Feedback: Analytical schematics

FeedbackLoopandAnalyticalSchematics:

Electronic,ConceptualandAbstractSituations

AnthonyAskew 2010

“Uponthosewhostepintothesamerivers, differentandeverdifferentwatersflowdown.” Heracleitus,circa500BC

TableofContents

Introduction 1KeytoSchematicsandAbbreviations 7StandardPageLayout 12VideoDisplayUnitsinMonologicalLoops 13LensandScreeninDialogicalFeedbackLoop 14MultipleLensandScreenFeedbackLoop 18Multi-LensandScreenCircuit;ManuallyReiteratedImages 20LensandScreenFeedbackLoopwithAudio 24LensandScreenFeedbackLoop 25‘VideoChannel’MixingDeskFeedbackLoops 26MonologicalMixingDeskFeedbackLoops 27MonologicalMixingDeskFeedbackLoops(alternativemixingdesk) 29VideoandAudioMixingDeskFeedbackLoop 31MonologicalMixingDeskFeedbackLoop(variousoutputs) 32MixingDeskandEffectsPedalinDialogicalFeedbackLoop 36AuralFrequencies:MicrophoneandSpeakerFeedbackLoops 37AuralFrequencies:MicrophoneandSpeakerFeedbackLoops(basic) 39AmptoAmpDialogicalLoop 40ContactMicrophoneAbstractFeedbackSituation 42DVDSignalManipulation 43DVDSignalManipulationandMixingDeskFeedback 44

FeedbackLoopandAnalyticalSchematics:Electronic,ConceptualandAbstractSituations

TableofContents(continued)

DVDSignalManipulation#2 45EffectsPedalInMonologicalLoop 47GuitarFeedback 48MicrophoneandGuitarPick-upFeedbackLoop 52ContactMicrophoneandSpeakerFeedbackLoop 53RadioFeedbackLoop 54InternetConferenceFeedback 55MobilePhoneFeedbackLoops 56MobilePhoneFeedbackLoop 57Conclusion 58References 61ListofIllustrations 62GlossaryofUsefulTerms 64FurtherReading 67Bibliography 68

1

Introduction

Asaphenomenon,Feedbackiseverywhere.Therewouldbereasontohypothesisethatnoth-ingexistswhichdoesn’tengageintoaprocessofFeedbackandthatlifecannotpersistwithoutsuchaprocess.Lifecouldbesaidtobebasedonthenotionofcauseandeffect,andevolutionmaybesaidtobesotoanevengreaterextent.Animalsrespondtoachangingenvironmentandanimalschangetheirenvironment,theybuildhomes,andtheyconsumetheirenvironments’resources.Onahumanlevelthisrelationshipbetweenenvironmentandhabitantisincreasinglyclearandisofincreasingconcernforenvironmentalists.

Asweprogressivelyrefineandredefineourhabitat,thenaturalworldisbeingtransformedtoreflectthesechanges.Increasedlevelsofrefinedchemicalsarenotnaturallyre-digestedbytheworld.Theworldisassuchredefined,andreflectsoursaturationbyunnaturalchemicalrefine-mentandseparation.Asaraceweareaffectedbytheworldchanginginresponsetous,weourselvesarecompelledtomakechangeswhichwillagainaffecttheworld.BiologistTheoreti-cianAlfredLotka,in1925,wrote“itisnotsomuchtheorganismorthespeciesthatevolve,buttheentiresystem,speciesplusenvironment.Thetwoareinseparable.”iHeobservedastateofbasicco-interdependencybetweenallorganismsandmaterials,theorganicandtheinorganic,andrealisedthatonecouldnotexist,asitdoes,withouttheother.OtherobservationshavebeenmadenotfarofffromwhereLotkaleftus.BiochemistJamesLovelockbeganmakingsug-gestionsinthe60’sthatastateofglobalstabilityonEarthischaracterisedbyinstabilityandthatonlylifecouldwarrantsuchastate.iiEquilibriumwouldmeananabsenceoflifeandanabsenceofchange.AnappropriateanalogywasmadebywriterKevinKellyin1995,whenhecommentsonthebalanceoflifethroughastateofinstabilityasremaining“poisedinanEscher-likestateofdescendingwithouteverbeinglowered.”iiiInotherwords,changeandvariationmayseemapparentbuttheobserverwillrepeatedlyreturntotheiroriginalpositionwithoutfail.Inthiswayequilibriumoradiscontinuationoflifeisavoided.Ourrelationshipwiththeworldisoneofimbalance,ofchange,andofcauseandeffect.AllofwhicharefeaturescharacteristictoFeedback.


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Movingtoanotherareawithinhumanrelations,thebodilyrelationshipswhichexistbetweenhumansarealsocapturedwithintheimageoftheFeedbackloop.Humanscreateself-similarrepetitions,theircommunicationsarebaseduponrepetitionandsimilarity,thesendingofeachexpressionwarrantsreturnexpressions.IfoneweretolookintoFeedbackphenomenainpsy-chologicalstudiesonemayfindthatthehumaneducationisanacceptedinstitutionalisedformofFeedback,onebaseduponself-similarrepetitionandadevelopmentoflingualaffinities.WhattheseideasservetoillustrateisthenecessityofcausalorFeedbackloopstoexistforprogressandforinteractiontooccurandmoreimportantlytheirgravitationaroundtheconceptofcom-municationandinformalexchange.Everyactiontakenbyanorganismisoneverylevelasignofcommunication,ofenergy,andofinformationaltransaction.Itisthewaythatlifeattainsaware-ness,andasaphenomenonFeedbackgoesoffthescaleintermsofwhatthehumanmindcanbeawareof.Itiseverywhere.Separatebodies,bothorganicandinorganic,formawhole.TheyarelaterallyrelatedtooneanotherthroughFeedbackprocesses.Andthroughfurthercontem-plationofthisconceptonemayapproach‘Gaia’,thetheorythattheEarthisalivingentitycomposedofmanyinterdependentparts.HoweverthislineofthoughtbeginstotakeusawayfromthesubjectofFeedbackaselectronicphenomena.ThebiologicalsidetoFeedbackdoesexist,anditisimportant.ButatthispointitservesbestasanintroductoryanalogytoillustratethevaluesofstudyingFeedbackwhichisasabiologicalphenomenonwithparallelsinman-madetechnologies.

Providingalevelofspecificity,Ihopetofocusinthisbookonman-madeelectronicFeedbackandthesystemswhichsustainit.BydoingsodifferencesbetweentypesofFeedbackmaybe-comeapparenttothereaderandthroughsucharealisationthepotentialforfurtherexplorationmayalsobecomeapparent.

ThisbookwasinitiallyintendedtoillustrateanddocumentmyideaswhilstalsoprovidingalogforavarietyofprospectiveFeedbackrelatedcircuitswhichmaybecomeusefulforfuturerefer-ence.AsFeedbackisactuallyquiteanobscurematerialtotryandquantify,itwashopedthatamoreaccessiblewayofrepresentingthephenomenamaybefoundinthecompilationofrel-evantschematicsandinformationinavisualguide.Whilstmanyoftheschematicsprovidedhereareofmyowndevising,therearethoseschematicspresentinthiscollectionwhichareforworksthatwerebornofotherartists.Alongsiderelevantinformationonthefunctioningcircuit,

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suchschematicshave,wherepossible,theappropriatepersonnelcitedtothem.Althougheachcircuitinthiscollectionisdescribedvisuallythroughflowdiagramsandhasaccompanyingtext,scientificanalysisofthecircuits,aswellastechnicalandmathematicaldescriptions,arenotpro-videdasIhavesoughttoprovideacursoryoverviewandamaterialinvestigationintoFeedbackphenomena.AsanartistIhaveconsideredthesetechnicalitieslargelyirrelevanttomyinvestiga-tionsatthispoint.Atalaterpointitmaybenecessarytoexamineacircuitingreaterdetail.ForpreventingdamagetocomponentsorsotheFeedbackcanbepushedinacertaindirectionper-haps.Butinitiallytechnologyshouldbeplayedwithinsuchawaythattheseconsiderationsdonotinhibitthecreativityoftheexperimentalindividual.Itisalsoworthstatingthereforethatthepotentialofeachcircuitcannotbesaidtobefullyrealisedinthetextsinthisbook.Additionally,thereissimplynowayofdoingthisgiventhescaleandvarietyofcircuitswhichcanexistandtheversatilityofresultsthatcanbeaccruedbyengagingincreatingscenariosdealingwith,orrelatedto,thephenomenonFeedback.AssuchthecircuitsprovidedheremustbeconsideredexhaustibleasthetruenumberofpossibleFeedbackloopspossiblearefarbeyondthescopeofthis,orany,collection.

BeingabletoquantifywhatFeedbackisrequiressomepriorknowledgeastowhatconstitutesaprocessoffeedingbackandtowhatendthisprocessaffectsthesignal.Feedbackisdialogical,meaningthatitisastateofdiscoursewhichhasbeenturneduponitself.Toillustratethisinahumancontext,whenanindividualtalkstooneselfthismaybeconsideredaFeedbacksituationasthedialogueexistssothatbothanswerandreplyarebeingprocessedbyonebody.Thecon-versationtakesalinearprogressionbasedupontheindividualsmethodofprocessingincominginformation.Inanelectronicsituationthedialoguemaybeoccurringsothatcomponentswithinacircuitarereprocessingtheirownemittedsignals.Changestothesesignalsmayoccurduetoenvironmentalfactors,suchasdistancefromemissionandbackgroundnoise,orfilteringpro-cessessuchasfrequencycutting.

Asaprocess,Feedbackisastateofcyclicchange,whereinthatwhichisoutputwillultimatelybecomeanInputtothatwhichsentit,whereuponitbecomesanoutputagainandthecycleisfulfilled.Onemaychoosetousetheterm‘causalloop’todescribethissituation,throughwhichacauseandeffectloopisimplied.WhatcharacterisesFeedbackasaprocessisthetendencyforrepetitionwithinthecircuit,ofteninrelationtoaperceivedproductofthecircuit,output,and

thefactthatthecreatoroftheinitialoutputwillreceivethatsameoutput,alteredasitmaybe,asaninputwhichthenbecomesorinfluencesthenextoutputfromthecreator.Therelation-shiporaffinityforthecreatorwithitselfisverysimplealthoughitcanappearverycomplicated.Tofurtherthiscomplication,who,orwhatthecreatoris,isalmostunbounded.Ifaninput/out-putrelationshipcanbefound,realisedorfabricated,thenaFeedbacksituationisinsomesenseachievable.TherearealsomanydifferenttypesofFeedbackwhichonecanattempttocreateorchoosetorecognise.

RecognisingandunderstandingdifferenttypesofFeedbackareentirelyseparateissues,andwhilstFeedbackmaybewidelyrecognised,understandingFeedbackisnotablymoredifficult.Thisdifficultycouldbeforamultitudeofreasons,buttwowhichIthinkarepoignantformeasavisualartistare:

1. Wedonotunderstandthetechnologieswhichwesurroundourselveswith.As scienceandmanufacturetravelawayfromthecraftsman(farfromthe comprehensionsofthelayman),andthatwhichismanufacturedisdonesothrough technicalmeans,wenomoreknowwhythetechnologyworksasweareableto engagewiththesetechnologies.

2. Theproducts(usuallyvisualorauraloutputsinelectroniccircuits)ofFeedback loops,bywhichwerecognisetheFeedbackphenomenaanddrawassociations orcomposeideas,arevariabledependingonthemechanismsoftheoutput deviceandthecircuitcomponents.Differentdevicesofthesamegenus,i.e. differentbrandsandgenerationsofcamerasandtelevisionsforexample,willhave differencesinthecompression,encoding,anddecodingofelectronicsignals,aswell asdifferencesinherenttothemlikethoseofimperfections,lenses,andscreens.


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TohelpclassifythedifferenttypesofFeedbackpossibleIhavetriedtodrawtogetherexist-ingconceptswhichcanbeusedtodefinethephenomenatakingplacewithinagivencircuit.Whererecognisedthesedescriptivesareassignedtocircuitswhichexhibitcertaincharacteris-tics.Whilstaslightlymorecomprehensiveglossaryresidestowardsthebackofthisbooklet,thisbriefglossaryprovidesadescriptionofthemainclassesofFeedbackwhichIhaverecognised:

Fractal: Fractalsaretypicallyself-similar,partslooksimilartothewhole,and repetitionswithinthewholearenotboundedbyscalesosimilaritiescan befoundatanymagnification.

Self-IdenticalFractal: Self-identicalfractalsmaybemostaccuratelydescribedasinstances whereintheoriginalimagebecomessurroundedbynear-identical imagesofequalscale,thisgroupofimagescoalescetoformannew imagewhichisitselfsurroundedbyimagesidenticaltoitwhichare againofequalscale.Thisisacyclicpatternwhichreoccursinfinitely increasinginscalewitheachnewcoalitionofimages.

IndefiniteFractal: Indefinitefractalsareadifferenttypeoffractalinthattheymaynever stopchanging.Althoughthereisno“definite”fractalintermsoffinite depthsorscale,thesefractalsarebetterdescribedasindefinitefor theircharacteristicephemerality.Indefinitefractalstypicallyevolve progressivelyovertimethroughslightchangesineachpulseorcycle andtheymayneverseemtoreturntoapreviousstate.Incontrastto self-identicalfractals,indefinitefractalsaretimebasedandcannotbe realisedintheapparentlystaticwaythatself-identicalfractalsmay be.Examplesincludethestockmarket,graphicalrepresentationsof sound-basedFeedbackandsomeinstancesofvideo[screenandlens] Feedback.

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Dialogical: Dialogicalcircuitsinvolvetwoormorecomponentswhichnegotiateasignal betweentheminacyclicloop.Anycomponentmaygeneratesignal materialbuttwoormoredevicesmusthavesomesortofimpactonit.One componentgeneratingaFeedbackloopandanothercomponentdisplaying thatsignalwouldnotconstituteadialogicalcircuitbyitself,another componentwhichhasanaffectonthesignalmustbepresent.

Monological: Thedescriptive‘monological’isusedtodescribecircuitsofasingularnature, i.e.composedofonlyonedeviceorcomponent.Amonologicalcircuitmay havemanyoutputdevicessuchastelevisionsetsandspeakersbutthese outputshavenoimpactontheFeedbackloopitself.Inasensethe monologicalcomponentisdeaftotheoutputdevicesandwillonlytalkto itselfwithoutoutsideinfluence.

