k y m a • t w e a k y — the kyma collective

%META:FIELD{name="Description" title="Description" value="Composer Agostino Di Scipio is interviewed in the Fall 2005 issue of Computer Music Journal. Interviewer Christine Anderson focuses on Di Scipio's recent work in which he creates sonic interactions between a source, real-time digital signal processing in Kyma, and the acoustics of the room hosting the performance in order to create a dynamic, self-organizing system, symbiotically connected with the surrounding environment. Di Scipio's work takes into account not just sound-source and the sound-receiver, but the space in between.%_N_%%_N_%In answer to one of the questions, Di Scipio states: _I should mention that, in composing these pieces, I started working with the Kyma sound-design language and its number-crunching engine consisting of several Motorola processors. I enjoyed working with it so much, it then became for me a rather stable computer music platform with which to work._%_N_%"}%

%META:FIELD{name="Description" title="Description" value="Composer Agostino Di Scipio is interviewed in the Fall 2005 issue of Computer Music Journal. Interviewer Christine Anderson focuses on Di Scipio's recent work in which he creates sonic interactions between a source, real-time digital signal processing in Kyma, and the acoustics of the room hosting the performance in order to create a dynamic, self-organizing system, symbiotically connected with the surrounding environment. Di Scipio's work takes into account not just sound-source and the sound-receiver, but the space in between.

In answer to one of the questions, Di Scipio states: _I should mention that, in composing these pieces, I started working with the Kyma sound-design language and its number-crunching engine consisting of several Motorola processors. I enjoyed working with it so much, it then became for me a rather stable computer music platform with which to work._"}%

%META:FIELD{name="Description" title="Description" value="Composer Agostino Di Scipio is interviewed in the Fall 2005 issue of Computer Music Journal. Interviewer Christine Anderson focuses on Di Scipio's recent work in which he creates sonic interactions between a source, real-time digital signal processing in Kyma, and the acoustics of the room hosting the performance in order to create a dynamic, self-organizing system, symbiotically connected with the surrounding environment. Di Scipio's work takes into account not just sound-source and the sound-receiver, but the space in between.

In answer to one of the questions, Di Scipio states: _I should mention that, in composing these pieces, I started working with the Kyma sound-design language and its number-crunching engine consisting of several Motorola processors. I enjoyed working with it so much, it then became for me a rather stable computer music platform with which to work._%_N_%"}%

%META:FIELD{name="Description" title="Description" value="Composer Agostino Di Scipio is interviewed in the Fall 2005 issue of Computer Music Journal. Interviewer Christine Anderson focuses on Di Scipio's recent work in which he creates sonic interactions between a source, real-time digital signal processing in Kyma, and the acoustics of the room hosting the performance in order to create a dynamic, self-organizing system, symbiotically connected with the surrounding environment. Di Scipio's work takes into account not just sound-source and the sound-receiver, but the space in between.%_N_%%_N_%In answer to one of the questions, Di Scipio states: _I should mention that, in composing these pieces, I started working with the Kyma sound-design language and its number-crunching engine consisting of several Motorola processors. I enjoyed working with it so much, it then became for me a rather stable computer music platform with which to work._%_N_%"}%

%META:FIELD{name="Description" title="Description" value="Composer Agostino Di Scipio is interviewed in the Fall 2005 issue of Computer Music Journal. Interviewer Christine Anderson focuses on Di Scipio's recent work in which he creates sonic interactions between a source, real-time digital signal processing in Kyma, and the acoustics of the room hosting the performance in order to create a dynamic, self-organizing system, symbiotically connected with the surrounding environment. Di Scipio's work takes into account not just sound-source and the sound-receiver, but the space in between. In answer to one of the questions Di Scipio states:%_N_%%_N_%_I should mention that, in composing these pieces, I started working with the Kyma sound-design language and its number-crunching engine consisting of several Motorola processors. I enjoyed working with it so much, it then became for me a rather stable computer music platform with which to work._%_N_%"}%

%META:FIELD{name="Description" title="Description" value="Composer Agostino Di Scipio is interviewed in the Fall 2005 issue of Computer Music Journal. Interviewer Christine Anderson focuses on Di Scipio's recent work in which he creates sonic interactions between a source, real-time digital signal processing in Kyma, and the acoustics of the room hosting the performance in order to create a dynamic, self-organizing system, symbiotically connected with the surrounding environment. Di Scipio's work takes into account not just sound-source and the sound-receiver, but the space in between.

