This contribution to the topic of electronic music is based on the perspective of the dancer in performances with interactive sonic compositions. The method is a variation of phenomenology emphasizing the embodied experience of electronic music. This phenomenology follows the later writings of philosopher Maurice Merleau-Ponty. A poetic and experiential notion of the sonic invisible is posited. It has four qualities: density, indirectness, collectivity and voice. These experiential qualities revealed by examining the particular context of bodies generating sound in interactive sonic compositions may resonate beyond the world of interactive arts to how we exist more generally in the world.