The term "acoustic" has traversed multiple domains in literature, reflecting both the physical and metaphorical richness of sound. In classic narratives such as H. G. Wells’ work [1] and Jules Verne’s adventures [2], [3], [4], [5], "acoustic" characterizes the spatial and natural sound properties of diverse environments, from mysterious underground corridors to marvels of rock conductibility. In contrast, Hans Gross’s treatise on criminal psychology [6], [7], [8] employs the term to explore the subtle interplay between perception and auditory phenomena, highlighting the difficulties in demarcating genuine acoustic illusions from misinterpretation. Meanwhile, in sociological and philosophical texts by Burgess, Park [9] and Nietzsche [10], the word is woven into broader conceptual frameworks, and its application even extends into technological discussions, as seen in Odd De Presno’s references to acoustic modems [11], [12], [13], [14]. This spectrum underscores a versatile usage that bridges tangible acoustic properties with more abstract, interpretative dimensions across disciplines.