Liber for voice and live electronics, is driven by the question of transformation. The spoken and sung text is underpinned by the unstable play of liberation. Made up of ambivalence and the to-and-fro of modal verbs (pouvoir, vouloir, devoir) deemed to set decisions in motion, the act at work in Liber is underpinned by the idea of "becoming other" and the possible displacement of the hindrance linked to trauma.

Juliet Fraser, soprano, uses a MIDI controller (Wave ring) to manage her relationship with the sound events that interweave with her spoken and sung words. Juliet triggers the sounds and sound treatments, shaping the rhythmicity of the events as much as the dynamics, timbres or production of fine acoustic interferences. The performance thus calls on an "instrumental" game - that of handling the ring - and the writing of a "gestural choreography" combined with the vocal part. How can we design a flexible time that incorporates a degree of invention and unpredictability within various pre-established sound continuities? What kind of notation should be used to ensure the continuity of the piece and its transmission? It's no longer a question of writing fixed notes or sounds, but of using computer control to design a flexible haptic score with multiple states and intensities.