Considering recent world events, art and music could not be unmoved by the dramatic turn of directions in both the way people relate and the place of technology in their lives. An ongoing project of both the authors in writing a new piece for cello and Disklavier operated by interactions in real-time gave place to a new kind of composition, mixing written music to improvisation and replacing real-time for something we are calling remote time. This paper presents such walking of resilience, first reviewing some relevant points of view about musical interaction in real-time and the importance of synchrony for musical poetics; secondly, we report technical matters of the project such as the logic of the Max patch that operates the virtual piano and the threshold be- tween playing the notes in the score and improvising after them; thirdly, we reflect on the ways our thoughts and practices had to change. As results, we suggest that network musical interactions may point to temporal relations that can affect musical poetics even for in-person performances, suggesting new ways of conceiving musical composition. Finally, in reporting our uses of network resources, we hope this work could present potentialities of such features and also technological limitations that can be solved in the future.

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