This essay examines contemporary sound art practices as forms of critical and theoretical engagement with the Anthropocene, investigating the ways in which sound operates not as a mere documentary tool but as a deterritorializing practice capable of redefining the relations between the human and the non-human. Drawing on the conceptual framework developed by Gilles Deleuze and Félix Guattari — particularly the notions of the refrain and deterritorialization — the essay analyses a series of significant artistic and theoretical figures: from David Rothenberg's interspecies improvisations to Annea Lockwood's fluvial cartographies, from Bernie Krause's acoustic ecology to Jana Winderen's hydrophone recordings, through Christina Kubisch's urban electromagnetic drifts and the deconstructive sonic fiction of Mark Peter Wright and Angus Carlyle. Drawing on Karen Barad's agential realism, Jane Bennett's vibrant materialism, and Donna Haraway's Chthulucene, the essay argues that Anthropocene sound art does not merely render ecological crisis audible, but produces alternative epistemological and political spaces in which anthropocentric sensory hierarchies are systematically disarticulated. Particular attention is paid to the tensions internal to this field: Seth Kim-Cohen's critique of Deleuzian ambience aesthetics, the postcolonial implications of global sonic archiving, and the problematic construction of authenticity in mainstream nature documentaries. Sound emerges, in conclusion, as a vibrant and relational territory in which humans and non-humans collectively negotiate the conditions of a possible terrestrial coexistence.