Through a comparison of two unique voices found in two musical pieces: Cathy van Eck’s Song No. 3 and Alvin Lucier’s I Am Sitting in a Room, the first essay shows the nuances between acousmatic experiences and visualized sound, paying particular attention to supposed moments of de-acousmatization: the act of revealing the source of the sound after it has been hidden. Taking a distance from Schaeffer’s and Chion’s account on acousmatic, acousmatization, and de-acousmatization, the argument locates acousmatization outside a requirement of categorized and hierarchized listening, especially in terms of reduced listening. Instead, it probes an account of listening in terms of self-inquiring, imagination, and curiosity. Reflecting on the use of musical scores and documents, the second essay compares two cases of artistic creation that, while appearing within certain institutions, present tensions with the normalizing forces of that establishment. These cases consist of Alvin Lucier’s Music for Solo Performer, which was first performed by the composer himself in 1965, and Marina Abramovic’s Seven Easy Pieces, which she premiered in 2007. Focusing on the ideas of Louis Althusser and Gilles Deleuze, the discussion portrays repetition drawn out into two possibilities: as normalizing force or as resistance to it. It further considers Alain Badiou’s writing on the formation of knowledge and truth in relation to status quo and event, respectively.