This article examines the evolution of sound space in elec- troacoustic music from a theoretical and compositional perspective, with a focus on key works by Paulo C. Chagas. It transitions from early paradigms of musique concrète and elektronische Musik to immersive and telematic environments, articulating sound space as a relational, cognitive-affective field shaped by technologies, listening practices, and socio-political conditions. Drawing on theories of acoustemology, cyber- netics, affect, and embodied cognition, the discussion encompasses the cybernetic spatial models of Migration and Projektion, the immersive ambisonic environment of Pune Metamorphosis, and the telematic field-work of Sound Imaginations. Electroacoustic sound space is not confined to technical or aesthetic dimensions; it constitutes a cognitive-affective and socio-political field in which composition unfolds as a mode of know- ing, a practice of critique, and a poetics of presence.