Feedback: Analytical Schematics

Feedback Loop and Analytical Schematics:
Electronic, Conceptual and Abstract Situations
Anthony Askew
2010
“Upon those who step into the same rivers,
different and ever different waters flow down.”

Heracleitus, circa 500 BC
Table of Contents
Introduction 1
Key to Schematics and Abbreviations 7
Standard Page Layout 12
Video Display Units in Monological Loops 13
Lens and Screen in Dialogical Feedback Loop 14
Multiple Lens and Screen Feedback Loop 18
Multi-Lens and Screen Circuit; Manually Reiterated Images 20
Lens and Screen Feedback Loop with Audio 24
Lens and Screen Feedback Loop 25
‘Video Channel’ Mixing Desk Feedback Loops 26
Monological Mixing Desk Feedback Loops 27
Monological Mixing Desk Feedback Loops (alternative mixing desk) 29
Video and Audio Mixing Desk Feedback Loop 31
Monological Mixing Desk Feedback Loop (various outputs) 32
Mixing Desk and Effects Pedal in Dialogical Feedback Loop 36
Aural Frequencies: Microphone and Speaker Feedback Loops 37
Aural Frequencies: Microphone and Speaker Feedback Loops (basic) 39
Amp to Amp Dialogical Loop 40
Contact Microphone Abstract Feedback Situation 42
DVD Signal Manipulation 43
DVD Signal Manipulation and Mixing Desk Feedback 44
Feedback Loop and Analytical Schematics: Electronic, Conceptual and Abstract Situations
Table of Contents (continued)
DVD Signal Manipulation #2 45

Effects Pedal In Monological Loop 47
Guitar Feedback 48
Microphone and Guitar Pick-up Feedback Loop 52
Contact Microphone and Speaker Feedback Loop 53
Radio Feedback Loop 54
Internet Conference Feedback 55
Mobile Phone Feedback Loops 56
Mobile Phone Feedback Loop 57
Conclusion 58
References 61
List of Illustrations 62
Glossary of Useful Terms 64
Further Reading 67
Bibliography 68
Introduction
As a phenomenon, Feedback is everywhere. There would be reason to hypothesise that noth-