Noteregardingmonologicalcircuits:

Arguably,nearlyallFeedbackloopsaredialogical.EvenwithinsingledevicestheFeedbackloopisaprod-uctofseveralinternalizedcomponentswhichtogetherinformandguidetheinformationorenergyasitisreprocessedoverandoveragain.Howeverasamatterofeasingthetaskofclarifyingcircuits,andforclassification,thistermisusedtodefineinstanceswhereFeedbackisprocessedandproducedbyonlyonecomponentordevice.Astrictinterpretationofthistermwouldrequisitethatonlyindividualcompo-nentssuchaspre-ampsinindividualFeedbackloopsaredesignatedthetitlemonological.Myinterpreta-tionhoweverismorecomprehensiveandtakesintoaccountentirecircuitswhichareenclosedandiso-latedintodevicessuchastelevisionsetsandguitaramplifiers.

PositiveFeedback: Whereinthesignalescalatesandwillnotstopwithoutfurther interferencetothesignal.Apositivesignalmayalsobeaneutral Feedbacksignalinthatthesignalisperpetual.

NegativeFeedback: Asignalwhichwilldecay/progressintosilence.

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KeytoSchematicsandAbbreviations

ComponentNameModel/MakeUsedinSche-

matics[whereknown]

SchematicNotation

DigitalVideoCamera(HDD) SonyHDR-SR10E

DigitalStillsCamera NikonD3000

Projector Samsung

LiquidCrystalDisplay(LCD)ScreenMonitor Panasonic

SM58Microphone ShureSM58


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CathodeRayTube(CRT)Moni-tor Samsung,Panasonic

ContactMicrophone Generic

Speaker Unspecified

Amplifier(P.A/Bass/Guitar...) LaneyRB1,VariousOther

EffectsPedal(any,unlessspecified) BossDistortion

9

Zoom ZoomH2

VideoChannelMixer Unspecified

VideoChannelMixer(Edirol) Edirol

AudioMixingDesk AllenandHeath


10

LaptopComputer MacBookPro

DesktopComputer Unspecified

ElectricGuitar FenderDeluxe:Jazz

DVDPlayer Samsung

MobilePhone/Telephone Unspecified

11

Radio SonyICF-S22

Cable/lead

Sound-wave

TransmissionThroughSolidMaterial(Wood/Metal/Plastic/

etc.)

SatelliteSignalTransmission

Radio-wave

Notes:1.ManyofthediscussedcircuitscanberecreatedusingmediumsandtoolswhicharenotthosethatIhavechosentouse.ForexamplecircuitswithCRTsinmaybejustasfunctional/dysfunctionalifusingLCDscreensorProjectors.2.Mostcircuitsdescribedinthisdocumentrequiresocketorplugadapterssothatsignalscanbedistributedinthewaythattheyare.Thesockets,plugsandcablesarenotdescribedhereasitislargelyacaseofattachingcomponentsupinanywaypossibletomakethem‘work’fortheartist.3.Itisexpectedthattheremaybesomedegreeofvariationinthesignalsthatdifferentcomponentsbydifferentcompaniesandthataremadethroughdifferentconnectionsorcircuitset-ups.Howeveritisassumedthatanycircuitwiththesamefundamentalcomponents,asprescribedbytheillustrationsinthisbook,willfunctioninwhatisapproximatelythesameway.


12

StandardPageLayout

VideoDisplayUnitsinMonologicalLoops

13*schisanabbreviationforschematic


14

LensandScreeninDialogicalFeedbackLoop

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1.Twodifferentcameraandlensfeedbacksituations.TheCRTontheleftdisplaysanindefinitefractalfeedbackimage.Theright-handimageiscapturingtheCRTcaseandiscreatingaself-identicalfractal.


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SeanEisenstein

Usesindefinitefractalscreatedbyfocusingthecameralensonthescreeninawaythatmeansthescreens’bordersarenotapartoftheimage.Eisensteinturnsthecamera90Owhichcausestheimagetobecontinuallytransposedfrombeingdocumentedin90Otoberepresentedon-screenatanangleof90O.Thishastheeffectofcreatingawhirlpool/spirallinginfinityeffectwithinthefeedbacksignal.

Complicatingthisimage,EisensteinhasworkedwithdancerscladinLEDandfairylightswhoareplacedbetweenthecameralensandthescreen.Theselightsandbodilymovementsaresub-jectedtoaprocessofreplicationandreiterationastheimagesarerepeatedwithinthisspirallingimage.iv

2.Aself-identicalfractalfeedbackloopcreatedbyturningthecameratoa90Oangletotheprojection.Inthisinstancetheprojectionisbeingcastontoadraw-ingboardandchair.Theseobjectscreatearepeatingformwithintheimage.

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BillyRoisz

Specialisesinusingvideofeedbackloopsbasedoncameraandlens,althoughRoiszalsoutilisesvideomixingdesksandotherequipmentinherloops.SheisalsoknownforhercollaborativeworkwithmusicianToshimaruNakamura.

Popularculture

Inthepastpopularculturehasjumpedonfeedbackasawayofcreatingspecialeffects.OneofthemostfamousexamplesistheoriginaltitlesequencefortheBBC’s‘DRWHO’.vAlthoughthephenomenahasbeenpopularizedbyothervideoartistssincethen,acommonusageinthe1970’stendedtobeinmusicvideosasasortofaccompanimentorspecialeffect.Examplesinclude,TheJacksons’1978‘BlameitontheBoogie’videoandAmiiStewart’s’1979video‘KnockonWood.’Bothofwhichusethereiterativeprocessoffeedbackphenomenaasawayofcreatingamovementbased‘specialeffect.’v

3. 4.


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MultipleLensandScreenFeedbackLoop

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5.-10.ThisseriesofscreenimagesaretakenfromanhourlongrecordingoftwocamerasandtwoCRTsina“mul-tiplelensandscreenFeedbackloop”.Imagesaretakenat10minuteintervalswhilstthescreenappearstobestatictheseimagesshowotherwise,theloopiscontinuallydeveloping.


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Multi-LensandScreenCircuit;ManuallyReiteratedImages

21

11.


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Manuallytryingtobreakdowntheprocessof‘feedingback’toitsbasicprinciplesservestwopurposes.

Firsttheactofbreakingdownaprocessallowsforananalysisofthe‘partsthatmakeupthewhole’.Soaseachsteptakestheimageorsoundawayfromitsinitialcomposuretoastateofnoiseordisintegrationtowardsastateoffeedback.Onecanseehowimagesorsoundsdevelopincrementallyandwhatprocessesappeartobetakingplacewithineachofthosesteps.Forex-amplewhatsortofdecaytakesplacewithincolours,sounds,brightness,representationalformsandcoherentsounds.

Secondly,thewaythattheprocessisputintoplacecanbeexploredandexperimentedwith.Meaninganimagemaybeeditedbetweenstepsandnotnecessarilyinalivefeedbacksituation.Anunderstandingofthetechnologybeingusedisessentialtodevelopinganunderstandingoftheprocessestakingplace.

12.

