A sound is a complex event that may carry a range of different kinds of information. In the process of working with sound in artistic practice – be it a sound installation, a musical composition, or something else – access to the sound itself is at the same time both completely unproblematic and very enigmatic. It has a source and discernible sonic qualities; it may have a direction and a space; and it may give rise to several emotions, sometimes many different ones at the same time. A sound can be completely metaphysical, imagined as part of a dream, or it can be so physical that it is felt by the entire body. It can be painful or beautiful, harsh or soft. The balance between the information it may disperse will obviously depend on what kind of sound is dealt with, and all its parameters usually change to a significant degree over time: the attack and the decay of a trumpet sound, for example, may have completely different qualities. In electronic music, the same continuous sound may in the beginning appear to have an obvious and clear source yet end as an almost completely abstracted and deconstructed noise.[1] How can sound as a carrier of information be explored “despite its amorphous and volatile character” (Truax 2002: 22)? How can it be researched and analyzed through artistic practice in sound art, and how may such analyses contribute to a broader understanding of it?