SPECTATOR AS A PERFORMING BODY

After writing my paper on spectatorship and concluding that I am interested in listening to what is already there, I realized that what I hear, here and now, is not what a spectator also automatically hears. How can I invite the spectator to listen to “the cloud”?
Since spectatorship is an active thing, I am wondering how I as a scenographer could use the ears of a spectator to experience space. Maybe I could use the ears as a receiver. To catch the dimensions of space. The experiment: ‘composition of space: 5 min’, shows me that as a spectator you need a sort of anchor point to open up the ears. To use your ears as a receiver you need to be guided. I think it is useful to create a route or a floorpan as a score of the sound, so that the spectator physically can relate to the sound.
When I am the spectator of the sounds that I hear that are already there, for example when I am cycling, my movement through space changes the sounds and creates the story that I hear.
The big question now is, how can I communicate or translate what I hear to a spectator. If I hear movement and space in sound, how can I use that to let a spectator experience space as well? If I hear music in a specific space, traffic or in the forest, when does it become art for others? Important elements to use are time, rhythm, movement and of course, space. In the future I want to discover how I can use these elements as a composing scenographer.