In this chapter, the author notes that in electroacoustic music reality can be alluded to, represented or subverted by the composer, and that the representation of reality is now a compositional parameter that can be found at the heart of many contemporary electroacoustic approaches, be they acousmatic, soundscape/ecological, or even musique concrete. The author analyses ways in which these ideas can co-exist within a compositional medium extensively concerned with timbral manipulation. He defines and discusses the four main categories of a sonic-landscape's morphology - hyper-real, real, virtual and non-real, and demonstrates that simple rhetorical codes can be used to help an audience generate their own extrinsic meanings within a planned compositional framework.