Body Controlled #3: Creative Feedback :: Performances by Trio Brachiale : Alberto de Campo, Hannes Hoelzl, Dominik Hildebrand :: Friday, March 30, 2012 at 8:00 p.m. :: performance will be available from 20h CET via livestream on http://bit.ly/uXRgyq.

The third edition of the BodyControlled series presents a group of performing artists using diverse feedback procedures as a motor for their performance work. Known mostly as the result of an audio loop between a microphone and a speaker, feedback can be a powerful and dynamic creative tool in both visual and sound performances. Each of the artists in BodyControlled #3 uses feedback in a personal way (and at a different level in the processing chain) to either shape their sounds and images, or to create a – relatively – controlled dialogue between them and their instruments.

NYU Electronic Music Performance class :: December 17, 2011; 7:30 pm :: Harvestworks, 596 Broadway, Room 602 between Houston and Prince streets :: directed by Dafna Naphtali :: admission is free ::

Some great new faces and sounds — improvisations and open form scores — live electronics, feedback, live sound processing, sample processing, theremin, homemade electronics. “i-semble” (iPhone / iPad ensemble), plus piano, violin, guitar, voice and even amplified water jug.

Featuring: Tycho Horan, Aimee Norwich, Alejandro Zuleta, Ryan Doubiago, Andrew Lection, Brian Bourque, Carson Grub, Douglas Moss, Eric Bergen, Douglas Roj, Andrew Stein, Patrick Deeney, Paul Wittschen, Rebecca Dole, Sarah Streit and Yuval Ronen. Visuals contributed by Brendan Reilley. & with special guest Slavo Krekovic..

Netrooms: The Long Feedback — A Multi-Site Network Performance :: September 5, 2011 :: Call for Participation.

image: from Netrooms 2010

Netrooms: The Long Feedback is a participative network piece which invites the public to contribute to an extended feedback loop and delay line across the internet. The work explores the juxtaposition of multiple spaces as the acoustic, the social and the personal environment becomes permanently networked. The performance consists of live manipulation of multiple real-time streams from different locations which receive a common sound source. Continue reading

David Linton: Bicameral Research Sound & Projection System with special guests David First & Satoshi Takeishi (60 Hz Raga) :: February 13, 2010; 8:30 - 10:30 pm :: Roulette, 20 Greene Street, (between Canal and Grand Streets), New York, NY.

David Linton’s interactive analogue audio video feedback system provides the vibrational foundation for an evening length extended time audio visual improvisation with David Linton - interactive sound and live video and invited guests David First on guitar & electronics and Satoshi Takeishi on percussion.

David Linton (born Newburgh NY in 1956) is a Time based multiple media artist traveling the vectors of sound, subculture, and signal flow. He has been active in the downtown NYC experimental arts community for 30 years. Continue reading

From The Miracle of Feedback by Mario van Horrik in hz-journal:

People may use feedback occasionally, as a small part in a bigger whole, like guitar feedback in pop music. That’s not what this is about. We are using feedback as a conceptual basis for our work. We are searching for the ‘bone’ of sound. We are not scientists, so our characterization of types of feedback maybe not be accurate or complete; however it is based on our practical experience. The types of feedback that I am acquainted with are:

• Direct acoustic feedback: direct contact between speaker and sound source (for instance when you place your electric guitar against the speaker box).
• Indirect acoustic feedback: the process that takes place through the air (microphone in front of speaker) Continue reading

Miya Masaoka is a musician, composer and performance artist. She has created works for koto, laser interfaces, laptop and video and written scores for ensembles, chamber orchestras and mixed choirs. In her performance pieces she has investigated the sound and movement of insects, as well as the physiological responses of plants, the human brain, and her own body.

Helen Thorington: Miya, you were trained in Japanese court music as well as contemporary music and I understand have expanded on the playing techniques of the koto – first by using extended techniques, but more importantly, by building a Laser Koto. For those who don’t know, can you tell us about the koto and how you developed it? What is the Laser Koto and how does it work? Continue reading