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DuringtheAutumnof2009Ibegantoexploretheseconceptswhilstworkingonwaysinwhichthebodymaybecapturedonfilm.AtechniquewasdevelopedbymyselfandchoreographerEl-lenPillowwhereinweworkedondevelopingasimplisticwayofallowingtheartistto‘re-choreo-graph’movementsonscreenbyre-recordingfilmfootageofftheeditingmonitor.Whilstthereweremanyotherimportantthingsgoingonforuswithinthecontextofthisproject,itisworthhighlightingthedependencyofourtechniqueonreiteratingorrephrasingboththematerialasarepresentationalfilmandthematerialasamediumoflight.Ourrepresentationalfilmswereeachstepsinacreativeandprogressivereiterativeprocesstowardsafeedbackstate.However,wenevertookourworktoacompletestateofabstraction.

13.


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LensandScreenFeedbackLoopwithAudio

25

LensandScreenFeedbackLoop


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‘VideoChannel’MixingDeskFeedbackLoops

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MonologicalMixingDeskFeedbackLoops


28

14.

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MonologicalMixingDeskFeedbackLoops(alternativemixingdesk)


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15.

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VideoandAudioMixingDeskFeedbackLoop


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MonologicalMixingDeskFeedbackLoop(variousoutputs)

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34

16.

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VideoDisplayUnitsinMonologicalLoopsVideoDisplayUnitsinMonologicalLoopsThemixingdeskhasbecomeincreasinglyrecognisedasaninstrumentinitsownright.Tosome,musicianToshimaruNakamuraisapioneeringartistwhohasbroughtthemixingdeskforwardsasaninstrumentandhasre-leasedseveralalbumsundertheseriestitle‘NoInputMixingDesk.’Nakamuracreatesimprovisedmusicusingamixingdeskwithcablesfedfromoutputtoinputdirectlyonthedesk.viHismusicisnotoffensiveontheearand,tome,hasamusicalaffinityintermsofsoundwithMinimal-Housemusic,likethatofartistAlexUnder.

Themusicgenre,Drone,incorporatessomeusesofmixingdeskfeedbackbutitisnotagenrewhichissolelybaseduponfeed-backphenomena.WhatismostnotableaboutfeedbackwithintheDronegenreisthevalueplacedoncreatingthese‘drones’,ortones,characteristicofDronemusic.

BecausetheFeedbackloopisfundamentallyacyclicprocessandsoundswillergocreatearhythmorbeat,thisspecificityinDronemusiciscompelling.FirstofallitsuggestsFeedbackcanbedivid-edintogenreslikeanyotherestablishedformofmusic.MeaningmusiccreatedfromaprocessofFeedbackisestablishedasrecog-nisedformofmusic;40yearsagothiswasnotthecase.Notonlythisbutspecificityrequiresadegreeofunderstandingabouthowcertainsoundsaremade.Avaluesystemrequiresskills,i.e.tohaveavaluesystemonemustseeonethingasbetterthananoth-er,asonecraftsmancreatesbettervasesthananothercraftsmanforexample.Expertsandprofessionalsarecomplicittoavaluesystem,andhavingavaluesystemwithinthecontextofFeed-backmusicimpliestheexistenceofprofessionals,orexperts,whorecognise“good”Feedbackfrom“bad”Feedback.Thisisinitselfinteresting,andthedevelopmentofsuchavaluesystemwouldbeworthstudyingforanyoneinterestedinFeedback.

17.


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MixingDeskandEffectsPedalinDialogicalFeedbackLoop

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Auralfrequencies:MicrophoneandSpeakerFeedbackLoops


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DescriptionofOutput:Thevolumemaybeincreasedsothatthesignalcanneverescapeandthemicrophonewillneverstopreceivingafeed.Thiswouldmeanthesignalispositive,inthatthefeedbacksignaladdi-tivelygainsinvolumeandwillnoteverstop.Alternativelythesignalmaybecontrolledsothatthesignalisnegativeandthefeedbackwilleventuallyfallbackintosilence.Thissetupworksbestwhenthefeedbackloopcomponentsarefinelytunedsothat,eventhoughthevolumeofthesignalisreasonablyhigh,thereisnonoisecreatedfromadialoguebetweenspeakerandmicrophone.Sowhenanoiseentersthespace,thesensitivemicrophoneandspeakerburstintolife.Thesignalwillbereceivedbythemicrophone,sentthroughthecircuittothespeaker.Thespeakertalkstothemicrophonewhichcontinuestoinformthespeakers’output,butbecausethecircuitisnaturallyquietthefeedbackloopwillbeanegativefeedbackloop.Thismeansthesoundswillprogressivelydecayuntilsi-lencereturns.Negativefeedbackloopshavebeenusedbyartistsfortheirpeculiarwayofdevelopinganddecaying.NotableartistsareElvinLucier,withhis‘I’msittinginaRoom’performancepiece,andSteveReich,withhispiece‘PendulumMicrophones’.Thefeedbacksignaloutputistypicallymanifestedinwhatiscommonlydescribedasadronesound.Thisdroneiseffectedbytheproximityofthemicrophonetothespeaker,avariablewhichcontributestothesignalbyregulatingthetimeittakesforasignaltoleavethespeakerandbereceivedbythemicrophone.Thedroneoroverallsoundwillalsobeaffectedbyvaria-tionstotheequalisationsettingsonboththemixingdeskandthespeakeritself.SteveReich’spieceofworkfocuseslargelyontheeffectofswingingmicrophonesaboveanamplifierorspeakersothatboththeproximityofmicrophoneandspeakerandthesoundoftheenvironment,includingtheairasitsweepspastthemicrophone,aretakenintoaccount.Reich’sintentionwiththepiecewastoperhapscreateasound-scaperepresentativeofvelocityitself.ElvinLuciertakestheconceptfurther.Byusingboththedelayedrecordingandplayingbackofsoundwithinacertainspace,Luciergeneratesafeedbackimprint,orimpression,oftheroomthroughitsacousticabilitytoreflectsoundsbacktoamicrophone.AlsoLucierchoosestousevocalsoundseventhoughitwouldbepossibletohaveusedanysound.InrelationtothispointitisworthbearinginmindthatanyFeedbackloopthatcontainsamicrophonecanhavevocal,amongstother,soundsintentionallyincorporatedintotheloop.

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Auralfrequencies:MicrophoneandSpeakerFeedbackLoops(basic)


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AmptoAmpDialogicalLoop

18.

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VideoDisplayUnitsinMonologicalLoops

19.


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ContactMicrophoneAbstractFeedbackSituation

43

DVDSignalManipulation


44

DVDSignalManipulationandMixingDeskFeedback

20.

45

DVDSignalManipulation#2


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Analysisof‘Feed’:FeedmaybegeneratedbyDVDPlayerandVideoCamera.Signaldecaysaslightemissions/cap-tureisimperfect.Effectspedalheavilyfilterssignal.

DescriptionofOutput:Nottestedsufficiently.[Signaldoesn’tappeartogothroughalleffectspedals]Wherepresent,heavilydistortedimagesarecreatedbyeffectspedal.

21.

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EffectsPedalInMonologicalloop


48

GuitarFeedback

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DescriptionofOutput:Wavesofsound,crashesandcrescendos,arecommonfeaturesofthisparticularloop.Whilstthefeedbacksignalmaybepronetoescalateintohighpitchelectronicshrieks,thestringsmaybeusedtobringthenoisedowntoalowerpitches.Themanualcontrolprovidedbytheguitar,asaninstrumentandaresponsiveportablecomponent,allowsforagreatdealofvarietywithinproducedsounds.Duetothefactthatvibrationstotheguitarwillhavedifferingimpactsdependingonproximitytoamp,angle,andthewaythattheuser,ifoneispresent,choosestoaffecttheguitar.Thesignalisoftenfluctuatingbetweenstatesofbeingapositivefeedbacksignal,perpetuallyesca-latinginvolume/pitch,andbeinganegativefeedbacksignal,decayingintosilence.

