Since the inception of the electroacoustic music field in the decade following the second world war, electronic music technology has, in some cases, divorced musical gestures from human action and bodily experiences. However, during this time, ‘mixed' electroacoustic works, ‘live' electroacoustic music and more recently, real-time computer music have attempted to reconcile this rupture of human cause and effect. In this chapter, the author examines some of the key approaches to this evolution of the last fifty years, including a detailed examination and extension of Denis Smalley's notion of ‘indicative fields', and a discussion as to what it is to be ‘live' in electroacoustic music.