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

Sonic Bed_Scotland plays Omnht by Eliane Radigue, London 2011 from music for bodies on Vimeo.

Continue reading

Synchronator by Gert-Jan Prins + Bas van Koolwijk :: December 20, 2010; 7:30 – 10:00 pm :: Nivell Zero, Fundació Suñol. Rosselló, 240, Barcelona.

Since the early years of video art, works have been made which do not actually produce a standard TV signal waveform and therefore cannot be directly recorded. To overcome this problem Bas van Koolwijk and Gert-Jan Prins have created their own hardware to get non-video signals accepted by regular video equipment.

Aided by current digital and analogue means and drawing from the tradition of experimental video pioneers such as Nam June Paik and Woody and Steina Vasulka, Koolwijk and Prins shared their technical know-how and with their Synchronator project set out to tackle the difficulties concerning the recording of complicated, merged and distorted video and audio signals. 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

Sensory Threads @ Surface Tension :: June 23, 2009; 10:30 am – 4:30 pm :: The Science Museum’s Dana Centre, 165 Queen’s Gate, South Kensington, London.

Sensory Threads — by Proboscis — is a work-in-progress to develop an instrument enabling a group of people to create a soundscape reflecting their collaborative experiences in the environment. For this interactive sensory experience, we are designing sensors for detecting environmental phenomena at the periphery of human perception as well as the movement and proximity of the wearers themselves. Possible targets for the sensors may be electro-magnetic radiation, hi/lo sound frequencies, heart rate etc). The sensors’ datastreams will feed into generative audio software, creating a multi-layered and multi-dimensional soundscape feeding back the players’ journey through their environment. Variations in the soundscape reflect changes in the wearers interactions with each other and the environment around them.

Netrooms: The Long Feedback – Pedro Rebelo, 2008 :: April 2 and 4, 2008; 8:30 PDT :: Join in and contribute to a nine-site network performance!

Netrooms: The Long Feedback is a participatory 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

Paula Matthusen: Filling Vessels and circadia :: March 8, 2008; 8 pm :: Diapason, 882 Third Avenue (between 32nd and 33rd Street), 10th floor, Brooklyn, NY 11232

Filling Vessels is a multi-channel sound and light installation / performance inspired by Alvin Lucier’s Empty Vessels. The installation is dependent on interaction with feedback generated within the installation space. It functions as an audience-navigable space in which people can explore the effects they have on the sonic and visual events that take place within it. Continue reading