22.


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VideoDisplayUnitsinMonologicalLoopsAcuriousrelationshipmaydevelopbetweenguitarandamplifier.InmyownexperimentsIfoundthataguitarlaidhorizontallyonthegroundwouldbyitownaccordsettlesomewhereapproxi-matingacertainsound.Howonecouldtellthiswasthroughtheresonatingguitarstrings.Foriftheguitarwaslefttoitsownaccordwhilstbeforeanamplifierandwhilstengagedinafeedbackloop,thestringswouldresonateonebyoneinrelationtothesoundscomingfromtheamplifier.Afterawhilethesoundwouldsettleandjustonestringwouldvibrate.Byalteringtheequalisa-tionsettingsontheamplifieronecouldchoosewhichstringwastobeplayed.

23. 27.25.

28.26.24.

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VideoDisplayUnitsinMonologicalLoopsAsasoundthismaynotbeconsideredinteresting,howevertheactualprocessofnaturallyleaningtowardsanunstablestateofequilibriumis.Anditisinterestingpreciselybecauseallfeedbackloopsseektofindthisstateofdisequilibrium,theguitarinthissituationoffersavisualrepresentationofthiscommonparticularity.

Soundscreatedwithinthistypeoffeedbacklooparehugelyvariableandlackacertaininteg-ritythatisfoundinmostothercircuitsillustratedinthiscollection.BythisImeanthesignalissubjectedtosomanyvariablesandconditionsthatthetitle‘guitarfeedback’istoovaguetosuffice.Forexamplearockmusicianplayingelectronicguitarheldnexttoanamplifierinabandmaycallwhathedoes‘guitarfeedback’andpeoplewillunderstandwhathemeans,whereasifanartistweretocreateaninstallationwhere-intheaudienceperhapscauseaninitialsoundthattriggersastationaryguitarwhichreceivesandsendsasignaltoanampwhichplaysasoundwhichisreceivedbytheguitar.Theguitarfeedbacksituationiscreatedinadifferentcontext,withdifferentintentions,andwithdifferenttypesofcontrol.Inotherwordswithdifferentcondi-tionsanddifferentvariables.

ItwouldbeunrealistictopretendthatguitarFeedbackisanewphenomena.Therearemostlikelythousandsofteenagerscreatingfeedbackinbedroomsallovertheworld.Asarecognisedmusicalphenomena,FeedbackhasaplaceinrockmusichavingbeenusedbytheepochalJimiHendrixandthenbylatergenerationsofrockbandsandmusiciansincludingtheBeatlesandKurtCobain.

TheCRTdoesnotrespondtotheaudiosignalsentfromtheamp.


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MicrophoneandGuitarPick-upFeedbackLoop

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ContactMicrophoneandSpeakerFeedbackLoop


54

RadioFeedbackLoop

55

InternetConferenceFeedback


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MobilePhoneFeedbackLoops

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MobilePhoneFeedbackLoop


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Conclusion

Ifwearetounderstandtheworkinthiscollectionasanything,itshouldbeasagroundingforfuturework.Itwasdesiredthatacompendiumofworkswouldbemadeastheywerediscoveredordevised.Thisinvestigation,althoughcursory,bringsforwardthewaysinwhichFeedbackcanbeexperiencedandhasapproachedbasiccommunicationstechnologiesandthetechnologieswhichsupportthemwith.Byfollowingabroadlineofinvestigationwhichhasresultedinacol-lectionofinformaldiagrams,IcameupwithanumberofwaysofgeneratingmaterialthatcouldbereproducedinthefutureandelaborateduponforreasonsIwillcometo.

EachschematicprovidedheredemonstratesandreaffirmsthepotentialforFeedbacktobecomprehendedasaversatileandmalleablematerial,capableofbeingformedanddevelopedintoaproductratherthanjustbeingdiscardedasunwantednoiseorasasignaloferror.SomeinstanceswhereintheFeedbacksignalwasabsentthecircuitschematicswereconsideredimpor-tantenoughtoretainasevidenceofexperimentationandforpossiblefuturereference.Particu-larlyinthecaseoffutureexperimentation,theremaycomeavailablealternativeproductsorbrandsthatmaybeusedinsubstitutionforthemodelsusedhere.Inturn,perhapsfuturetech-nologiescouldsupplementthesecircuitsinwayscontemporarytechnologycannotandcouldaffectwhatarenowdysfunctionalandunresponsivecircuitsbyallowingforthemtobecomefunctional.

Othercircuitsillustratedherehavenotbeentrialledandtestedforthereasonthatthetechnol-ogyortimewasnotavailableformetodoso.AgaintheseareschematicsthatcouldpotentiallybeinfluentialupononesapproachtoFeedbackphenomenaonceputintoafunctioningcon-text.Thepotentialforfutureprogressandforalternativecircuitorientationsarebroughtaboutthroughtheseuntestedcircuits.Theyhelptohighlightthefactthattherearealternativecombi-nationsofcomponentswhichmaybetestedandthatitisprogressivetocomposecircuitswhichmaynotbepossibleatthecurrentmomentintime.

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Mostimportantly,eventhosecircuitswhicharefunctionalmaybesubjecttoamendment.Couldtheybeusedinconjunctionwithotherworkingcircuitsorwithentirelydifferentcomponents.Oneparticularcircuitillustratedinthisbookissubjectedtohugechangesdependinguponthemodelandcomplexityofthesignalprocessingcomponentbeingused.Andthisisthe“Mono-logicalMixingDeskFeedbackLoop”.Themorecontrolprovidedthroughequalisationchannels,themorevariabletheresultingsoundscanbe.Themorechannelsthatareavailableintermsofoutputandinputarealsoimpactingfeaturesofalargermixingdesk.Moresignalsmaybemixedtogetherandmoreoutsidevariablesmaybebroughtintotheloop.

Anotherimportantpointwhichmaybeclarifiedthroughexampleofthemixingdeskisthatnoneofthecircuitsillustratedhereareartpiecesorartworksintheirownright.OratleastIhavenotintendedforthemtobe.Foranotherartistperhapstheyarejustthat.Butinsummary,thesecircuitsareinsteadaskeletalframework,thebare-bones,forworkswhichmaybebuiltuponandfleshedout.Thismaymeanusingsuchcircuitsastheseinthoseperformanceenvironmentsoftheatreanddance,theworkmaybeauralorvisual.ThemixingdeskFeedbacksituationisnotanartwork,yet,forToshimaruNakamuraandanumberofotherartists,itisaninstrumentthatisplayedtomakemusic.ItisclearthatFeedbackisn’tjustawayofcreatingunpredictableanduncontrollablematerial.Itisawayofengagingwithcommunicationstechnologiesinawaywhichisimpossiblebyanyothermeans,andespeciallythroughanyconventionalmeansofusingthetechnologyinquestion.


