An offshoot of Satz's work on expanded listening through her long-term project 'Preemptive Listening', this new sound work continues her ongoing portraits of listening with percussionist Evelyn Glennie. Glennie has been profoundly deaf since the age of 12, and has taught herself to hear with parts of her body other than her ears.

'Preemptive Listening' reimagines sirens and emergency signals in an age of intersecting manmade and ecological disasters - new sounds not only scored to immediacy, but signals set to a longer temporal frame, sounding the alarm for the inaudible, the remote, the unimaginable. In a time of increasing environmental noise and alarm fatigue, emergency signal recalibration is urgent. The project explores new inclusive ways of looking and listening, bringing in auraldiversity though a low-frequency and vibratory/haptic approach. The invitation is to listen to these new siren sounds on the thresholds of music, sound and vibration, as a call to attention, an instruction, alternating between signal and background noise, an invocation of mood and atmosphere. Glennie originally devised the percussive sequences underscoring this sound composition as new siren sounds, with the intention that they may also be fed through vibratory devices such as mobile phones in order to activate the other senses through vibration. Here the sounds punctuate her thinking around listening as a specialized form of touch, and as a multimodal form engaging all the senses - hearing through the soles of the feet, sight, smell, all woven into and alongside the inner acoustics of one's mind.