This thesis examines recent theories of sound art and ecoacoustics, with an emphasis on object-oriented ontologies and new materialism. Following Timothy Morton's suggestion that, toward the end of the Anthropocene, subjects are implicated in object systems that are non-local, temporally protracted, and viscous, it explores the deployment of sonic resonances to structure an encounter with the nonhuman cosmos. In keeping with the critique of Western ocularcentrism, which prioritizes vision over other sense modalities in epistemic claims, it argues that a materialist rhythmicity, or a manipulation of exhibitionary or auditory limits, introduces radical materialist and structural alterity to the spectatorial subject. By taking up Mellisa F. Clarke's "After the Ice," the political potentiality of the machine-human-ecological assemblage as it is known through sound is explored in its relation to our contemporary ecological situation.