Aesthetics has been regarded as an alternative approach in sonification for expanding experiential and perceptive opportunities, exploring embodied interactions and mental processes in search for the ‘pure meaning’ of data. This expression translates the current standing view within the field for a single and desirable data interpretation, whose unequivocal relation can lead to a reductive vision of the sonification design space. This thesis proposes a novel design approach to sonifications, *systemic sonification*, which embraces systemism as a design space, centred on aesthetics as the action-perception processes for sense-making of the multistable sonification phenomenon. By framing sonification as a living system, a systemic sonification is designed as an interactive sonic field composed by a community of sound beings, whose mutable structure and behaviour respond to iterative and interactive exchanges with the participants. We present an interdisciplinary research journey for conceptualising, developing and essaying the systemic approach to sonification. We start by studying musical aesthetics in a consumption data sonification, with a phenomenological evaluation to retrieve individual perceptions. We review evaluation perspectives from sound-centred research communities, synthesising them in a six-approach evaluation framework to characterise sonic artefacts and consider alternative ways to evaluate them. We propose a perspective turn of sonification in the light of systemism, framed as a living system of sound beings – sonic emanations of the system that coexist with human participants in the interactive sonic field. A first illustrative design exercise was developed to understand how to transition for a systemic thinking of sonifications. A six-stage design model for systemic sonification is then proposed, structured by eight design concepts (Listener, Translator, Signifier, Generator, Composer, Performer, Emitter and Collector), modelling agencies that define a design space for structured yet malleable sonic explorations. Two proofs-of-concept were developed: (1) the first as a sonic playfield, exploring a play experience with sound beings to grasp how the participants interacted with them; (2) and the second as an interactive sonic field of neuronal activity, offering interactive exploration and comparison opportunities between data subjects with typical neurodevelopment and Autism Spectrum Disorder. A Pluralistic Walkthrough was conducted with two data domain specialists, gaining insights on how the prototype and the model enabled the discussion of design variations. The systemic approach accepts aesthetics as sequential, action-perception understandings of interactive sonic dialogues, growing from a sound aesthetic as a shape or stylistic form, to the knowledge that we draw from active perception processes of the sonification phenomenon. Through the listening experience, fostered by deep listening and acoustic ecology practices, where awareness is heightened and the body becomes a conscious receptor of what surrounds us, aesthetics opens new potentials of experience through parallel, mutually-influencing and expanded perceptions that occur in the multistable sonification phenomenon. The generative potential of systemic sonification establishes a design practice of experiential aesthetics that expands sonification research, envisioning new sonic and interaction languages that transcend the sonification field towards a larger design space for interacting with sound.