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Audio Feedback
Workshop Dafne Vicente-Sandoval

Tutor: Dafne Vicente-Sandoval
Workshop dates: tba
Workshop times: Two hours in the afternoon on all five days
Location: Akademie für Tonkunst
Possible number of active participants: 6
Open to listeners: Yes
How to sign up: Applicants for these projects must already be enrolled for the Summer Course! Summer course participants will be informed early enough how to apply. We’ll ask for a few sentences about the reasons why you are interested in the workshop and about your background so that the tutor can form a good group on that basis.
Target group: instrumentalists, composers, etc.
Prerequisites for participation: None
Tech requirements (to be brought by the participants): For the second part of the workshop, participants are welcome to bring musical instruments, resonant objects, etc., as well as any type of microphone (condenser, dynamic, contact mic, etc.) that they may own.


The workshop will propose an exploration into audio feedback by experiencing how the versatility of feedback generation offers a fertile ground for musical practice. We will enter into an oscillating dialogue between control and laissez-faire in order to test how far one can go into the shaping of these phenomena without neutralizing the beauty of their inner wildness. We will approach feedback not only as a sound material, but as a making process which itself contains far-reaching musical implications.

The workshop will consist of two parts.
The first will initiate a study of iconic experimental compositions of the twentieth century which have made use of feedback generation in very personal ways. In her early work, the French composer Éliane Radigue made extensive use of feedback, developing a meticulous approach to these volatile sounds. In the case of the so-called Propositions sonores, the hand-crafted approach to composing was mirrored in the uncommon modality that Radigue conceived for their realization. Released in limited editions, Σ = a = b = a + b and Vice Versa Etc… came with sets of instructions offering a multiplicity of combinatorial possibilities for their play-back – and eventually turning listeners into performers. In I Am Sitting In A Room by Alvin Lucier, a text is narrated and simultaneously recorded. The recording is played-back into the room and re-recorded again. The process then gets repeated until the resonant frequencies of the room itself take over and the words become progressively unintelligible. We will attempt to mount realizations of these pieces.

In the second part of the workshop we will experiment with feedback generation in an open-ended way. We will make use of a variety of technical means (tape recorders, microphones, speakers) in order to immerse ourselves in the richness of what is widely considered a technical flaw. But our inquiries will not limit themselves to switching from one available technology to another. Movement in space, rooms themselves, voice and – further inside – the mouth cavity, the resonant spaces of musical instruments, and water will be some of the other elements that we may investigate in order to further cultivate our taming of feedback.

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