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IntermsofthecreativepotentialofFeedbackthereisnoquestionastoitssuitability.Forart-istswishingtouseFeedbackphenomenaasamediumthereisawiderangeofFeedbacksitu-ationsforthemtoengagewith.What’smore,thepotentialtoengageusingalternativetech-nologies,suchasmotiondetectionorothersensorydevices,meananinnumerablequantityofpossibilitiesforcreativeinteractionsexistthatmayoccurbetweenhumansandcircuitsandbetweenhumansandFeedback.Scopeexistsformorehi-techandprogrammedFeedbacksce-narios.Thereispotentialforinteractivitytotakeplacethatcouldquestioncurrentmodesofinteractionwithinartworks,whathappensthentwodeviceswhichmimicwhatitseesareplacedbeforeoneanother,canhumansbecomevariableswithinelectroniccircuits?Maybethroughtheprogrammingofinteractiveenvironments?MerceCunninghamusedsoftwaretocreatemove-mentsbutisgeneratingmovementsfromFeedbackloopswithautomatonsapossibility?Cur-rentprocessesfordevelopingsoundsandvisualsmaybeaddedtothroughtheuseofFeedback,althoughthisnotionisnotatallnew.WhatneedstobenewisthewaythatFeedbackismadeandrealised.SeekingtopushtheconceptofFeedbackfurtherintotherealmofhumaninterac-tionmaywellbethewayforward.

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References

i.Lotka.,A.1925..Author’sreference.Kelly,K.,1995.‘OutofControl:TheNewBiologyofMa-chines.’ForthEstate.LondonPg104.ii.Author’sreference.Kelly,K.,1995.‘OutofControl:TheNewBiologyofMachines.’ForthEs-tate.LondonPg102.iii.Kelly,K.,1995.‘OutofControl:TheNewBiologyofMachines.’ForthEstate.LondonPg103.iv.Arts-Humanities.net.2008.‘forumInterviewwithSeanEisenstein’.[Online](Updated14thFebruary2008)Availableat:http://www.arts-humanities.net/forumtopic/interview_sean_eisen-stein[Accessed16thFebruary2010]v.Wikipedia.2010.‘OpticalFeedback’.[Online](Updated27thJanuary2010)Availableat:http://en.wikipedia.org/wiki/Optical_Feedback[Accessed21stFebruary2010]vi.Nakamura,T.,2001.‘No-InputMixingBoard2’(CD)vii.CarolinaEnvironmentalDiversityExplorations.Unknownyear.‘Hurricanesonsandyshorelines:byDirkFrankenberg’.[Online](UnknownUpdate)Availableat:http://www.learnnc.org/lp/edi-tions/cede_hurricanes/glossary[Accessed13thFebruary2010]


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ListofIllustrations

1.’TwoCRTandVideoCameraFeedbackLoops’.PhotographybyAnthonyAskew01/20102.’ProjectorandVideoCameraFeedbackLoop’.PhotographybyAnthonyAskew02/20103.’ThreeProjectorsandOneVideoCameraFeedbackLoop:Self-SimilarFractals’.PhotographybyAnthonyAskew02/20104.’ThreeProjectorsandOneVideoCameraFeedbackLoop:Self-SimilarFractals’.PhotographybyAnthonyAskew02/20105.’TwoVideoCamerasandTwoCRTsFeedbackLoop:IndefiniteFractalDurationalStudy’.Pho-tographybyAnthonyAskew01/20106.’TwoVideoCamerasandTwoCRTsFeedbackLoop:IndefiniteFractalDurationalStudy’.Pho-tographybyAnthonyAskew01/20107.’TwoVideoCamerasandTwoCRTsFeedbackLoop:IndefiniteFractalDurationalStudy’.Pho-tographybyAnthonyAskew01/20108.’TwoVideoCamerasandTwoCRTsFeedbackLoop:IndefiniteFractalDurationalStudy’.Pho-tographybyAnthonyAskew01/20109.’TwoVideoCamerasandTwoCRTsFeedbackLoop:IndefiniteFractalDurationalStudy’.Pho-tographybyAnthonyAskew01/201010.’TwoVideoCamerasandTwoCRTsFeedbackLoop:IndefiniteFractalDurationalStudy’.Pho-tographybyAnthonyAskew01/201011.’4CRTs,3VideoCamerasandOneDVDPlayer:SignalDeconstructionthroughRepeatedViewing’.PhotographybyAnthonyAskew02/201012.’DigitalSelf-Portrait’.[ScreenshotfromVideo]OriginalWorkbyAnthonyAskewandEllenPil-low11/200913.’LawrenceStephenTurner’.[ScreenshotfromVideo]OriginalWorkbyAnthonyAskewandEllenPillow12/200914.’EdirolMixerandLCDTVFeedbackLoop’.[Screenshot]DurationalVideobyAnthonyAskew05/200915.’AlternativeMixingDeskandLCDScreenFeedbackLoop’.[Screenshot]StudyofElectronicPhenomenabyAnthonyAskew05/200916.’MixingDeskFeedbackwithSpeaker,Projector,CRTandLCDOutputs.’Technician:AnthonyAskew,PhotographybyAnthonyAskew02/2010

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16.’MixingDeskFeedbackwithSpeaker,Projector,CRTandLCDOutputs.’Technician:AnthonyAskew,PhotographybyAnthonyAskew02/201017.’SoundArtistAdamThompsonCreatingDroneMusicatMixingDeskusingInternalizedFeed-backLoop’.PhotographybyAnthonyAskew02/201018.’AmptoAmpFeedbackLoop’.Technician:SebastienBlomfield,PhotographybyAnthonyAskew02/201019.’AmptoAmpFeedbackwithEffectsPedals’.Musician:SebastienBlomfield,PhotographybyAnthonyAskew02/201020.’VideoSignalThroughMixingDesktoCRT’.PhotographybyAnthonyAskew02/201021.’DVDSignalthroughVideoCamerathroughEffectsPedalstoCRT’.CircuitbySebastienBlom-field.PhotographybyAnthonyAskew02/201022.’GuitarFeedback.’Musician:SebastienBlomfield,PhotographybyAnthonyAskew02/2010

CoverArtbyAnthonyAskew‘NoisyJuliaSet’2010Createdusing‘Apophysis’software


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GlossaryofUsefulTerms

CausalLoop:Acircularpathwayofcauseandeffect.Alsoknownasa“Feedbackloop”.Affine:Havingasenseofkinship.

Dialogical:Dialogicalcircuitsinvolvetwoormorecomponentswhichnegotiateasignalbetweentheminacyclicloop.Anycomponentmaygeneratesignalmaterialbuttwoormoredevicesmusthavesomesortofimpactonit.OnecomponentgeneratingaFeedbackloopandanothercomponentdisplayingthatsignalwouldnotconstituteadialogicalcircuitbyitself,anothercom-ponentwhichhasanaffectonthesignalmustbepresent.

EnvironmentalFeedbackLoop:Thecyclethatoccurswhenapopulationornaturaloccurrenceinteractswiththeenvironmentandinturnalterstheconditionsthatproducedorinfluencedthepopulationoroccurrence.vii

FeedbackCircuit:Acircuitthatfeedsbacksomeoftheoutputtotheinputofasystem

Feedback:Theprocessinwhichpartoftheoutputofasystemisreturnedtoitsinput.

