I am working this current project in five steps:

1) design timemap with rough cut of pitch mapping
Thus far, this process is working, but the pitch mapping is rudimentary and will most likely stay that way for now.

2) transfer to a sequencer package (DP),
This path is not tested fully, but what needs to get out of Timewarp is a midi file that has all the pitch mappings for the four parts along with a beat and subdivision database (midi) that would include all the subdivisions that might be needed to create the clicks and to amend the instrmental parts.

3)amend and compose material,

Once I am into stage 3, I will need to know exactly where all the timemap changes occur (markers) and I will need to have levels of subdivisions generated -- these subdivision database can then be graphed into the pitch material as needed.

4) create transcription for score,

Take the Midi file for each instrumental part along with its clicktrack file -- have that transcribed in Sibelius with the understanding that the sibelius score does not understand tempo and timewarp events. The Sibelius score will understand sub-divisions of a beat and should notate those sub-divisions -- I don't imagine those sub-divisions will every get beyond 2,3,4,6,8. If I am not mistaken Sibelius should be able to transcribe such a file mostly without error. If that sibelius file can also include markers, then David just needs to include indications of tempo changes, directions etc. and the instrumental part is created.

5) create clicktracks.
going back to the DP file, the clicktracks would be created in audio files. These are imported into the PiecePlayer-SF patch made by Jeff and that is the performance patch for Auditory Fiction.

I am thinking there is not enough time to really achieve an integrated electronic part. So I will put the piece together to work as an instrumental only piece. I think the instrumental alone is a good solution and maybe more compelling in performance than with the addition of electronics.

A bit more thinking about the aesthetics of tempocurving...

Timewarp severs the relationship between event placement in time and type of event (pitch, percussive, grauated continuant). This is the opposite problem created by the serial composers who designed pitch maps before inventing the time map. Some tried the total serialism approach in an effort to join event and time-point. With regard to this problem, the current timewarp tool is rudimentary and enforces this separation. The tool should move further toward becoming a hybrid-sequencer with tempocurving capability. That would require addition of graphic image space or music notation space for pitch mapping as in current day sequencers (DP, Logic). There is no way that Max can become the seat for all the activities of composing with such a tool, especially the all important stages at the end where finesse and taste take over. There must be a way to augment and amend at the end of the compositional process. My interest is centered on acoustic instruments performing tempo-curves.