ing exists which doesn’t engage into a process of Feedback and that life can not persist without
such a process. Life could be said to be based on the notion of cause and effect, and evolution
may be said to be so to an even greater extent. Animals respond to a changing environment
and animals change their environment, they build homes, and they consume their environments’
resources. On a human level this relationship between environment and habitant is increasingly
clear and is of increasing concern for environmentalists.
As we progressively refine and redefine our habitat, the natural world is being transformed to
reflect these changes. Increased levels of refined chemicals are not naturally re-digested by the
world. The world is as such redefined, and reflects our saturation by unnatural chemical refine-
ment and separation. As a race we are affected by the world changing in response to us, we
ourselves are compelled to make changes which will again affect the world. Biologist Theoreti-
cian Alfred Lotka, in 1925, wrote “it is not so much the organism or the species that evolve, but
the entire system, species plus environment. The two are inseparable.”i He observed a state of
basic co-interdependency between all organisms and materials, the organic and the inorganic,
and realised that one could not exist, as it does, without the other. Other observations have
been made not far off from where Lotka left us. Biochemist James Lovelock began making sug-
gestions in the 60’s that a state of global stability on Earth is characterised by instability and
that only life could warrant such a state.i i Equilibrium would mean an absence of life and an
absence of change. An appropriate analogy was made by writer Kevin Kelly in 1995, when he
comments on the balance of life through a state of instability as remaining “poised in an Escher-
like state of descending without ever being lowered.”i i i In other words, change and variation
may seem apparent but the observer will repeatedly return to their original position without fail.
In this way equilibrium or a discontinuation of life is avoided. Our relationship with the world is
one of imbalance, of change, and of cause and effect. All of which are features characteristic to
Feedback.
1
Moving to another area within human relations, the bodily relationships which exist between
humans are also captured within the image of the Feedback loop. Humans create self-similar
repetitions, their communications are based upon repetition and similarity, the sending of each
expression warrants return expressions. If one were to look into Feedback phenomena in psy-
chological studies one may find that the human education is an accepted institutionalised form
of Feedback, one based upon self-similar repetition and a development of lingual affinities. What
these ideas serve to illustrate is the necessity of causal or Feedback loops to exist for progress
and for interaction to occur and more importantly their gravitation around the concept of com-
munication and informal exchange. Every action taken by an organism is on every level a sign of
communication, of energy, and of informational transaction. It is the way that life attains aware-
ness, and as a phenomenon Feedback goes off the scale in terms of what the human mind can
be aware of. It is everywhere. Separate bodies, both organic and inorganic, form a whole. They
are laterally related to one another through Feedback processes. And through further contem-
plation of this concept one may approach ‘Gaia’, the theory that the Earth is a living entity
composed of many interdependent parts. However this line of thought begins to take us away
from the subject of Feedback as electronic phenomena. The biological side to Feedback does
exist, and it is important. But at this point it serves best as an introductory analogy to illustrate
the values of studying Feedback which is as a biological phenomenon with parallels in man-made
technologies.
Providing a level of specificity, I hope to focus in this book on man-made electronic Feedback
and the systems which sustain it. By doing so differences between types of Feedback may be-
come apparent to the reader and through such a realisation the potential for further exploration
may also become apparent.
This book was initially intended to illustrate and document my ideas whilst also providing a log
for a variety of prospective Feedback related circuits which may become useful for future refer-
ence. As Feedback is actually quite an obscure material to try and quantify, it was hoped that
a more accessible way of representing the phenomena may be found in the compilation of rel-
evant schematics and information in a visual guide. Whilst many of the schematics provided
here are of my own devising, there are those schematics present in this collection which are for
works that were born of other artists. Alongside relevant information on the functioning circuit,
2
such schematics have, where possible, the appropriate personnel cited to them. Although each
circuit in this collection is described visually through flow diagrams and has accompanying text,
scientific analysis of the circuits, as well as technical and mathematical descriptions, are not pro-
vided as I have sought to provide a cursory overview and a material investigation into Feedback
phenomena. As an artist I have considered these technicalities largely irrelevant to my investiga-
tions at this point. At a later point it may be necessary to examine a circuit in greater detail. For
preventing damage to components or so the Feedback can be pushed in a certain direction per-
haps. But initially technology should be played with in such a way that these considerations do
not inhibit the creativity of the experimental individual. It is also worth stating therefore that the
potential of each circuit cannot be said to be fully realised in the texts in this book. Additionally,
there is simply no way of doing this given the scale and variety of circuits which can exist and
the versatility of results that can be accrued by engaging in creating scenarios dealing with, or
related to, the phenomenon Feedback. As such the circuits provided here must be considered
exhaustible as the true number of possible Feedback loops possible are far beyond the scope of
this, or any, collection.
Being able to quantify what Feedback is requires some prior knowledge as to what constitutes a
process of feeding back and to what end this process affects the signal. Feedback is dialogical,
meaning that it is a state of discourse which has been turned upon itself. To illustrate this in a
human context, when an individual talks to oneself this may be considered a Feedback situation
as the dialogue exists so that both answer and reply are being processed by one body. The con-
versation takes a linear progression based upon the individuals method of processing incoming
information. In an electronic situation the dialogue may be occurring so that components within
a circuit are reprocessing their own emitted signals. Changes to these signals may occur due to
environmental factors, such as distance from emission and background noise, or filtering pro-
cesses such as frequency cutting.
As a process, Feedback is a state of cyclic change, wherein that which is output will ultimately
become an Input to that which sent it, where upon it becomes an output again and the cycle is
fulfilled. One may choose to use the term ‘causal loop’ to describe this situation, through which
a cause and effect loop is implied. What characterises Feedback as a process is the tendency for
repetition within the circuit, often in relation to a perceived product of the circuit, output, and
3
the fact that the creator of the initial output will receive that same output, altered as it may be,
as an input which then becomes or influences the next output from the creator. The relation-
ship or affinity for the creator with itself is very simple although it can appear very complicated.
To further this complication, who, or what the creator is, is almost unbounded. If an input/out-
put relationship can be found, realised or fabricated, then a Feedback situation is in some sense
achievable. There are also many different types of Feedback which one can attempt to create or
choose to recognise.
Recognising and understanding different types of Feedback are entirely separate issues, and
whilst Feedback may be widely recognised, understanding Feedback is notably more difficult.
This difficulty could be for a multitude of reasons, but two which I think are poignant for me as a
visual artist are:
1. We do not understand the technologies which we surround ourselves with. As

science and manufacture travel away from the craftsman (far from the
comprehensions of the layman), and that which is manufactured is done so through
technical means, we no more know why the technology works as we are able to
engage with these technologies.
2. The products (usually visual or aural outputs in electronic circuits) of Feedback

loops, by which we recognise the Feedback phenomena and draw associations
or compose ideas, are variable depending on the mechanisms of the output
device and the circuit components. Different devices of the same genus, i.e.
different brands and generations of cameras and televisions for example, will have
differences in the compression, encoding, and decoding of electronic signals, as well
as differences inherent to them like those of imperfections, lenses, and screens.
4
To help classify the different types of Feedback possible I have tried to draw together exist-
ing concepts which can be used to define the phenomena taking place within a given circuit.
Where recognised these descriptives are assigned to circuits which exhibit certain characteris-
tics. Whilst a slightly more comprehensive glossary resides towards the back of this booklet, this
brief glossary provides a description of the main classes of Feedback which I have recognised:
Fractal: Fractals are typically self-similar, parts look similar to the whole, and
repetitions within the whole are not bounded by scale so similarities can
be found at any magnification.
Self-Identical Fractal: Self-identical fractals may be most accurately described as instances

