But to the degree that musical performance is enhanced when it fully embraces the body, it can be compromised when it attempts cross-disciplinary practice without respecting the technique of other creative practices. For example, Rosie Middleton’s performance of “Code Poem - Any Chance of War?” by Mira Calix was a moving work that included live voice and recorded Morse code. It also included Middleton’s performance of SOS flag signals. Though the flags added a compelling visual element to the work, flag semaphore relies upon codified movements to communicate message. Unfortunately, Middleton’s emphasis on executing the vocal component of the work surpassed the precision of the choreography, so much that the movement at times distracted from the emotional articulation of distress she so powerfully vocalized. Further in “White Flags,” Trio Isak supplemented their stage by displaying five, white, hand drawn flags, visually connecting their performance with the lunar landscape. These five flags were later used to textually denote movement changes in Bernd Alois Zimmermann’s “Présence.” Had Trio Isak simply presented the flags as unique, stand-alone visual components, perhaps using six flags instead of five to mirror the number used in the Lunar Assemblies, they could have added a content-rich sculptural element to the work. In both instances, it seems that legibility of the musical performance was prioritized over the cohesion of the performance as a cross-disciplinary work.