By the end of the 90’s a new musical instrument entered the stage of all stages
and since then, played a key role in the way music is created and produced, both in the
studio and performing venues.
The aim of this paper is to discuss what we consider to be fundamental issues on how
laptopers, as musicians, are dealing with the fact that they are not providing the ‘usual’
satisfaction of a ‘typical’ performance, where gesture is regarded as a fundamental
element. Supported by a survey conducted with the collaboration of 46 artists, mostly
professionals, we intend to address and discuss some concerns on the way laptop musicians
are dealing with this subject, underlined by the fact that in these performances
the absence of gestural information is almost a trademark
