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In Live performance interaction for humans and machines in the early twenty-first century, Belet observes that the dualistic way in which computers have been portrayed in films and literature ("time-saving miracles" vs "diabolical threats") pervades the application of computers in music as well. Belet champions the creation of "genuine interactive performance environments" which achieve "equal balances between human performer and machine" and in which sound and structure are inseparable.
Di Scipio's Sound is the interface: from interactive to ecosystemic signal processing is a manifesto for a new paradigm for computer/human control systems: one in which the audio signal in a performance space controls the parameters of its own production. In Di Scipio compositions (as in biological ecosystems) large-scale structure evolves as an emergent property of simple rules for local interaction, feedback, and excitation by noise. Di Scipio composes the local rules; the evolution of the composition depends upon the live performer, the performance space, and ambient noise present in each unique performance.
