This issue of mixing pre-recorded sound with live sound (at least in my work), can be addressed in ways related to the laptop’s use in a work’s construction (performance and composition, which I view as it’s own distinct role when combined) – ‘modes of behaviour’.
Now (at this point in time), it seems useful not to contextualise my practice in terms of others’ uses of electronic sound (digital or non-digital), rather, consider it as a mixture of elements stemming from notions of freedom and fixity which I find inherent in John Cage’s discussion of ‘formal’ development in his own work(s).
Elements of timbre and musical shape which seem to emerge due to one’s personal approach, may now even be thought of as an improvisatory practice of contemplation and organisation ‘outside’ of the direct actions of making. Perhaps this attitude is borrowed from Cage’s own concern with integrating so-called silent aspects of his musical continuities. Rather, for me Cage’s description of form (in his work) is merely auto-ethnographic, and without concern for referencing another artist’s work in order to situate his practice within any particular musical tradition.