[3] It is staged in an installation space set up as an immersive environment, placing the audience under a canopy of latex hides and hanging objects.
Their central invention is the use of massive subwoofer speakers that emit frequencies too low to be audible to the human ear, yet strong enough to set abuzz every object and diaphragm in the room.
Ms. Fure’s contribution is to suggest that the room itself was alive; that the pitches, rhythms and sensations generated by these seemingly inanimate objects have their own order and message, whether or not we can determine what it is.
"[5] The New Yorker's Alex Ross wrote, "gender does not play an explicit role in The Force of Things, although Fure’s emphasis on the idea of empathy implies an opposition to the masculine megalomania of certain modernist predecessors.
"[6] Jaap van Zweden, the director of the New York Philharmonic, chose Fure's orchestra piece Filament to inaugurate his tenure in September 2018.