feedback: analytical schematics
DESCRIPTION
Content from a book that focuses on the intellectual, conceptual, and abstract uses of electronic feedback situations. The intention is to document and elaborate upon ways in which feedback phenomena may be used creatively.TRANSCRIPT
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
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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.
FeedbackLoopandAnalyticalSchematics:Electronic,ConceptualandAbstractSituations
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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
FeedbackLoopandAnalyticalSchematics:Electronic,ConceptualandAbstractSituations
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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
FeedbackLoopandAnalyticalSchematics:Electronic,ConceptualandAbstractSituations
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.
FeedbackLoopandAnalyticalSchematics:Electronic,ConceptualandAbstractSituations
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StandardPageLayout
VideoDisplayUnitsinMonologicalLoops
13*schisanabbreviationforschematic
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LensandScreeninDialogicalFeedbackLoop
15
1.Twodifferentcameraandlensfeedbacksituations.TheCRTontheleftdisplaysanindefinitefractalfeedbackimage.Theright-handimageiscapturingtheCRTcaseandiscreatingaself-identicalfractal.
FeedbackLoopandAnalyticalSchematics:Electronic,ConceptualandAbstractSituations
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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.
FeedbackLoopandAnalyticalSchematics:Electronic,ConceptualandAbstractSituations
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Multi-LensandScreenCircuit;ManuallyReiteratedImages
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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
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LensandScreenFeedbackLoop
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‘VideoChannel’MixingDeskFeedbackLoops
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MonologicalMixingDeskFeedbackLoops
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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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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)
FeedbackLoopandAnalyticalSchematics:Electronic,ConceptualandAbstractSituations
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AmptoAmpDialogicalLoop
18.
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VideoDisplayUnitsinMonologicalLoops
19.
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ContactMicrophoneAbstractFeedbackSituation
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DVDSignalManipulation
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DVDSignalManipulationandMixingDeskFeedback
20.
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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
FeedbackLoopandAnalyticalSchematics:Electronic,ConceptualandAbstractSituations
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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
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RadioFeedbackLoop
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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]
InternetArchive.UnknownYear.‘aloopcon-trolledbyvaryingdelay,Feedbackandlevel,postoutput01..mp3’[Online](UpdateUn-known)Availableat:http://www.archive.org/details/aloopcontrolledbyvaryingdelay,Feedbackandlevel,postoutput01__mp3[Accessed21stFebru-ary2010]
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)
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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)