wherein the original image becomes surrounded by near-identical
images of equal scale, this group of images coalesce to form an new
image which is itself surrounded by images identical to it which are
again of equal scale. This is a cyclic pattern which reoccurs infinitely
increasing in scale with each new coalition of images.
Indefinite Fractal: Indefinite fractals are a different type of fractal in that they may never
stop changing. Although there is no “definite” fractal in terms of finite
depths or scale, these fractals are better described as indefinite for
their characteristic ephemerality. Indefinite fractals typically evolve
progressively over time through slight changes in each pulse or cycle
and they may never seem to return to a previous state. In contrast to
self-identical fractals, indefinite fractals are time based and cannot be
realised in the apparently static way that self-identical fractals may
be. Examples include the stock market, graphical representations of
sound-based Feedback and some instances of video [screen and lens]
Feedback.
5
Dialogical: Dialogical circuits involve two or more components which negotiate a signal
between them in a cyclic loop. Any component may generate signal
material but two or more devices must have some sort of impact on it. One
component generating a Feedback loop and another component displaying
that signal would not constitute a dialogical circuit by itself, another
component which has an affect on the signal must be present.
Monological: The descriptive ‘monological’ is used to describe circuits of a singular nature,

i.e. composed of only one device or component. A monological circuit may
have many output devices such as television sets and speakers but these
outputs have no impact on the Feedback loop itself. In a sense the
monological component is deaf to the output devices and will only talk to
itself without outside influence.
Note regarding monological circuits:
Arguably, nearly all Feedback loops are dialogical. Even within single devices the Feedback loop is a prod-
uct of several internalized components which together inform and guide the information or energy as it
is reprocessed over and over again. However as a matter of easing the task of clarifying circuits, and for
classification, this term is used to define instances where Feedback is processed and produced by only
one component or device. A strict interpretation of this term would requisite that only individual compo-
nents such as pre-amps in individual Feedback loops are designated the title monological. My interpreta-
tion however is more comprehensive and takes into account entire circuits which are enclosed and iso-
lated into devices such as television sets and guitar amplifiers.
Positive Feedback: Where in the signal escalates and will not stop without further
interference to the signal. A positive signal may also be a neutral
Feedback signal in that the signal is perpetual.
Negative Feedback: A signal which will decay/progress into silence.
6
Key to Schematics and Abbreviations
Model/Make Used in Sche-
Component Name matics Schematic Notation
[where known]
Digital Video Camera (HDD) Sony HDR-SR10E
Digital Stills Camera Nikon D3000
Projector Samsung
Liquid Crystal Display (LCD)

Panasonic
Screen Monitor
SM 58 Microphone Shure SM58
7
Cathode Ray Tube (CRT) Moni-

Samsung, Panasonic
tor
Contact Microphone Generic
Speaker Unspecified
Amplifier (P.A/Bass/Guitar...) Laney RB1, Various Other
Effects Pedal (any, unless

Boss Distortion
specified)
8
Zoom Zoom H2
Video Channel Mixer Unspecified
Video Channel Mixer (Edirol) Edirol
Audio Mixing Desk Allen and Heath
9
Laptop Computer Mac Book Pro
Desktop Computer Unspecified
Electric Guitar Fender Deluxe: Jazz
DVD Player Samsung
Mobile Phone/Telephone Unspecified
10
Radio Sony ICF-S22
Cable/lead
Sound-wave
Transmission Through Solid

Material (Wood/Metal/Plastic/
etc.)
Satellite Signal Transmission
Radio-wave
Notes:
1. Many of the discussed circuits can be recreated using mediums and tools which are not those that I have
chosen to use. For example circuits with CRTs in may be just as functional/dysfunctional if using LCD screens or
Projectors.
2. Most circuits described in this document require socket or plug adapters so that signals can be distributed in
the way that they are. The sockets, plugs and cables are not described here as it is largely a case of attaching
components up in any way possible to make them ‘work’ for the artist.
3. It is expected that there may be some degree of variation in the signals that different components by different
companies and that are made through different connections or circuit set-ups. However it is assumed that any
circuit with the same fundamental components, as prescribed by the illustrations in this book, will function in what
is approximately the same way.
11
Standard Page Layout
12
Video Display Units in Monological Loops
* sch is an abbreviation for schematic

