A performance to weave the soundscape that happens around. A practice that derives from the conceptualization of sound art that addresses conceptual and textual construction. A conceptualization of the sound world that represents an expanded situation of sound and its uncontainable textuality, and which is made concrete by weaving the score with the textual descriptions of the soundscape that takes place around it. Spectators encounter the performance as in the encounter with a landscape painter with his easel set up to portray the landscape live, and who wants to invite them to practice the deep listening (Deep Listening) that the artist Pauline talks about Oliveros. Listening that allows us to become aware of the sound world that surrounds us and invites us to reflect on it. The score includes sounds of all kinds, geophysical, which derive from climatic and geographical elements, biological, which derive from living beings, and anthropological, which derive from different mechanical artifacts. A sound practice that is a complement to the conceptualism developed by Duchamp in the visual arts where he questioned the retinal conception, thus he proposes a non-cochlear sound art, the material with which he works is sound, but with a different concreteness.