SUMMARY
This article discusses listening to music suitable for sound perception and the associated changes in paradigms or ways of thinking that so often occur when we move from visual to auditory perception. The distinction between historically accepted and rejected sounds is used to show how the placement of sounds in our subconscious has shaped the form of listening in life. The experimental music of the 20th century, especially the music and reflections of Eduard Artemyev, opened the doors to our subconsciousness with the synthetics of sound, and at the same time weakened the visual paradigm of intellectual knowledge. In this article, sound perception is considered as a place where artistic practices coincide with certain theoretical problems centered on sound. First, the centrality of sound is considered, and music and sound art are discussed in relation to space. This perception is extracted by looking at contrasting pairs of examples. Pairs consist of an analytical and visual presentation of the main issue of sound-perception. It is an excellent tool for exploring the relationship between philosophy, science, psychology and human cognition. Next, the sound track of the work while listening to outstanding sequences, sound-perception focuses on the specific relationship of the image and the picture. It embodies the state of sounds, when the smallest impact can lead to a radical change in the established order, overcoming the bifurcation point. Non-traditional materials and approaches in music give a new round of development and understanding in contemporary art, prompting a rethinking of what an artistic image could be. Regardless of the artistic picture, which, in turn, the author wanted to convey. This is the key to sound-perception as a tool of knowledge. The article ends with a statement about the need for aesthetic reflection, taking into account the consequences of these profound transformations.