Daryl: Sound, like light, can be an architectural force in itself. It can define or create a space, giving a feeling both of physical size and of motion, of things receding and moving towards the listener. What kind of interplay then exists for you between the static steel and glass structures of Bjørlo and the electronic spatialisation and processing of sound?

Richard: These «static structures» are, I think, in a metaphorical sense given a dynamic aspect by the musicians, the audience and the sound itself. The music imposes a time-structure on (one's experience of) these «static» elements, and also draws attention to their acoustical character. Most importantly, the installation is inhabited rather than sitting alone in a room waiting for gallery visitors; and there isn't much distinction between that part of the installation which is inhabited by musicians, and the areas where the audience are. The use of electronics in DARK MATTER span an entire spectrum between «pure» amplification of acoustic instruments and «pure» electronic music, with various hybrids and combinations between. The musicians are in fact «spatialised» by the installation as much as the electronic sounds are by the sound system.