As I enter Georgia Rodgers’ Line of parts, I am struck by the instrument for which she has composed: three levitating circles of loudspeakers, one above the other, that form a cylinder of sound rising up above my head. They are housed inside a space-age enclosure, clad in complex geometric foam shapes; a circular array of chairs facing outwards sits in centre of this space, inviting an independent and reflective – rather than communal – listening experience. This space wraps you in it: a womb-like architecture of sonic potential.