Fractal:Fractalsaretypicallyself-similar,partslooksimilartothewhole,andrepetitionswithinthewholearenotboundedbyscalesosimilaritiescanbefoundatanymagnification.

Gaia:Modeloftheearthinwhichitslivingandnon-livingpartsareviewedasacomplexinteract-ingsystemthatcanbethoughtofasasingleorganism.

IndefiniteFractal:Indefinitefractalsareadifferenttypeoffractalinthattheymayneverstopchanging.Althoughthereisno“definite”fractalintermsoffinitedepthsorscale,thesefractalsarebetterdescribedasindefinitefortheircharacteristicephemerality.Indefinitefractalstypi-callyevolveprogressivelyovertimethroughslightchangesineachpulseorcycleandtheymayneverseemtoreturntoapreviousstate.Incontrasttoself-identicalfractals,indefinitefractalsaretimebasedandcannotberealisedintheapparentlystaticwaythatself-identicalfractal

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maybe.Examplesincludethestockmarket,graphicalrepresentationsofsound-basedFeedbackandsomeinstancesofvideo[screenandlens]Feedback.

Iteration:Arepeatedsteporduplication.

Monological:Thedescriptive‘monological’isusedtodescribecircuitsofasingularnature,i.e.composedofonlyonedeviceorcomponent.Amonologicalcircuitmayhavemanyoutputde-vicessuchastelevisionsetsandspeakersbuttheseoutputshavenoimpactontheFeedbackloopitself.Inasensethemonologicalcomponentisdeaftotheoutputdevicesandwillonlytalktoitselfwithoutoutsideinfluence.

NegativeFeedback:Asignalwhichwilldecay/progressintosilence.

Ontological:Awayofperceivingwhichtakesoutwardappearancesasareflectionoftheinnernature.Theinnerandtheoutercoalescetoformawholeandthetwoareindistinguishablefromoneanother.ThisfitsintothephilosophicalthinkingofSartreandisatermusedinrelationtophenomenologicalviewings.

Phenomena:Somethingapprehendedandknownthroughthesensesasopposedtointuitionorreasoning.

Phenomenology:Adevelopinglineofphilosophicalthoughtwhichdealswithsensoryperceptionasawayofcomprehendingtheworldaroundus.OriginallyproposedbyEdmundHusserlbutde-velopedconsiderablybyMerleau-Ponty.PositiveFeedback:Whereinthesignalescalatesandwillnotstopwithoutfurtherinterferencetothesignal.ApositivesignalmayalsobeaneutralFeedbacksignalinthatthesignalisperpetual.

Reiteration:Actofrepeatingstepsorduplicating.

Self-~Affinity:Sharingasenseofbeingwithoneself.

Self-IdenticalFractal:Self-identicalfractalsmaybemostaccuratelydescribedasinstances


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whereintheoriginalimagebecomessurroundedbynear-identicalimagesofequalscale,thisgroupofimagescoalescetoformannewimagewhichisitselfsurroundedbyimagesidenticaltoitwhichareagainofequalscale.Thisisacyclicpatternwhichreoccursinfinitelyincreasinginscalewitheachnewcoalitionofimages.

Self-Similar:Beingthesameinsemblancetooneself.

Similar:Correspondingtoorappearingbynearapproximationtobethesameassomethingelse.

Utopian:Anidealist,romantic,orfantasticalviewpoint.

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FurtherReading

Decker-Phillips,E.,1988.‘PaikVideo.’Barrytown,LTD.NewYork.Hatfield,J.,2006.‘ExperimentalFilmandVideo.’JohnLibbeyPublishing.UK.Kozel,S.,2007.‘Closer:Performance,Technologies,Phenomenology.’TheMITPress.Cam-bridge,Massachusetts.Mandelbrot,B.B.,1983.‘TheFractalGeometryofNature.’W.H.Freeman&Company,NewYork.Peitgen,H.O.,andSaupe,D.,1988.‘TheScienceofFractalImages.’Springer-Verlag,NewYork.


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Bibliography

Books

Clarke,A.C.,2004.‘TheColoursofInfinity:TheBeautyandPowerofFractals’.CBClearBooks,Singapore.Decker-Phillips,E.,1988.‘PaikVideo.’Barrytown,LTD.NewYork.Dews,P.,1987.‘LogicsofDisintegration:Post-StructuralistThoughtandtheClaimsofCriticalTheory.’Verso,NewYork.Erlmann,V.,2004.‘HearingCultures:EssaysonSound,ListeningandModernity.’Berg,Oxford.Hatfield,J.,2006.‘ExperimentalFilmandVideo.’JohnLibbeyPublishing.UK.Henry,M.,2008.‘MaterialPhenomenology.’FordhamUniversityPress.NewYork.Jameson,F.,1974.‘ThePrison-HouseofLanguage:ACriticalAccountofStructuralismandRus-sianFormalism.’PrincetonUniversityPress,Princeton,N.J.Kelly,K.,1995.‘OutofControl:TheNewBiologyofMachines.’ForthEstate.LondonKozel,S.,2007.‘Closer:Performance,Technologies,Phenomenology.’TheMITPress.Cam-bridge,Massachusetts.Lavers,K.,andThompson,M.,1998.‘Episode12:TheZwillingeProject.’ObjectBooks,Cam-bridge.Mandelbrot,B.B.,1983.‘TheFractalGeometryofNature.’W.H.Freeman&Company,NewYork.Peitgen,H.O.,andSaupe,D.,1988.‘TheScienceofFractalImages.’Springer-Verlag,NewYork.Rahim,A.,2006.‘CatalyticFormations:ArchitectureandDigitalDesign.’Taylor&FrancisGroup,London.Ravenal,J.B.,2002.‘OuterandInnerSpace:PipilottiRist,ShirinNeshat,JaneandLouiseWilson,andtheHistoryofVideoArt.’VirginiaMuseumofFineArts.Richmond,USA.Sartre,J.P.,1998.‘BeingandNothingness.’Routledge.NewYork.Sobchack,V.,1992.‘TheAddressoftheEye:APhenomenologyofFilmExperience.’PrincetonUniversityPress.Princeton,NewJersey.Sontag,S.,1990.‘DancersonaPlane:Cage–Cunningham–Johns.’ThamesandHudson.Lon-don.

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Film,VideoandVisualDigitalMedia

‘ArthurCClarke’sColoursofInfinity’ANigelLesmoir-GordonFilm,2004.‘Infinit’ANigelLesmoir-GordonFilm,2004.‘Rewind_Play_ananthologyofearlyBritishvideoart’BFI,2009

Magazinearticles,Essays,andJournals

Sorensen,V.,1975.‘OnVideoandConceptualVideo’.[Essay]WrittenatBuffaloUniversity.Flint,R.,2005.‘Performance,Feedback,Noise,andMovingPictures’.[Journal]Writtenfor‘Reso-nance’journal.UnknownAuthor,UnknownYear.‘EisensteinFeedback.’[Essay]Unknownorigin.


