In response to the continuing lessons of Scorched Happiness regarding linear navigation, I decided to make a piece that seemed less like a series of smaller works to be traveled to/between, and more like subtle variations and evolutions of a single work based on spatio-temporal interactivity. In response to the difficulty in attracting an online audience for Scorched Happiness, as well as the uncertain viability of the VNet software, Pale Shining Winter was designed and executed as a single-user online RT3D world, where the time based element was purely dictated by the interaction between the user and the work. There was no physical manifestation or mixed-reality performances, it simply exists online for continuous access. This work showed that the time-independent nature of single-user experience was very positive in contributing to an effective performance parameter, along with a surrender to the interactor of the temporal aspect of the performance; in other words, the interactor has total control over spatial navigation and therefore the experience of the work. In a musical sense, the interactor becomes the arranger of the compositional elements I have laid out as composer, consequently when the interactor plays the work, we are both performing it, and in that sense prompts the question: Can Pale Shining Water, as long as it is being used by an interactor, be considered live on both our parts? I believe so, in the sense that agency defines presence, and in any case a live performance has most certainly occurred when the interactor played with the work. It may seem strange to use my first single-user (ie, not a MUVE, just a ‘VE’) work to broach the subject of liveness and performance, but really it makes sense in terms of examining RT3D environments.