Listening the Underworld: Soundscapes in the artistic context, is divided into two experimental audiovisual installations with special focus on medium sound. Undercurrent and Inland are two immersive installations that demonstrate, each in its own way, through different narrative possibilities of realistic features, subjective and metaphorical sound. Both installations fall within the concept of Soundscape theorized by the Canadian composer R. Murray Schaffer. Shuffling the hierarchy of the senses, responds to cases submitted, outlining several possible paths in their diffusion in the contour image itself and effective demonstration of the potential of this medium in its pure state, when processed and spatialized. To culminate in what is the fundamental focus of the dissertation, unravel the processes contained in the specificity of field recordings when applied to contemporary installation and sound performance, i use several literary references as Whitman, Thoreau, Bachelard, Mumford and Le Breton and others more specific in the art field as R. Murray Schafer, Douglas Khan, Rob Young, Richard Serra or Alvin Lucier. Always in the territory of sound as place in the art I approach to the main protagonists of the twentieth century avant-garde such as Luigi Russolo, Max Neuhaus or John Cage; experimental music in the twenty-first century transition and finally the field recording artists such as Chris Watson, Peter Cusack or Jacob Kierkegaard, who like previous explorers, go wandering and alternating positions between academy, the gallery, the stage and record editions.