Sound in space is not a new phenomena; even before the invention of speakers and amplification composers and musicians utilised and took advantage of the spaces in which their music was presented. Richard Zvonar writes :

"The spatial relationships between musical performers has always been an integral part of performance practice, and this takes many forms: folks songs alternate dialog between women's and men's voices, military bands march through the town square, alpenhorns and talking drums pass messages across miles, carillons chime from church towers. Antiphonal performance ("call and response") is extremely ancient, having been practiced in the chanting of psalms by Middle Eastern Jews in biblical times, and there is further evidence of the practice in the Roman Catholic church as early as the fourth century." (His full article 'History of Spatial Music' can be found here). 

As soon as speakers and the medium or recording became available, composers and sound artists started utilising this new technology to separate sound from its original source, turning any sound into musical material. With this music, made in the studio, on a fixed medium; you need an array of speakers instead of  musicians when you want to present it in concert. Thus multi-speaker concerts were born. The most famous of these multi-speaker concert systems is the Groupe de Recherches Musicale's (GRM) 'Acousmonium' designed by François Bayle and assembled in 1974. Describing the system François Bayle said "It puts you inside the sound. It’s like the interior of a sound universe." 

Hear Th↓s Space is a collection of composers working with sound, who present concerts of sound based music in interesting spaces. The concert programme and speaker arrangements are tailored to each individual venue so as to take best advantage of the acoustic and aesthetic properties of the space.