It is a virtual audioscape or ‘context-aware soundworld’ virtually mapped over a real-world location containing intricately programmed layers of contemporary music and contemporary word-content (by ‘word content’ is meant poetry, prose, text … basically anything to do with words).
You access this ‘virtual auditorium’ or ‘swimming pool of sounds’ by downloading an app onto your smartphone. The app contains all the content and instructions your phone needs to run the scape. You then go to the actual location over which the virtual auditorium is layered, put your head/earphones on, press ‘START’ and go explore this intelligent, location-responsive environment. And, no, you don’t need a phone signal – just GPS. So we can, literally, put one in the middle of the Gobi Desert: go there and you’d get it!
SATSYMPH are creating here, for the first time, a three-dimensional matrix of Time, Space,Action. In music (even more so than in literature) we are used to a TIME sequence: a beginning, middle and end. We are not used to music that doesn’t obey these conventions, that you can quite literally ‘walk into and explore’ from any entry point and, and which may be linear or non-linear or, indeed, anti-linear.
Secondly: SPACE. What is being introduced here is the entirely new idea of ‘composing into the landscape’: the literal placing into the landscape of multiple regions of sound containing loops of audio, fragments, longer stretches, a whole gamut of sounds, textures and colours layered, mixed and reconstructed over and over again. This physical placing of sounds has huge implications not only for the way we engage with music, poetry and sound in exterior locations, but also for the way we map-out the landscape of a piece of music or poetry or literature that is perceived internally, through the ears, onto an external landscape that we perceive through our eyes. Combining these elements in this way, through these technologies, is entirely original and demands a new kind of vocabulary to make sense of and communicate these experiences.
And finally,‘ACTION’. There are several aspects to this. The first is authorship. Who has authorship of the material? The answer is both the composer and the audience. The composer creates the content and populates the virtual scape with it. From then on, it is the individual audience member who takes over authorship as it is their actions that determine their individual experience. This is a ‘user-created contemporary audioscape’