The augmented orchestra consisted of a real string quintet, a virtual flautist, a guitarist and bass player.
During the performance the flautist triggers the pre-recorded material and real-time reverberation by a switch pedal at strictly notated places.
My interpretations of flautists' embodied identities are thus always imbued with my embodied experiences as a flautist/scholar/listener.
The flautists thus defined and redefined the overlapping structures of sameness and selfhood in terms of occurrence, altered spatialities and control.
This article examines the live flautist's embodied identity during the real-time reverberation and the pre-recorded part.
The flautist makes fleshy vibratos, almost brutal screams and double-tongued speech acts.
The article investigates experiences of control and identity through interviews with both flautists and sound technicians.
She also pays attention to the actual experiences of different flautists.