13
Lens and Screen in Dialogical Feedback Loop
14
1.Two different camera and lens feedback situations. The CRT on the left displays an indefinite fractal feedback image.
The right-hand image is capturing the CRT case and is creating a self-identical fractal.
15
Sean Eisenstein
Uses indefinite fractals created by focusing the camera lens on the screen in a way that means
the screens’ borders are not a part of the image. Eisenstein turns the camera 90O which causes
the image to be continually transposed from being documented in 90O to be represented on-
screen at an angle of 90O. This has the effect of creating a whirlpool/spiralling infinity effect
within the feedback signal.
Complicating this image, Eisenstein has worked with dancers clad in LED and fairy lights who are
placed between the camera lens and the screen. These lights and bodily movements are sub-
jected to a process of replication and reiteration as the images are repeated within this spiralling
image.iv
2. A self-identical fractal
feedback loop created by
turning the camera to a 90O
angle to the projection. In
this instance the projection
is being cast onto a draw-
ing board and chair. These
objects create a repeating
form within the image.
16
Billy Roisz
Specialises in using video feedback loops based on camera and lens, although Roisz also utilises
video mixing desks and other equipment in her loops. She is also known for her collaborative
work with musician Toshimaru Nakamura.
Popular culture
In the past popular culture has jumped on feedback as a way of creating special effects. One
of the most famous examples is the original title sequence for the BBC’s ‘DR WHO’.v Although
the phenomena has been popularized by other video artists since then, a common usage in the
1970’s tended to be in music videos as a sort of accompaniment or special effect. Examples
include, The Jacksons’ 1978 ‘Blame it on the Boogie’ video and Amii Stewart’s’ 1979 video
‘Knock on Wood.’ Both of which use the reiterative process of feedback phenomena as a way of
creating a movement based ‘special effect.’v
3. 4.
17
Multiple Lens and Screen Feedback Loop
18
5.-10. This series of screen images are taken from an hour long recording of two cameras and two CRTs in a “mul-
tiple lens and screen Feedback loop”. Images are taken at 10 minute intervals whilst the screen appears to be static
these images show otherwise, the loop is continually developing.
19
Multi-Lens and Screen Circuit; Manually Reiterated Images
20
11.
21
Manually trying to breakdown the process of ‘feeding back’ to its basic principles serves two
purposes.
First the act of breaking down a process allows for an analysis of the ‘parts that make up the
whole’. So as each step takes the image or sound away from its initial composure to a state of
noise or disintegration towards a state of feedback. One can see how images or sounds develop
incrementally and what processes appear to be taking place within each of those steps. For ex-
ample what sort of decay takes place within colours, sounds, brightness, representational forms
and coherent sounds.
Secondly, the way that the process is put into place can be explored and experimented with.
Meaning an image may be edited between steps and not necessarily in a live feedback situation.
An understanding of the technology being used is essential to developing an understanding of
the processes taking place.
12.
22
During the Autumn of 2009 I began to explore these concepts whilst working on ways in which
the body may be captured on film. A technique was developed by myself and choreographer El-
len Pillow wherein we worked on developing a simplistic way of allowing the artist to ‘re-choreo-
graph’ movements on screen by re-recording film footage off the editing monitor. Whilst there
were many other important things going on for us within the context of this project, it is worth
highlighting the dependency of our technique on reiterating or rephrasing both the material as a
representational film and the material as a medium of light. Our representational films were each
steps in a creative and progressive reiterative process towards a feedback state. However, we
never took our work to a complete state of abstraction.
13.
23
Lens and Screen Feedback Loop with Audio
24
Lens and Screen Feedback Loop
25
‘Video Channel’ Mixing Desk Feedback Loops
26
Monological Mixing Desk Feedback Loops
27
14.
28
Monological Mixing Desk Feedback Loops (alternative mixing desk)
29
15.
30
Video and Audio Mixing Desk Feedback Loop
31
Monological Mixing Desk Feedback Loop (various outputs)
32
33
16.
34
VideoVideo
DisplayDisplay
Units inUnits
Monological
in Monological
Loops The Loops
mixing desk has
become increasingly recognised as an instrument in its own right.
To some, musician Toshimaru Nakamura is a pioneering artist who
has brought the mixing desk forwards as an instrument and has re-
leased several albums under the series title ‘No Input Mixing Desk.’
Nakamura creates improvised music using a mixing desk with
cables fed from output to input directly on the desk.vi His music is
not offensive on the ear and, to me, has a musical affinity in terms
of sound with Minimal-House music, like that of artist Alex Under.
The music genre, Drone, incorporates some uses of mixing desk

feedback but it is not a genre which is solely based upon feed-
back phenomena. What is most notable about feedback within
the Drone genre is the value placed on creating these ‘drones’, or
tones, characteristic of Drone music.
Because the Feedback loop is fundamentally a cyclic process and

