Trevor Wishart's Encounters in the Republic of Heaven is a masterful evocation of place, taking the dialects of a region of northern England, pulling forth a disappearing way of life from their voices, spinning a landscape of anecdotes, soundscapes and transformations out of them, and finally arriving at a requiem where they transmute into song. 
The work does not utilize any locational field recordings; its depictions of place and location are crafted and built solely from the voices of the people Wishart interviewed (with the exception of a jovial trombone in one man's story). It is through the transformation of the voices, but also through spatialization and spatialized gesture, that a phantom place is recreated. These everyday places in northern England shift and disappear almost like a kind of wind – like those places are doing in real life. It is a place built, or re-imagined, out of voices – unmistakably a place, transposed onto the listening field of those who join the work in listening, through surround arrays or headphones. This even translates to extend into stereo speakers to an extent, because the spatialized gestures are so fundamental to the work.
These works by Ferrari, Hodell, Barrett and Wishart take on the entity of the place they each address in more multifaceted ways than the utilization of a single or literal transposition technique, which might illuminate only the more solitary details of those places. They represent a range of imaginary transpositions, from the most subtle intimation of drawing one into a recorded place, as with Ferrari, to the depiction of a place re-constructed wholly from a portion of its components, as with Wishart. These four works also range a gamut from literally transposing something almost map-like onto a new field, as with Barrett’s work, to mythological transposition through mapping stories or symbols onto real-world sounds, as with Hodell’s. Places are as much defined, and even produced, by their stories as by their artifacts. Often those stories are as complex, and contain conflict even as they inhabit the same site. So the transposition of place has dimensions beyond the simple act of illumination. Each of these works goes beyond the simple act of illuminating another entity. Alongside the earlier examples of electromagnetic, room resonance, novel microphone playing or amplification techniques, these four works represent another order of transposition, adding a layer of more subjective illumination which is wholly imaginary or conceptual: the far away sea onto the thundering room, the Styx onto the Mälaren, Oslo onto the openly located "Controller Chair", the Northeast of England onto its own voices.
All the works I have touched upon in this section, and the various ways in which they employ aural transposition or psychogeographical practices, have either led me to practices of aural transposition that were new to me, or deepened my own practices of transposition and sonic psychogeography. I take these artists’ practices into my own, as a basis for broadening my own practice, to listen to the city, to re-imagine it, to seek out community in imagining the disappeared and to seek empowerment in the ephemeral. Field recordings and violin work are transferred through the radio-apparatus of modular synthesis and gesturalized space, or are transmuted in the transposition of places and objects; a handful of ghosts around a city of listeners, re-painting the city in simultaneous realities.