Sound Art, improvisation and musical experimentation Marcelo Kraiser, Rafael Carneiro e Frederico Melo Belo Horizonte - Brasil Why Kallpp? It would be interesting to analyze this acronym slowly, specifying the order and nature of its components, articulating them in the longest chain of logocentrism and hearing as the most sublime sense since, unlike vision, hearing overcomes it and persists as a disjointed language, gegliederte Sprache . In Latin, as Derrida shows us, articulus means ‘member, part, subdivision in a sequence of things’ to derive the institutional, conventional and arbitrary character of the sound sign. This also allows us to derive, in order to go quickly even at the risk of refusing any symbolic extraction towards a program with the air of a post scriptum, a listening to Kallpp as a derived fiction, a true interruption of the causality that is intended to be natural, a decision that otherwise the vibration of the sign would neither authorize nor refuse. A gesture that Kallpp's listening, in the two senses of receiver-spectator and supposed listening that the trio would make of the sounds created by him, underlines a deeper stratum of speech and sound art at the same time. For it is within the Kallpp itself that the same fundamental conceptuality at the point where the opposition of physis to nomos and technè crosses the consecrated history of music and its modifications. Margins of Sound / The Syntax of Derivation and Chance Augusto Canger