This paper outlines some of the technical and aesthetic issues arising from my works which involve computer technology directly in live performance. A process of experimentation in algorithmic composition is described, particularly in relation to aspects of form and ways of automating musical processes at various structural levels. Three works are then described: Kendhang is a work in which a dancer influences the output of a simple 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 solo clarinet line. An exploration of both the distinctions and similarities between these works is used to develop a general approach to the integration of computer-based algorithmic systems with live performance. This approach emphasises the need for efficient use of technological resources in order to convey expressive content accurately.