In answer to one of the questions, Di Scipio states: _I should mention that, in composing these pieces, I started working with the Kyma sound-design language and its number-crunching engine consisting of several Motorola processors. I enjoyed working with it so much, it then became for me a rather stable computer music platform with which to work._%_N_%"}%

%META:FIELD{name="Description" title="Description" value="Composer Agostino Di Scipio is interviewed in the Fall 2005 issue of Computer Music Journal. Interviewer Christine Anderson focuses on Di Scipio's recent work in which he creates sonic interactions between a source, real-time digital signal processing in Kyma, and the acoustics of the room hosting the performance in order to create a dynamic, self-organizing system, symbiotically connected with the surrounding environment. Di Scipio's work takes into account not just sound-source and the sound-receiver, but the space in between. In answer to one of the questions Di Scipio states:

_I should mention that, in composing these pieces, I started working with the Kyma sound-design language and its number-crunching engine consisting of several Motorola processors. I enjoyed working with it so much, it then became for me a rather stable computer music platform with which to work._%_N_%"}%

%META:FIELD{name="Description" title="Description" value="Composer Agostino Di Scipio is interviewed in the Fall 2005 issue of Computer Music Journal. Interviewer Christine Anderson focuses on Di Scipio's recent work in which he creates sonic interactions between a source, real-time digital signal processing in Kyma, and the acoustics of the room hosting the performance in order to create a dynamic, self-organizing system, symbiotically connected with the surrounding environment. Di Scipio's work takes into account not just sound-source and the sound-receiver, but the space in between. In answer to one of the questions Di Scipio states:%_N_%%_N_%_I should mention that, in composing these pieces, I started working with the Kyma sound-design language and its number-crunching engine consisting of several Motorola processors. I enjoyed working with it so much, it then became for me a rather stable computer music platform with which to work._%_N_%"}%

%META:FIELD{name="Description" title="Description" value="Composer Agostino Di Scipio is interviewed in the Fall 2005 issue of Computer Music Journal. Interviewer Christine Anderson focuses on Di Scipio's recent work in which he creates sonic interactions between a source, real-time digital signal processing in Kyma, and the acoustics of the room hosting the performance in order to create a dynamic, self-organizing system, symbiotically connected with the surrounding environment. Di Scipio's work takes into account not just sound-source and the sound-receiver, but the space in between. In answer to one of the questions Di Scipio states:

%_Q_%I should mention that, in composing these pieces, I started working with the Kyma sound-design language and its number-crunching engine consisting of several Motorola processors. I enjoyed working with it so much, it then became for me a rather stable computer music platform with which to work.%_Q_%%_N_%"}%

%META:FIELD{name="Description" title="Description" value="Composer Agostino Di Scipio is interviewed in the Fall 2005 issue of Computer Music Journal. Interviewer Christine Anderson focuses on Di Scipio's recent work in which he creates sonic interactions between a source, real-time digital signal processing in Kyma, and the acoustics of the room hosting the performance in order to create a dynamic, self-organizing system, symbiotically connected with the surrounding environment. Di Scipio's work takes into account not just sound-source and the sound-receiver, but the space in between. In answer to one of the questions Di Scipio states:

_I should mention that, in composing these pieces, I started working with the Kyma sound-design language and its number-crunching engine consisting of several Motorola processors. I enjoyed working with it so much, it then became for me a rather stable computer music platform with which to work._%_N_%"}%

%META:TOPICINFO{author="JeanLewis" date="1127248260" format="1.0" version="1.1"}% %META:TOPICPARENT{name="KymaInPrint"}%

Di Scipio in CMJ
20 Sep 2005
By: AgostinoDiScipio
Computer Music Journal
http://mitpress.mit.edu/catalog/item/default.asp?ttype=6&tid=19373

Composer Agostino Di Scipio is interviewed in the Fall 2005 issue of Computer Music Journal. Interviewer Christine Anderson focuses on Di Scipio's recent work in which he creates sonic interactions between a source, real-time digital signal processing in Kyma, and the acoustics of the room hosting the performance in order to create a dynamic, self-organizing system, symbiotically connected with the surrounding environment. Di Scipio's work takes into account not just sound-source and the sound-receiver, but the space in between.

In answer to one of the questions, Di Scipio states: I should mention that, in composing these pieces, I started working with the Kyma sound-design language and its number-crunching engine consisting of several Motorola processors. I enjoyed working with it so much, it then became for me a rather stable computer music platform with which to work.

Discussion (Descriptions, reviews, discussion):

%META:FORM{name="InPrintForm"}% %META:FIELD{name="Date" title="Date" value="20 Sep 2005"}% %META:FIELD{name="Who" title="Who" value="User.AgostinoDiScipio"}% %META:FIELD{name="What" title="What" value="Di Scipio in CMJ"}% %META:FIELD{name="Description" title="Description" value="Composer Agostino Di Scipio is interviewed in the Fall 2005 issue of Computer Music Journal. Interviewer Christine Anderson focuses on Di Scipio's recent work in which he creates sonic interactions between a source, real-time digital signal processing in Kyma, and the acoustics of the room hosting the performance in order to create a dynamic, self-organizing system, symbiotically connected with the surrounding environment. Di Scipio's work takes into account not just sound-source and the sound-receiver, but the space in between. In answer to one of the questions Di Scipio states:

%_Q_%I should mention that, in composing these pieces, I started working with the Kyma sound-design language and its number-crunching engine consisting of several Motorola processors. I enjoyed working with it so much, it then became for me a rather stable computer music platform with which to work.%_Q_%%_N_%"}% %META:FIELD{name="Where" title="Where" value="Computer Music Journal"}% %META:FIELD{name="Link" title="Link" value="http://mitpress.mit.edu/catalog/item/default.asp?ttype=6&tid=19373"}%