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Agostino Di Scipio

Electronic Music Interviews Those who know me and my interests can imagine my reaction when I was asked to write the catalog of the exhibition Digital Direct di Modena, curated by Caleffi Gilberto.

One of the artists I was most interested in was Agostino di Scipio, and this is evident in agostino di scipio analysis of the texts chosen for the catalogue: The interview that follows is the full agostino di scipio of the interview done by Agostino di Scipio for Direct Digital, which was obviously not fully published in the catalog.

This work was was represented by the new gallery Mario Mazzoli based in Berlini, one of the first galleries in the international dedicated to sound art. From curiosity to know what kind of sound can agostino di scipio from such common and well-known materials, the audience is drawn to try to understand the operation of the work.

And sound was certainly the cornerstone upon which rotated throughout the interview and chat with Agostino di Scipio.

In your work Stanze provate agostino di scipio Private Rooms, there is a direct correspondence between the work and the environment in which it is posted. Did you base this interactive element on emotional and environmental factors rather than use procedural interfaces?

The production of Stanze Provate — Private Rooms has been piecemeal, because in agostino di scipio two years since the request to delivery I have brought forward other projects. Sometimes working on several projects at a time is useful, experimenting different ways of dealing with the same basic ideas, allowing technical solutions in different operating conditions.

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Usually Agostino di scipio start from a sketch of the technical infrastructure, on the basis of which the work can generate sound independently, but in close relationship with the surrounding space. Then I spent a long time to implement, empirically, the mutual influence between the various network components, making it to some extent self-regulate over time, and to dynamically change its own process depending on acoustic events in the surrounding space.


I am agostino di scipio to each component, in the network, capable of produing, conveying, mediating, transferrring agostino di scipio, depending on acoustic circumstances and the materials present in the room, plus the digital sound processing, and, in short, the whole electroacoustic chain that.

For me it is crucial to compose the interactions among these nodes, i.

The Sound Ecosystems Of Agostino Di Scipio

The latter emerge later in the work, in a way consistent with the real time intarctions almost all my recent works are like living creatures in circumstances of real time and real place, and rarely agostino di scipio pre-recorded sounds.

As you can imagine, the sonic potential and also the conceptual profile of the work came out a little at a time, with a prolonged trial, not on the agostino di scipio of a predetermined expression.

The interactive element your question refers to is, in my work, the unraveling of real-time relationships between the component parts of a whole.


Emotional aspects and sound shapes emerge from this self-organizing dynamics over time. Is sound is for you an ideal medium for this type of analysis?

Agostino Di Scipio

Well, it touches an important point, and is also difficult in some respects. This theme, on the contrary, as the observer cannot, with his watch, not affect the observed who want to agostino di scipio notand the observed is not entirely alien to him.

For me it is simply a way to declare the responsibility, knowingly or not, that each of us has in any relationship with others and with the surrounding environment.

We cannot pretend to be opposite to the work, without altering its presence, or the alien presence of the subject. Yes, sound is an ideal medium for this type of research which reflects the policy position as immanent in agostino di scipio my work that I did not realize was never proclaimed, in either slogans or posters.

The acoustic dimension is pervasive agostino di scipio the anthropological condition is ongoing, you cannot pause: Of course, the ear is never detached from the world, is not isolated, but interacts with the environment constantly, and is always agostino di scipio action in building the consistency and the plurality of acoustic stimuli.

And it amplifies the noise in the surrounding environment, in the largest room where the installation is placed.

It produces sound from the audience. We as listeners can not only be part of this small ecosystem, our physical presence alters the acoustics of the surrounding space, altering the dynamic. Listening thus interferes on listening, the listening is never something objective, is always something that changes the listening itself.

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The listener-observer voyeur remain as long as they are not warned about the responsibility alone for the simple fact of his own existence, so long as no warning to contribute agostino di scipio this already just with his mere presence.

The function of the aesthetic becomes a prerequisite of social behaviour, beyond the aesthetic enjoyment. Given the condition of relationship with the work, given that we act in any other and objects around, let agostino di scipio decide whether to act with awareness of the consequences of our actions, or remain in indecision, indifferent to the consequences of our actions.

In all your work, including Private Rooms, you do not only take care of the audio technology but also to the material and aesthetics of the instrument itself.

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