In this work the problematic relationship between the ‘live’ performer and the electroacoustic (fixed) part, an issue that has generated much discussion in the literature on electroacoustic music, is addressed in a most direct manner through a choreographed mode of musical performance which emphasises the ‘live’ action by making the causal relationship between gesture and sound conspicuous — musical gestures become physical gestures and vice versa. This concept is then further elaborated through an interplay between ‘real’ and ‘apparent’ causal relationships, a strategy aimed at blurring the distinction between the ‘geste effecteur’ and the ‘geste figuré’, i.e. between the functional and the symbolic component of the gesture (Delande, 1988). By organising the performer's movement on the same level as other musical parameters, and by establishing an elaborate web of relationships between musical gestures and physical gestures, Sadhaka could be seen as a project about re-finding a place for the body, for physicality in electroacoustic music.

Reference: Delande, Françoise, 1988, ‘Le Geste, Outil d’Analyse: Quelques Einsegnements d’une Recherche sur la Gestique de Glenn Gould’, Analyse Musicale, 1er trimestre, 1988