xxe-XXIèmes siècles (introduction). De la musique au son. L’´emergence du son dans la musique des XXe-XXIeme siècles. Paris: Presses universitaire de Rennes, 2013, p. 7-21. 545 p. ISBN: 978-2-7535-2638-9.

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This article provides an overview of the output of sound artist Francisco López by examining his music (or soundworks), his writings, and his performances. Unlike electroacoustic music, which develops its own sound matter, López's works chiefly stem from field recordings. However, this does not entail documentation or soundscape composition: while the origin of the sounds is often recognizable, the emphasis tends to be on immersion inside the sound-in-itself. Such autonomization of sound nullifies the representational level and expands listening-which is pivotal for López, who in his performances seeks for "profound listening"-into a phenomenological experience of sound. This experience, which sets apart significations, references and associations, enables us to rediscover the world and thereby reconnects us to an ecological dimension.