In this paper, the author argues that even though acousmatic electroacoustic music eliminated the instrumental interpreter from its live performance thereby removing the visible presence of the human body, the human body is still there in the form of representation. He suggests that these representations can be found in tactile gesture characteristics that suggest bodily influences, the presence of vocal sounds, the spatialisation of the work where the movement of sound represents the listener as a static body within the sounding space, and narrative structures that create hypothetical characters.