sounds will ergo create a rhythm or beat, this specificity in Drone
music is compelling. First of all it suggests Feedback can be divid-
ed into genres like any other established form of music. Meaning
music created from a process of Feedback is established as recog-
nised form of music; 40 years ago this was not the case. Not only
this but specificity requires a degree of understanding about how
certain sounds are made. A value system requires skills, i.e. to
have a value system one must see one thing as better than anoth-
er, as one craftsman creates better vases than another craftsman
for example. Experts and professionals are complicit to a value
system, and having a value system within the context of Feed-
back music implies the existence of professionals, or experts, who
recognise “good” Feedback from “bad” Feedback. This is in itself
interesting, and the development of such a value system would be 17.
worth studying for anyone interested in Feedback.
35
Mixing Desk and Effects Pedal in Dialogical Feedback Loop
36
Aural frequencies: Microphone and Speaker Feedback Loops
37
Description of Output:
The volume may be increased so that the signal can never escape and the microphone will never
stop receiving a feed. This would mean the signal is positive, in that the feedback signal addi-
tively gains in volume and will not ever stop.
Alternatively the signal may be controlled so that the signal is negative and the feedback will
eventually fall back into silence. This set up works best when the feedback loop components
are finely tuned so that, even though the volume of the signal is reasonably high, there is no
noise created from a dialogue between speaker and microphone. So when a noise enters the
space, the sensitive microphone and speaker burst into life. The signal will be received by the
microphone, sent through the circuit to the speaker. The speaker talks to the microphone which
continues to inform the speakers’ output, but because the circuit is naturally quiet the feedback
loop will be a negative feedback loop. This means the sounds will progressively decay until si-
lence returns.
Negative feedback loops have been used by artists for their peculiar way of developing and
decaying. Notable artists are Elvin Lucier, with his ‘I’m sitting in a Room’ performance piece, and
Steve Reich, with his piece ‘Pendulum Microphones’.
The feedback signal output is typically manifested in what is commonly described as a drone
sound. This drone is effected by the proximity of the microphone to the speaker, a variable
which contributes to the signal by regulating the time it takes for a signal to leave the speaker
and be received by the microphone. The drone or overall sound will also be affected by varia-
tions to the equalisation settings on both the mixing desk and the speaker itself.
Steve Reich’s piece of work focuses largely on the effect of swinging microphones above an
amplifier or speaker so that both the proximity of microphone and speaker and the sound of the
environment, including the air as it sweeps past the microphone, are taken into account. Reich’s
intention with the piece was to perhaps create a sound-scape representative of velocity itself.
Elvin Lucier takes the concept further. By using both the delayed recording and playing back of
sound within a certain space, Lucier generates a feedback imprint, or impression, of the room
through its acoustic ability to reflect sounds back to a microphone. Also Lucier chooses to use
vocal sounds even though it would be possible to have used any sound. In relation to this point
it is worth bearing in mind that any Feedback loop that contains a microphone can have vocal,
amongst other, sounds intentionally incorporated into the loop.
38
Aural frequencies: Microphone and Speaker Feedback Loops (basic)
39
Amp to Amp Dialogical Loop
18.
40
19.
41
Contact Microphone Abstract Feedback Situation
42
DVD Signal Manipulation
43
DVD Signal Manipulation and Mixing Desk Feedback
20.
44
DVD Signal Manipulation #2
45
Analysis of ‘Feed’:
Feed may be generated by DVD Player and Video Camera. Signal decays as light emissions/cap-
ture is imperfect. Effects pedal heavily filters signal.
21.
Not tested sufficiently. [Signal doesn’t appear to go through all effects pedals]
Where present, heavily distorted images are created by effects pedal.
46
Effects Pedal In Monological loop
47
Guitar Feedback
48
Waves of sound, crashes and crescendos, are common features of this particular loop. Whilst
the feedback signal may be prone to escalate into high pitch electronic shrieks, the strings may
be used to bring the noise down to a lower pitches. The manual control provided by the guitar,
as an instrument and a responsive portable component, allows for a great deal of variety within
produced sounds.
Due to the fact that vibrations to the guitar will have differing impacts depending on proximity
to amp, angle, and the way that the user, if one is present, chooses to affect the guitar. The
signal is often fluctuating between states of being a positive feedback signal, perpetually esca-
lating in volume/pitch, and being a negative feedback signal, decaying into silence.
22.
49

