The "Computer Manipulated Improvisations (CMI)" is a cycle in where MIDI-recorded keyboard imprvisations are MIDI-manipulated by a computer with the goal to investigate and exploit the extreme possibilities of file-manipulation by the computer.

The composer distinguishes two important possibilities file-manipulations of the CMI.

• The first is of course the capability of the computer to perform ´unplayable´ music: music which humans are incapable to play due to physical limitations. The composer is of course aware that limitations alter in due course of time (there has been a time when some of Paganini´s music was regarded unplayable). Some of the parts of the CMI I serie can be performedby musicians.
  
  
• The second possibilty though is much more important and far-reaching: the repetition of a motive, a theme or a complete part by the computer will result in an EXACT repetition, upto the millisecond and with EXACTLY the same timbres, envelopes etcetera. A repetion literally is a clone.

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• The CMI I parts are totally monotimbral, thus fully focussing on the results the computer generates.
  
• The CMI II is a logic sequel of part one as it parts are multitimbral. Most of this music iseven playable by humans (though of course not so exact).
  
• The CMI III investigates noise only. Its also known as "Electronic Music for Ballet III"

For a more elaboarate explanation of the CMI, see Computer Manipulated Improvisations Texts

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