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Websites

Arts-Humanities.net.2008.‘forumInterviewwithSeanEisenstein’.[Online](Updated14thFebruary2008)Availableat:http://www.arts-humanities.net/forumtopic/interview_sean_eisenstein[Ac-cessed16thFebruary2010]

BBC.2005.‘CutandSplice2005–TheWolf-man’.[Online](UpdatedonUnknownDate)Availableat:http://www.bbc.co.uk/radio3/cutandsplice/wolfman.shtml[Accessed21stFebruary2010]

CarolinaEnvironmentalDiversityExplorations.Unknownyear.‘Hurricanesonsandyshore-lines:byDirkFrankenberg’.[Online](UnknownUpdate)Availableat:http://www.learnnc.org/lp/edi-tions/cede_hurricanes/glossary[Accessed13thFebruary2010]

InternetArchive.2007.‘Dyad-Feedback_EP-dsound-2007‘[Online](UpdateUnknown)Availableat:http://www.archive.org/details/DyadFeedbackEP-dsound-2007[Accessed21stFebruary2010]

InternetArchive.UnknownYear.‘aloopcon-trolledbyvaryingdelay,Feedbackandlevel,postoutput01..mp3’[Online](UpdateUn-known)Availableat:http://www.archive.org/details/aloopcontrolledbyvaryingdelay,Feedbackandlevel,postoutput01__mp3[Accessed21stFebru-ary2010]



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InternetArchive.UnknownYear.‘fb_eight’[Online](UpdateUnknown)Availableat:http://www.archive.org/details/fb_eight[Accessed21stFebruary2010]

InternetArchive.UnknownYear.‘fb_nine’[On-line](UpdateUnknown)Availableat:http://www.archive.org/details/fb_nine[Accessed21stFebruary2010]

InternetArchive.UnknownYear.‘fb_one’[On-line](UpdateUnknown)Availableat:http://www.archive.org/details/fb_one[Accessed21stFebruary2010]

InternetArchive.UnknownYear.‘FeedbackJoy’[Online](UpdateUnknown)Availableat:http://www.archive.org/details/FeedbackJoy[Accessed21stFebruary2010]

InternetArchive.UnknownYear.‘FeedbackMonitorEpisode08’[Online](UpdateUn-known)Availableat:http://www.archive.org/details/FeedbackMonitorEpisode8[Accessed21stFebruary2010]

InternetArchive.UnknownYear.‘GroundNoiseStaticMusic’[Online](UpdateUnknown)Availableat:http://www.archive.org/details/GroundNoiseStaticMusic[Accessed21stFeb-ruary2010]

InternetArchive.UnknownYear.‘MonitorEpi-sode10’[Online](UpdateUnknown)Availableat:http://www.archive.org/details/MonitorEpisode10[Accessed21stFebruary2010]

JonesThought.2008.‘2008September:MonthlyArchive’.[Online](Updated10thSep-tember2008)Availableat:http://jonesthought.wordpress.com/2008/09/[Accessed22ndFebruary2010)

Optics.UnknownYear.‘FractalVideoFeedbackResearch’.[Online](UpdatedUnknown)Availableat:http://www.physics.gla.ac.uk/Optics/play/fractalVideoFeedback/[Accessed21stFebruary2010]

SFXMachine.UnknownYear.‘SFXMachineOnlineDocumentation:GLOSSARY’.[Online](UnknownUpdate)Availableat:http://www.sfxmachine.com/docs/sfx_machine_glossaryhtml#frequencyresponse[Accessed13thFeb-ruary2010]


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SystemsTheory.UnknownYear.‘GlossaryofSystemsTheoryTerms’[Online](UnknownUpdate)Availableat:http://science.csumb.edu/esse21/glossary.php[Accessed13thFebruary2010]

TRNmag.2001.‘Environmentmaydictateintelligence’.[Online](Updated5thDecember2001)Availableat:http://www.trnmag.com/Sto-ries/2001/120501/Environment_may_dic-tate_intelligence_120501.html[Accessed21stFebruary]

TRNmag.2002.‘PixelFeedbackformsfrac-tals’.[Online](Updated2ndJanuary2002)Availableat:http://www.trnmag.com/Sto-ries/2002/010202/Pixel_Feedback_forms_fractals_010202.html[Accessed21stFebru-ary2010]

Wikipedia.2010.‘AudioFeedback’.[Online](Updated20thFebruary2010)Availableat:http://en.wikipedia.org/wiki/Au-dio_Feedback[Accessed21stFebruary2010]

Wikipedia.2010.‘OpticalFeedback’.[Online](Updated27thJanuary2010)Availableat:http://en.wikipedia.org/wiki/Opti-cal_Feedback[Accessed21stFebruary2010]

Youtube. 2007. ‘Feedback’. [Online] (updated 16th April 2007) Available at: http://www.youtube.com/watch?v=Toh5xhB [Accessed 22nd February 2010]

Youtube. 2007. ‘Jackson five-Blame it on the boo-gie’. [Online] (Updated 27th June 2007) Available at: http://www.youtube.com/watch?v=vjW1iq4IO2k [Accessed 21st February 2010]

Youtube. 2007. ‘pollute, passive Feedback looper pedal by properboy’. [Online] (Updated 27th May 2009 ) Available at: http://www.youtube.com/watch?v=_x4HZZAkog8 [Accessed 22nd February 2010]

Youtube. 2008. ‘Amii Stewart - Knock on Wood’. [Online] (Updated 02nd July 2008) Available at: http://www.youtube.com/watch?v=1Hm08f5b8tc [Accessed 21st February 2010]

Youtube. 2008. ‘Klaxons - Gravitys Rainbow’. [On-line] (Updated 07th January 2008) Available at: http://www.youtube.com/watch?v=qDrctb2BzLg [Accessed 21st February 2010]

Youtube. 2009. ‘Smashing Pumpkins - Ava Adore (Video)’. [Online] (Updated 27th February 2009) Available at: http://www.youtube.com/watch?v=QTtee6c [Accessed 21st February 2010]

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ElectronicMusic/CD

Ashley,R.,1966‘Wolfman’(CD)Ashley,R.,1996‘AutomaticWriting’(CD)Doki,D.,UnknownYear.‘FeedbackJoy’(CD)Dunsmuir,C.,2004.‘FeedbackMonitorEpisode10’(Podcast)Dunsmuir,C.,2004.‘FeedbackMonitorEpisode8’(Podcast)Hendrix,J.,1998.‘ExperienceHendrix:TheBestofJimiHendrix’(CD)Nakamura,T.,2001.‘No-InputMixingBoard2’(CD)Nakamura,T.,2006.‘WeatherSky’(CD)Swearengin,J.,2007.‘Dyad:FeedbackEP’(CD)Thomas,G.,2008.‘TheTitleIsTheScore’(OnlineSound)VariousArtists.,2001.‘ImprovisedMusicFromJapan,Disc1’(CD)VariousArtists.,2001.‘ImprovisedMusicFromJapan,Disc2’(CD)VariousArtists.,2001.‘ImprovisedMusicFromJapan,Disc3’(CD)VariousArtists.,2001.‘ImprovisedMusicFromJapan,Disc4’(CD)VariousArtists.,2001.‘ImprovisedMusicFromJapan,Disc5’(CD)VariousArtists.,2001.‘ImprovisedMusicFromJapan,Disc6’(CD)VariousArtists.,2001.‘ImprovisedMusicFromJapan,Disc7’(CD)VariousArtists.,2001.‘ImprovisedMusicFromJapan,Disc8’(CD)VariousArtists.,2001.‘ImprovisedMusicFromJapan,Disc9’(CD)VariousArtists.,2001.‘ImprovisedMusicFromJapan,Disc10’(CD)

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