The sound object represents the immersive way in which sound can mark, reveal, and symbolize, opening a path toward a distinct form of sonic analysis and a deeper understanding of its legible potential.

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     Starting from sound as a self-sufficient material and from its interpretative value, passing through questions of contemplative listening and the symbolic qualities of expression, the sound artist becomes an investigator and documentarian of how sound shapes environments. Thus, the acousmatic serves both as an object of study and as a creative tool in the development of the resulting sound portrait, allowing for the gathering and preservation of a collection of curiosities that function as documents of lived experiences and realities.

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     Expanding the role of the creator of sound compositions, the practices of listening and field recording are redefined as promoters for a reflection on the act of collecting. This perspective emphasizes the notion of a sound archive: to contemplate, gather, and preserve through field recording and composition, positioning the artist as a collector and restorer of sounds.

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     The act of portraying through the collection of sonic material invites a reflective gaze upon the collected matter, evoking personal motivations and experiences that embed within the work a biographical presence born from memory. The real, in this sense, is shaped by interpretation and imagination. One thus contemplates place through sound, reflecting on the value of the soundscape while simultaneously encouraging a more active and present mode of listening.

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Tomás R. Arreigota

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2025