A curious relationship may develop between guitar and amplifier. In my own experiments I found
that a guitar laid horizontally on the ground would by it own accord settle somewhere approxi-
mating a certain sound. How one could tell this was through the resonating guitar strings. For if
the guitar was left to its own accord whilst before an amplifier and whilst engaged in a feedback
loop, the strings would resonate one by one in relation to the sounds coming from the amplifier.
After a while the sound would settle and just one string would vibrate. By altering the equalisa-
tion settings on the amplifier one could choose which string was to be played.
23. 25. 27.
24. 26.
28.
50
Video Display Units in Monological Loops As a sound this may not be considered interesting,
however the actual process of naturally leaning towards an unstable state of equilibrium is. And
it is interesting precisely because all feedback loops seek to find this state of disequilibrium, the
guitar in this situation offers a visual representation of this common particularity.
Sounds created within this type of feedback loop are hugely variable and lack a certain integ-
rity that is found in most other circuits illustrated in this collection. By this I mean the signal is
subjected to so many variables and conditions that the title ‘guitar feedback’ is too vague to
suffice. For example a rock musician playing electronic guitar held next to an amplifier in a band
may call what he does ‘guitar feedback’ and people will understand what he means, whereas if
an artist were to create an installation where-in the audience perhaps cause an initial sound that
triggers a stationary guitar which receives and sends a signal to an amp which plays a sound
which is received by the guitar. The guitar feedback situation is created in a different context,
with different intentions, and with different types of control. In other words with different condi-
tions and different variables.
It would be unrealistic to pretend that guitar Feedback is a new phenomena. There are most
likely thousands of teenagers creating feedback in bedrooms all over the world. As a recognised
musical phenomena, Feedback has a place in rock music having been used by the epochal Jimi
Hendrix and then by later generations of rock bands and musicians including the Beatles and
Kurt Cobain.
The CRT does not respond to the audio signal sent from the amp.
51
Microphone and Guitar Pick-up Feedback Loop
52
Contact Microphone and Speaker Feedback Loop
53
Radio Feedback Loop
54
Internet Conference Feedback
55
Mobile Phone Feedback Loops
56
Mobile Phone Feedback Loop
57
Conclusion
If we are to understand the work in this collection as anything, it should be as a grounding for
future work. It was desired that a compendium of works would be made as they were discovered
or devised. This investigation, although cursory, brings forward the ways in which Feedback can
be experienced and has approached basic communications technologies and the technologies
which support them with . By following a broad line of investigation which has resulted in a col-
lection of informal diagrams, I came up with a number of ways of generating material that could
be reproduced in the future and elaborated upon for reasons I will come to.
Each schematic provided here demonstrates and reaffirms the potential for Feedback to be
comprehended as a versatile and malleable material, capable of being formed and developed
into a product rather than just being discarded as unwanted noise or as a signal of error. Some
instances wherein the Feedback signal was absent the circuit schematics were considered impor-
tant enough to retain as evidence of experimentation and for possible future reference. Particu-
larly in the case of future experimentation, there may come available alternative products or
brands that may be used in substitution for the models used here. In turn, perhaps future tech-
nologies could supplement these circuits in ways contemporary technology cannot and could
affect what are now dysfunctional and unresponsive circuits by allowing for them to become
functional.
Other circuits illustrated here have not been trialled and tested for the reason that the technol-
ogy or time was not available for me to do so. Again these are schematics that could potentially
be influential upon ones approach to Feedback phenomena once put into a functioning con-
text. The potential for future progress and for alternative circuit orientations are brought about
through these untested circuits. They help to highlight the fact that there are alternative combi-
nations of components which may be tested and that it is progressive to compose circuits which
may not be possible at the current moment in time.
58
Most importantly, even those circuits which are functional may be subject to amendment. Could
they be used in conjunction with other working circuits or with entirely different components.
One particular circuit illustrated in this book is subjected to huge changes depending upon the
model and complexity of the signal processing component being used. And this is the “Mono-
logical Mixing Desk Feedback Loop”. The more control provided through equalisation channels,
the more variable the resulting sounds can be. The more channels that are available in terms of
output and input are also impacting features of a larger mixing desk. More signals may be mixed
together and more outside variables may be brought into the loop.
Another important point which may be clarified through example of the mixing desk is that none
of the circuits illustrated here are art pieces or artworks in their own right. Or at least I have not
intended for them to be. For another artist perhaps they are just that. But in summary, these
circuits are instead a skeletal framework, the bare-bones, for works which may be built upon and
fleshed out. This may mean using such circuits as these in those performance environments of
theatre and dance, the work may be aural or visual. The mixing desk Feedback situation is not
an artwork, yet, for Toshimaru Nakamura and a number of other artists, it is an instrument that
is played to make music. It is clear that Feedback isn’t just a way of creating unpredictable and
uncontrollable material. It is a way of engaging with communications technologies in a way which
is impossible by any other means, and especially through any conventional means of using the
technology in question.
59
In terms of the creative potential of Feedback there is no question as to its suitability. For art-
ists wishing to use Feedback phenomena as a medium there is a wide range of Feedback situ-
ations for them to engage with. What’s more, the potential to engage using alternative tech-
nologies, such as motion detection or other sensory devices, mean an innumerable quantity
of possibilities for creative interactions exist that may occur between humans and circuits and
between humans and Feedback. Scope exists for more hi-tech and programmed Feedback sce-
narios. There is potential for interactivity to take place that could question current modes of
interaction within artworks, what happens then two devices which mimic what it sees are placed
before one another, can humans become variables within electronic circuits?Maybe through the
programming of interactive environments? Merce Cunningham used software to create move-
ments but is generating movements from Feedback loops with automatons a possibility? Cur-
rent processes for developing sounds and visuals may be added to through the use of Feedback,
although this notion is not at all new. What needs to be new is the way that Feedback is made
and realised. Seeking to push the concept of Feedback further into the realm of human interac-
tion may well be the way forward.
60
References
i. Lotka., A. 1925. .Author’s reference. Kelly, K., 1995. ‘Out of Control: The New Biology of Ma-
chines.’ Forth Estate. London Pg104.
ii. Author’s reference. Kelly, K., 1995. ‘Out of Control: The New Biology of Machines.’ Forth Es-
tate. London Pg102.
iii. Kelly, K., 1995. ‘Out of Control: The New Biology of Machines.’ Forth Estate. London Pg103.
iv. Arts-Humanities.net. 2008. ‘forum Interview with Sean Eisenstein’. [Online] (Updated 14th
February 2008) Available at: http://www.arts-humanities.net/forumtopic/interview_sean_eisen-
stein [Accessed 16th February 2010]
v. Wikipedia. 2010. ‘Optical Feedback’. [Online] (Updated 27th January 2010) Available at:
http://en.wikipedia.org/wiki/Optical_Feedback [Accessed 21st February 2010]
vi. Nakamura, T., 2001. ‘No-Input Mixing Board 2’ (CD)
vii. Carolina Environmental Diversity Explorations. Unknown year. ‘Hurricanes on sandy shorelines:
by Dirk Frankenberg’. [Online] (Unknown Update) Available at: http://www.learnnc.org/lp/edi-
tions/cede_hurricanes/glossary [Accessed 13th February 2010]
61
List of Illustrations
1.’Two CRT and Video Camera Feedback Loops’. Photography by Anthony Askew 01/2010
2.’Projector and Video Camera Feedback Loop’. Photography by Anthony Askew 02/2010
3.’Three Projectors and One Video Camera Feedback Loop: Self-Similar Fractals’. Photography by
Anthony Askew 02/2010
4.’Three Projectors and One Video Camera Feedback Loop: Self-Similar Fractals’. Photography by
5.’Two Video Cameras and Two CRTs Feedback Loop: Indefinite Fractal Durational Study’. Pho-
tography by Anthony Askew 01/2010
11.’4 CRTs, 3 Video Cameras and One DVD Player: Signal Deconstruction through Repeated
Viewing’. Photography by Anthony Askew 02/2010
12.’Digital Self-Portrait’. [Screen shot from Video] Original Work by Anthony Askew and Ellen Pil-
low 11/2009
13.’Lawrence Stephen Turner’. [Screen shot from Video] Original Work by Anthony Askew and
Ellen Pillow 12/2009
14.’Edirol Mixer and LCD TV Feedback Loop’. [Screen shot] Durational Video by Anthony Askew
05/2009
15.’Alternative Mixing Desk and LCD Screen Feedback Loop’. [Screen shot] Study of Electronic
Phenomena by Anthony Askew 05/2009
16.’Mixing Desk Feedback with Speaker, Projector, CRT and LCD Outputs.’ Technician: Anthony
Askew, Photography by Anthony Askew 02/2010
62
16.’Mixing Desk Feedback with Speaker, Projector, CRT and LCD Outputs.’ Technician: Anthony
Askew, Photography by Anthony Askew 02/2010
17.’Sound Artist Adam Thompson Creating Drone Music at Mixing Desk using Internalized Feed-
back Loop’. Photography by Anthony Askew 02/2010
18.’Amp to Amp Feedback Loop’. Technician: Sebastien Blomfield, Photography by Anthony
Askew 02/2010
19.’Amp to Amp Feedback with Effects Pedals’. Musician: Sebastien Blomfield, Photography by
20.’Video Signal Through Mixing Desk to CRT’. Photography by Anthony Askew 02/2010
21.’DVD Signal through Video Camera through Effects Pedals to CRT’. Circuit by Sebastien Blom-
field. Photography by Anthony Askew 02/2010
22.’Guitar Feedback.’ Musician: Sebastien Blomfield, Photography by Anthony Askew 02/2010
Cover Art by Anthony Askew

