We present a report of the experience of our remote musical collaboration during the Covid-19 pandemic regarding live electronic, audiovisual compositions, and telematic performance in the context of the project Sound Notebooks. We discuss the problems found and the solutions adopted in the performances, as well as the hypotheses of musical research raised by the remote environment. We argue that the variety of expressive modes, sonic modalities, and video possibilities in the Sound Notebooks repertoire we presented contributes to the construction of an aesthetics for remote performance. We additionally address practical and conceptual questions involving the composition, performance, and technical issues of the networked environment. We conceived of the environments for the remote performances through a relationship to the technical needs of the repertoire. We conclude with a brief discussion of the differences between live electronic concerts in physical and telematic spaces. Telematic performances have a complexity factor in which the musicians and audience share a virtual and perceptual space, suggesting multiple listening experiences of the same musical phenomena.

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