Considered in the context of contemporary electronic music, musical practices employing feedback radicalise interactivity and reference to the environment and the world. Feedback enables a here-and-now experience through a mediation of sound experience. It thus proposes a performative mimesis of space and of the possible interactions that might take place. In this way it radicalises contemporary aesthetics and synthesises the current issues in musical writing. Simon Emmerson's thought frames this historical period in which feedback plays a special role. Through the analysis of four cases according to Emmerson's 'language grid' method, this study will contextualise feedback practices in relation to the history of electronic music.
In my compositional practice, I view feedback as an instrument to address spaces of situated sound inquiry. Such spaces are practically intertwined with, and often mutually defining, the material space in which feedback operates. Feedback instruments as such develop at the intersection of these spaces, becoming mediators between artistic concerns and the material affordances that form and inform them. The first part of this article introduces some of these concepts – instrument, medium, material space – by contextualizing them in the current artistic research discourse, and by situating them in selected examples of historical and contemporary feedback-based productions. In the second part I make use of these ideas to illustrate some of my recent works, focusing in particular on the productive intersections between notions of instruments, media, and spaces in feedback practice.
Considered in the context of contemporary electronic music, musical practices employing feedback radicalise interactivity and reference to the environment and the world. Feedback enables a here-and-now experience through a mediation of sound experience. It thus proposes a performative mimesis of space and of the possible interactions that might take place. In this way it radicalises contemporary aesthetics and synthesises the current issues in musical writing. Simon Emmerson’s thought frames this historical period in which feedback plays a special role. Through the analysis of four cases according to Emmerson’s ‘language grid’ method, this study will contextualise feedback practices in relation to the history of electronic music.
This paper delves into the compositional process and performance of the work Totem, a piece I composed in 2019 triggered by the desire to explore and manage the unpredictability of feedback system. The paper outlines the development of the created system that leverages physical feedback, by incorporating acoustic instruments and exploring their resonant properties. An analysis of instruments preparation, system components, and the performative gestures highlights the symbiotic relationship between the musician and the feedback mechanism. The dramaturgical aspect emphasizes the ritualistic interactions of the performer with the feedback system, symbolizing a journey towards self-acceptance and challenging societal norms. The paper also discusses the technical setup, including the system in Reaper and Max, score, spatialization technique, and the collaborative dynamics between the performers. Insights from the performer’s experience further contextualize the performative and sonic exploration within Totem, offering a comprehensive overview of the piece’s approach to live electronic music performance.