‘Noisy Julia Set’ 2010
Created using ‘Apophysis’ software
63
Glossary of Useful Terms
Causal Loop: A circular pathway of cause and effect. Also known as a “Feedback loop”.Affine:
Having a sense of kinship.
Dialogical: Dialogical circuits involve two or more components which negotiate a signal between
them in a cyclic loop. Any component may generate signal material but two or more devices
must have some sort of impact on it. One component generating a Feedback loop and another
component displaying that signal would not constitute a dialogical circuit by itself, another com-
ponent which has an affect on the signal must be present.
Environmental Feedback Loop: The cycle that occurs when a population or natural occurrence
interacts with the environment and in turn alters the conditions that produced or influenced the
population or occurrence.vii
Feedback Circuit: A circuit that feeds back some of the output to the input of a system
Feedback: The process in which part of the output of a system is returned to its input.
Fractal: Fractals are typically self-similar, parts look similar to the whole, and repetitions within
the whole are not bounded by scale so similarities can be found at any magnification.
Gaia: Model of the earth in which its living and non-living parts are viewed as a complex interact-
ing system that can be thought of as a single organism.
Indefinite Fractal: Indefinite fractals are a different type of fractal in that they may never stop
changing. Although there is no “definite” fractal in terms of finite depths or scale, these fractals
are better described as indefinite for their characteristic ephemerality. Indefinite fractals typi-
cally evolve progressively over time through slight changes in each pulse or cycle and they may
never seem to return to a previous state. In contrast to self-identical fractals, indefinite fractals
are time based and cannot be realised in the apparently static way that self-identical fractal
64
may be. Examples include the stock market, graphical representations of sound-based Feedback
and some instances of video [screen and lens] Feedback.
Iteration: A repeated step or duplication.
Monological: The descriptive ‘monological’ is used to describe circuits of a singular nature, i.e.
composed of only one device or component. A monological circuit may have many output de-
vices such as television sets and speakers but these outputs have no impact on the Feedback
loop itself. In a sense the monological component is deaf to the output devices and will only talk
to itself without outside influence.
Negative Feedback: A signal which will decay/progress into silence.
Ontological: A way of perceiving which takes outward appearances as a reflection of the inner
nature. The inner and the outer coalesce to form a whole and the two are indistinguishable from
one another. This fits into the philosophical thinking of Sartre and is a term used in relation to
phenomenological viewings.
Phenomena: Something apprehended and known through the senses as opposed to intuition or
reasoning.
Phenomenology: A developing line of philosophical thought which deals with sensory perception
as a way of comprehending the world around us. Originally proposed by Edmund Husserl but de-
veloped considerably by Merleau-Ponty.
Positive Feedback: Where in the signal escalates and will not stop without further interference to
the signal. A positive signal may also be a neutral Feedback signal in that the signal is perpetual.
Reiteration: Act of repeating steps or duplicating.
Self-~Affinity: Sharing a sense of being with oneself.
Self-Identical Fractal: Self-identical fractals may be most accurately described as instances
65
wherein the original image becomes surrounded by near-identical images of equal scale, this
group of images coalesce to form an new image which is itself surrounded by images identical
to it which are again of equal scale. This is a cyclic pattern which reoccurs infinitely increasing in
scale with each new coalition of images.
Self-Similar: Being the same in semblance to oneself.
Similar: Corresponding to or appearing by near approximation to be the same as something else.
Utopian: An idealist, romantic, or fantastical viewpoint.
66
Further Reading
Decker-Phillips, E., 1988. ‘Paik Video.’ Barrytown, LTD. New York.

