The expanded space affects the flautist's identity through the spatiality of the flute, which brings field activity close to local.
The exploring of flautist identities with the concepts of local and field concentrates the attention on the flute sound's embodied practices.
As both mediating and producing apparatus, the microphone can also be understood here as a technology of selfhood for the flautist.
The duration of the whole piece is approximately nine minutes, during which the flautist triggers the pedal sixty-three times.
For me as a flautist, personally, it is impossible to listen to flute music without locating the flute sound in the flautist's body.
Every single playing mechanism becomes spatialised far beyond the flautist's intimate control level, that is, at the sound director's desk.
The flautist can control the timing and the force of the reverberation, but cannot define the final balance construction of the sound.
She also pays attention to the actual experiences of different flautists.
