The author analyses two different modes of building the relations between the travelling subject and his/her environment. The first one is primarily organised by the domination of the visual, embodied in the category of the "landscape", while the latter - leaning towards the acoustic and based on the practices of listening - bears traces of an alternative economy of space organisation. Hence the categories of "soundwalking" and "aural safari," introduced within the field of sound art, are juxtaposed with the term, "soundspace" (as conceived by R. Murray Schäfer), to show how the latter, despite its strong connotations with aural phenomena, is rooted in the discourse of oculocentrism. The alternative mode of travelling, based on aural experience, is foremost contextual, processual and open to the emergent factors, while the dominance of vision is usually pervaded by the cultural logic of spectacle. The forms of mediations are symptomatic here; occupying the position of distanced viewer-observer in the case of field recording is not possible - on the contrary, the practice of soundwalking or aural safari encourages building relations with the environment as the network of connections through active listening where listener is positioned in the middle of the perceived phenomena.