In this article, we consider the possibility of mixing two main paradigms of electroacoustic music: the writing-oriented and the performance-oriented paradigms. We show that these two opposing paradigms are the consequence of two corresponding conceptions of time. In addition, we assume that the temporal aspects of a performer's interpretation of a musical composition can be linked to both paradigms. Based on this theoretical study, we propose a formalism for composing pieces of electroacoustic music that can be interpreted in performance.