In this paper the processes that led to the composition of the piece Impressioni In-Naturali (for digital support and live performer) will be exposed. Special attention is given to the performance practice as a construction of the listening experience in an electroacoustically config- ured space and as a form of ecological awareness. It was also necessary to define an acousmatic form not fixed but adaptive to the context, underlining an active attitude highlighted mainly in live electronics. An analysis is provided of the choices of selection and structuring of the material at the microscopic level (realization of the synthesis sounds) and macroscopic (structuring of the generated material) and the practice of diffusion in relation to an informatic performance environment.
Federico Martusciello (Tue,) studied this question.