Agostino Di Scipio

Agostino Di Scipio (Naples, Italy, 1962) became involved in sound and music as a teenager, based on personal, self-teaching experience. While a student in the humanities at the Istituto Universitario Orientale, in Naples, he also ventured into computer programming  and worked (as a musician) in experimental theatre. Later he graduated in Composition and Electronic Music from the Conservatory of L’Aquila, and attended classes in music informatics at the University of Padova. For over twenty years, Di Scipio has explored original methods in the generation and transmission of sound, often experimenting with phenomena of emergence and chaotic dynamics. His works include solo live-electronics performance works, with or without instruments, and sound installations where cybernetic principles and ‘man-machine-environonment’ networks of sonic interactions are creatively elaborated. Di Scipio also wrote two chamber-music theatre works, conceived as a mix of poetry reading and electroacoustics. His music is available on various labels (a.o. RZ Edition, Chrysopeé Electronique, Wergo, Neuma, etc.). With pianist Ciro Longobardi, he published a full-concert realization of John Cage’s Electronic Music for Piano (Stradivarius), presented at the 2012 Biennale Musica, in Venice. With saxophonist Mario Gabola, he runs a project exploring recycled analog circuitry (Upset, Viande Records). Artist-in-residence of DAAD Künstlerprogramm, Berlin (2004-2005) and other residency programs. A solo exhibitions of his sound installations was hosted in the Galerie Mario Mazzoli, Berlin (March-May 2011). 


A recent special issue of Contemporary Music Review was devoted to Di Scipio’s work, gathering critique and musicological investigations from an international group of scholars. A new volume + CD is currently in print, Polvere di suono: una prospettiva ecosistemica della composizione (La Camera Verde, Rome).


Di Scipio served as full-time professor in Electroacoustic Composition at the Conservatory of Naples (2001-2013), and today holds the same position in L’Aquila. Edgar-Varèse-Professor at Technische Universität, Berlin (2007-2008), guest lecturer at CCMIX (Paris, 2001-2007), and guest professor in several other institutions (University of Illinois Urbana-Champaign; Université Paris-8; IRCAM Paris; Johannes Gutenberg Universität, Mainz; Simon Fraser University, Burnaby/Vancouver; Sibelius Academy, Helsinki; University of Edinburgh; Queen Mary University of London). Keynote speech at the ICMC 2013 (Edit Cowen University, Perth, Western Australia). Di Scipio is also active as a researcher and scholar, and has published several writings, often bearing on the analysis and history of musical technologies in their cognitive and cultural implications (e.g. the Italian volume Pensare le archeologie del suono e della musica, Naples, 2013). He served as guest editor of the Journal of New Music Research for a 2004 special issue on Iannis Xenakis, and edited volumes such as Iannis Xenakis’s Universi del suono (LIM/Ricordi, Milano 2003), Michael Eldred’s Heidegger, Holderlin & John Cage (Semar, Rome, 2000), as well as volumes by G.M.Koenig and Tom DeLio. In 2009, with his former students in Naples, he started a small independent review, Le Arti del Suono. 




David Pirrò


David Pirrò (*1978 Udine, Italy), is a sound artist and researcher based in Graz, Austria. His works include interactive compositions and sound installations as well as audiovisual and electroacoustic pieces in which performative and spatial aspects are central. Departing from a radical inclusive point of view, he seeks ways of composing by which the work of art is constructed through mutual interaction of the agents involved in its performance. 


David studied piano at the Conservatory "J. Tomadini". In 2004 he obtained the Master degree in Theoretical Physics at the University of Triest. In 2005 he worked at the CSC (Center for Computational Sonology) in Padua wih Prof. De Poli.  in 2007 David concluded his studies at the Conservatory "G. Tartini" in Triest with a Master in Computer Music and audio-visual composition. Since 2007 David works at the IEM (Institute of Electronic Music and Acoustics) in Graz, Austria as lecturer and researcher. He collaborates in various scientific and artistic research projects on sonification ("QCD-audio", "An Acoustic Interface for tremor analysis"), sound spatialisation ("The Choreography of Sound") interaction design in Computer Music ("Embodied Generative Music", "Klangräume"). He writes his dissertation Thesis in Computer Music (tutor Prof. Gerhard Eckel) "Composing Interaction".