The most recent practices in sound art have emerged as pre-eminent spaces in which to question the interaction of sound with its environment. Accordingly, in this article, I envisage Arrhythmia, the sound installation by Bosch and Simons with Kostyrko (2019), as a device that helps to outline a horizontal sound ecology. This approach, which takes as its starting point the sound and material vibration in its entirety, implies a positive acceptance of an ontological continuity between the human and the non-human. This, in turn, implies that issues such as biopolitics cannot be reduced to the human realm. With this in mind, Arrhythmia emerges as a new kind of singular entity from which relationships with the environment can be conceived in a non-fragmented way.

声音艺术的最新实践已成为质疑声音与其环境相互作用的卓越空间。因此，在本文中，我设想Arrhythmia是 Bosch 和 Simons 与 Kostyrko（2019 年）合作的声音装置，它有助于勾勒出水平的声音生态。这种方法以声音和物质的整体振动为出发点，意味着对人类与非人类之间的本体论连续性的积极接受。反过来，这意味着诸如生命政治之类的问题不能归结为人类领域。考虑到这一点，心律失常作为一种新的单一实体出现，从中可以以非碎片化的方式构想与环境的关系。