Slow Blue and Horizontal (1992) by The Luminists
Slow Blue And Horizontal is a video and audio composition that describes a natural phenomenon using synthetic textures. The music, created entirely with digital and analog synthesis, suggests a pastoral landscape: running water, a setting sun, birds migrating, and the occasional call of crickets in the evening. The video creates a synthetic environment, amplifying the feel of the music without directly representing the images described. The audio synthesizers were directly controlling various video devices, shaping and patterning video feedback images and fading visual elements in and out of the scene. Slow Blue was created in real time on 12-8-1992 and is unedited.
Metal Machine Music (2012) by Lou Reed, installed at the Museu Colecção Berardo for the exhibition 'The New Trade'
Feedback (2011) by Brett Williams
I have always been interested in using technology as a stand in for my shortcomings. I have always wanted to play electric guitar and drums but I lack the coordination and patience to do so.
Feedback is a site-specific installation that uses an oscillating fan to blow and strum vocal microphones to create percussion and undulating feedback that grows and changes over time. The audio signal is processed through various effects processors and an amplifier commonly used with electric guitars. The audio is then picked up by the microphones and looped back trough the entire system creating an undulating continuous feedback soundscape.
The Wolfman (1964) by Robert Ashley
Feedback as primary means of making live music seems to date from 1964. That was the year that Max Neuhaus debuted his Fontana Mix - Feed and when Robert Ashley brought fourth his tape, voice and feedback creationThe Wolfman. Room feedback occurs when the sound from the loudspeakers in a performance space reflect off walls and ceiling back to the microphone, as opposed to following more direct paths. In essence, the room itself is set up to work as a cavity oscillator. The fun part is that when this happens the sound has the appearance of coming from different points all over the room depending on exactly which reflections or which modes of oscillation dominate. Ashley’s design for The Wolfman uses a vocalist in front of the microphone singing gently into the microphone and using his mouth to modulate the room feedback. There is also a tape track, a full spectrum deluge of tape manipulated found sounds, fed into the mix to provoke more variation in the feedback. Just how this works in a performance we will have to imagine since the perceptual effects of being inside the cavity oscillator are completely lost in a mere stereo recording. But what we get on the CD is nonetheless a full scale onslaught of highly dynamic noise that fully holds the attention for its entire 18 minutes. It has a gritty raw energy that any 90s noise artist would be very proud of but the human voice component takes it beyond the realm of mere electronics.
text via brainwashed
The Autonomous Video Hut (AVH) is a solar-charging shade area by day, and multi-sided video installation by night. Video artist Ethan Turpin and artist/engineer Alan Macy provide a structure consisting of 8x14 foot screens for multi-projection pieces and jam sessions between guest video artists. The vision and design of the AVH is to bring elements of architecture, sculpture, cinema, and video-art to audiences in remote places and alternative venues, such as empty urban lots or mountain tops. People seeing projections from outside the ‘Video Hut’, are invited to lounge or interact with the video inside its four walls. For some participatory visuals, the stretch fabric walls provide double-sided, ‘bendy touchscreens’ for visitors.
Round about Wunderkammer (2012) by Ethan Turpin
Site-specific installation at the Santa Barbara Contemporary Arts Forum with specimines from the Santa Barbara Museum of Natural History.