Assuming that perception works as a constant dialectic electroacoustic music were confined to poietic prebetween sense-data and concept, this paper presents a occupations, the effort would most probably result in perceptual analysis of J. C. Risset's Sud according to a disparate esoteric theories bearing little relevance to conceptual framework based on a complementarity between the development of the genre as a cultural fact, and intrinsic and extrinsic connotations in electroacoustic music. contributing little to its understanding and wider From this perspective, Sud may be perceived as an diffusion. encounter between human imagination and nature in two of Theoretical approaches to electroacoustic music its most powerful symbols: the sea, alluded to through the are predominantly perceptual, despite the objection sounds of the waves, and the forest, alluded to through the that 'if a level of auditory perception can be identified sounds of birds and insects. The piece presents an that provides a grounding for describing relevant exploration of the essence of these environmental sounds, which are either modified or recreated with different attributes of electroacoustic sounds, both in isolation substances. In its appeal to images widespread in a variety and combination, then the resulting descriptions of cultures, as well as in its unique use of traditional might offer a relatively neutral method of discussing musical materials, Sud is more than a strongly compositions and compositional practice, quite programmatic and visually evocative piece.