ABSTRACT
Live electronics implies a process of interpenetration between composition, sound production technique, transformation technique and listening process. In analysing this complex system, it is important to dwell on the difference between events in real time and non-real-time events. Today 'live electronics' is used as a passe-partout term that may refer to equipment, a set of technological instruments or a performing practice. Composers themselves may consider it a creative medium or a performing medium, depending on whether it is seen as a 'linguistic' requisite. In the complex and heterogeneous universe of electroacoustic music, the term 'live electronics' implies a clear opposition between real-time and non-real-time. By definition, all music is 'live' at the moment of listening and performance, even when it is played back on tape. Moreover, live electronics is increasingly used in an interactive way to generate other forms of artistic expression, ranging from installations to multimedia works, theatre to motion capture, and so on.
