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At the beginning of the 2000s, Agostino Di Scipio wrote a cycle of pieces, called \emph{Audibile Ecosystemics}\footnote{Listenable on attached CD to \cite{DiScipio:14} and \emph{H\"{o}rbare \"{O}kosysteme: Live Elektronische Kompositionen 1993-2005}.}, for solo live electronics. %\cite{DiScipio:03}. 
The cycle, composed of three\footnote{In 2020 the fourth piece has been added to the cycle, \emph{Silence Study}.} works,
which are split into concert versions and
installations, was born as a study of the intrinsic sound material of an acoustic space, some of which are,
for instance, the impulse response, the Larsen tone and background noise. Singularly, the three main acoustic generators are the ones used by first electronic composers in the Fifties, but in a different context and usage. This leads to an interesting analogy with the first experience of sound synthesis in studios. Considering the acoustic space of the concert hall as the container of the acoustical sources, the composer conceived three pieces for solo live electronics, in which the
musical material is totally generated within the same acoustic space without the intervention of external sound material\footnote{Only \emph{Audible Ecosystemics} no. \emph{1} needs active intervention: synthetic or generated impulses are live performed.}, such as fixed electronics or a traditional performer. From this perspective, the pieces show theirs
``ecological'' nature, contrasted in a historical key with say a
``colonialist'' approach, in which only the intervention of a
source external to the concert hall generates sound inside the acoustic space.  In this perspective, starting from the works of American composer Alvin Lucier, the composer creates audible systems that are capable of \break~self-sustaining and own specific characteristics, properties, and dynamic laws: the audible ecosystems. Indeed, the environment in which these systems are inserted is also the source of
the dynamic behavior of the piece, as the dynamic control
signals processes over time are themselves derived from environmental
sound, and all processes are included in a
the general structure of feedback. Therefore, in these systems, a structural coupling between electronics and the
environment generates sound material and its dynamics,
which they feed on themselves to continue development
and evolution, alternating phases of growth and interruption, giving life to sound textures and musical forms, but
still self-regulating. Finally, the actual execution involves the concrete participation of an electronic interpreter, who, first of all, listens
and, if needed, acts as an integral part of the
overall ecosystem process, adapting and self-adapting also himself to the situational set of structural conditions,
acoustic and spatial aspects of performance in real context. In this sense, the electronic interpreter is part of the environment, such as the audience present at the concert in the hall.