This paper takes a systemic perspective on interactive signal processing and introduces the author's Audible Eco-Systemic Interface (AESI) project. It starts with a discussion of the paradigm of ‘interaction’ in existing computer music and live electronics approaches, and develops following bio-cybernetic principles such as ‘system/ambience coupling’, ‘noise’, and ‘self-organisation’. Central to the paper is an understanding of ‘interaction’ as a network of interdependencies among system components, and as a means for dynamical behaviour to emerge upon the contact of an autonomous system (e.g. a DSP unit) with the external environment (room or else hosting the performance). The author describes the design philosophy in his current work with the AESI (whose DSP component was implemented as a signal patch in KYMA5.2), touching on compositional implications (not only live electronics situations, but also sound installations).
Emergence of Sound, Sound of Emergence.
This paper is in three parts. The first one introduces the notion of "sonological emergence” in the framework of a systemic perspective, following a radical-constructivistic standpoint. The secondo describes the main points in a compositional project, Ecosistemico Udibile (Audible Ecosystemics), consisting in a network of element processes capable of generating/ transforming/ destroying sound, working under real-time constraints, coupled with the space surrounding. The third part, articulates the auto-écoorganisation in the sonic network described, and advances some more general considerations of systemic and epistemologic kind. The discussion bears on the selfproducing (conditions of existence) and self-differentiating (conditions of form) elements in the process by which sound is produced, yielding into a generalisation of the music-theory notion of “ timbre”. The discussion also bears on how the systemic conditions (internal and external contraints, resources available in the environment) are dealt with in the real-time performance, when sound is recognized not only a “ energy” dimension (phisical substratus) but also an “ information” dimension (sound as interface, as regulator of system resonances). The notion of emergent sound, as emergent musical “ form”, is finally re-articulated in connection to the environment (space as the “ médium” or mileu of acoustical existence).
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