This paper outlines some of the technical and aesthetic issues arising frommy works which involve computer technology directly in live performance. Aprocess of experimentation in algorithmic composition is described,particularly in relation to aspects of form and ways of automating musicalprocesses at various structural levels. Three works are then described:Kendhang is a work in which a dancer influences the output of asimple algorithmic music system based on interpolation;Or is an instrumental trio which uses realtime sound granulation;and Vug extends this realtime granulation and applies it to a soloclarinet line. An exploration of both the distinctions and similaritiesbetween these works is used to develop a general approach to the integrationof computer-based algorithmic systems with live performance. This approachemphasises the need for efficient use of technological resources in orderto convey expressive content accurately.