Founded and directed by professor Eldad Tsabary, CLOrk specializes in networked and multidisciplinary performances and collaborations, such as with dance and video.

[3] CLOrk's first performance (January 2011) was a telematic collaboration with other laptop ensembles across Canada as part of the University of Calgary Happening Festival.

Futurist Manifesto was premiered at a guest lecture by philosopher Slavoj Žižek at Loyola University New Orleans on November 17, 2009.

Each PLOrk “instrument” consists of a laptop, a multi-channel hemispherical speaker, and a variety of “control” devices (keyboards, graphics tablets, sensors).

PLOrk was co-founded in 2005[13] by professors Perry Cook and Dan Trueman, with graduate students Scott Smallwood and Ge Wang, and funding and support from many Princeton University departments, organizations, and industrial affiliations.

Composers and performers from Princeton and elsewhere developed new pieces for the ensemble, including Paul Lansky (Professor of Music at Princeton), Brad Garton (Director of the Columbia Computer Music Center), Pauline Oliveros, PLOrk co-founders Dan Trueman and Perry Cook, Scott Smallwood, Ge Wang, and others.

Grammy-winning tabla player Zakir Hussain, renowned accordionist Pauline Oliveros, and So Percussion also performed with the group.

PLOrk has since performed at Dartmouth College, the Ear to the Earth festival (produced by the Electronic Music Foundation), ffmup, and elsewhere.

Several scholarly articles describing the motivations for establishing such an ensemble, the issues involved in composing for a laptop orchestra, and pedagogical concerns, are currently in press.

In April 2008, PLOrk began using a new hemispherical unit that combined the functionality of the old rack and speakers into one more portable device.

HCI devices include keyboard controllers, TriggerFinger interfaces, graphics tablets, Nintendo Wii remotes, and infrared, light, pressure, and tilt sensors.

BSBLOrks's performances focus on an improvisatory aesthetic, based on the belief that contemporary music should be unpredictable, non-linear and interactive.