AUDIO / VIDEO FEEDBACK

Edited video feedback by Marvin Hayes (2009)

screen dance (2009) by Mike Hall Studio

A translucent scrim between the performer and the reactor allowed shadows to create negative spaces within which the optical effects could reside.

edge case (2008) by Mike Hall Studio

Two projection feedback setups were positioned side by side, so that only their extreme edges were connected.

A lot more work and info on his website

undone-music:

Music video for Says (2013) by Nils Frahm

Beautifully meditative piano track by Nils Frahm, from the ‘Spaces’ LP, released last fall on Erased Tapes. Video by Romain Assénat & Ana Silva. Improvisation with inks on glass and a video-feedback device, captured live without any post-production.

(via jongillie)

greyscape (2010) by Raymond Salvatore Harmond

Improvisationally generated circuit bent video feedback. Pass through analog to digital to analog. The signal is pushed into the audio filter then back out to the video, causing the desaturation of the video encoding (with the exception of a few short bursts of color noise).

Soundtrack by Randy Lee Sutherland

Marie Kølbæk Iversen at work, at the Danish Art Workshops

Marie Kølbæk Iversen about her work, Retroaction VII (2011)

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.