The Sound of Space / The Space of Sound establishes intricate correlations between sound, body, object and space in contemporary curatorial and artistic practice for the intended purpose of sonic installation. The sheer effect of sound’s presence is woven into a critical paradigm, which seeks to establish artistic practice as an ‘expanded perceptual terrain’ one which encapsulates both the ‘formalistic’ and the ‘philosophical’ (LaBelle,2006, Pg 95). Therefore this research evaluates the fragmented lineage of sound art in relation to visual art historical counterparts, as it undulates between minimalist, surrealist and futurist philosophies. In turn, underpinning practice as a means of investigation within the existing chronology of events towards a theory of sound-space correlation for artistic ratification. Utilising mixed methodologies and allied experimentation, this thesis employs the fragmentary and collaborative properties of sound as a form to the research process itself. In turn, setting out to cross-examine the apparatus of performance and installation in order to expose nuanced modes of receiving information within curated spheres. Situated in the combined realm of acoustemology, phenomenology and new materialism, this thesis explores the sonic as a fundamental way of knowing the world. The supporting practice is explorative of embodied consciousness, revealing an understanding of sound that is relational, shaped by bodily position, spatial poetics, affect, memory and the lived experience of sound. Together, these perspectives are generative of a deeper comprehension of sound, through a knowing that is immersive and materially entangled. In order to provide critical analysis of the rapidly evolving field of sound studies, The Sound of Space / The Space of Sound utilises an art historical back catalogue as a springboard. This aids in the formation of distinguished layers of ongoing sound art practice in relation to pre-existing works in the field; through monitoring how sound is operational within curatorial and social realms, as architect and product of the spatial domains it occupies. Therefore, challenging the parameters of the curated realism of space and its sonic definition, in a field that is neoteric yet still distinctively broad.