Hatfield, J., 2006. ‘Experimental Film and Video.’ John Libbey Publishing. UK.
Kozel, S., 2007. ‘Closer: Performance, Technologies, Phenomenology.’ The MIT Press. Cam-
bridge, Massachusetts.
Mandelbrot, B. B., 1983. ‘The Fractal Geometry of Nature.’ W. H. Freeman & Company, New
York.
Peitgen, H. O., and Saupe, D., 1988. ‘The Science of Fractal Images.’ Springer-Verlag, New York.
67
Bibliography
Books
Clarke, A. C., 2004. ‘The Colours of Infinity: The Beauty and Power of Fractals’. CB Clear Books,
Singapore.
Decker-Phillips, E., 1988. ‘Paik Video.’ Barrytown, LTD. New York.
Dews, P., 1987. ‘Logics of Disintegration: Post-Structuralist Thought and the Claims of Critical
Theory.’ Verso, New York.
Erlmann, V., 2004. ‘Hearing Cultures: Essays on Sound, Listening and Modernity.’ Berg, Oxford.
Hatfield, J., 2006. ‘Experimental Film and Video.’ John Libbey Publishing. UK.
Henry, M., 2008. ‘Material Phenomenology.’ Fordham University Press. New York.
Jameson, F., 1974. ‘The Prison-House of Language: A Critical Account of Structuralism and Rus-
sian Formalism.’ Princeton University Press, Princeton, N. J.
Kelly, K., 1995. ‘Out of Control: The New Biology of Machines.’ Forth Estate. London
Kozel, S., 2007. ‘Closer: Performance, Technologies, Phenomenology.’ The MIT Press. Cam-
bridge, Massachusetts.
Lavers, K., and Thompson, M., 1998. ‘Episode 12: The Zwillinge Project.’ Object Books, Cam-
bridge.
Mandelbrot, B. B., 1983. ‘The Fractal Geometry of Nature.’ W. H. Freeman & Company, New
York.
Peitgen, H. O., and Saupe, D., 1988. ‘The Science of Fractal Images.’ Springer-Verlag, New York.
Rahim, A., 2006. ‘Catalytic Formations: Architecture and Digital Design.’ Taylor & Francis Group,
London.
Ravenal, J. B., 2002. ‘Outer and Inner Space: Pipilotti Rist, Shirin Neshat, Jane and Louise Wilson,
and the History of Video Art.’ Virginia Museum of Fine Arts. Richmond, USA.
Sartre, J.P., 1998. ‘Being and Nothingness.’ Routledge. New York.
Sobchack, V.,1992. ‘The Address of the Eye: A Phenomenology of Film Experience.’ Princeton
University Press. Princeton, New Jersey.
Sontag, S., 1990. ‘Dancers on a Plane: Cage – Cunningham – Johns.’ Thames and Hudson. Lon-
don.
68
Film, Video and Visual Digital Media
‘Arthur C Clarke’s Colours of Infinity’ A Nigel Lesmoir-Gordon Film, 2004.

‘Infinit’ A Nigel Lesmoir-Gordon Film, 2004.
‘Rewind_Play_ an anthology of early British video art’ BFI, 2009
Magazine articles, Essays, and Journals
Sorensen, V., 1975. ‘On Video and Conceptual Video’. [Essay] Written at Buffalo University.
Flint, R., 2005. ‘Performance, Feedback, Noise, and Moving Pictures’. [Journal] Written for ‘Reso-
nance’ journal.
Unknown Author, Unknown Year. ‘Eisenstein Feedback.’ [Essay] Unknown origin.
69
Websites
Arts-Humanities.net. 2008. ‘forum Interview Internet Archive. Unknown Year. ‘a loop con-
with Sean Eisenstein’. [Online] (Updated 14th trolled by varying delay, Feedback and level,
February 2008) post output 01..mp3’ [Online] (Update Un-
Available at: http://www.arts-humanities.net/ known)
forumtopic/interview_sean_eisenstein [Ac- Available at: http://www.archive.org/details/al
cessed 16th February 2010] oopcontrolledbyvaryingdelay,Feedbackandleve
l,postoutput01__mp3 [Accessed 21st Febru-
BBC. 2005. ‘Cut and Splice 2005 – The Wolf- ary 2010]
man’. [Online] (Updated on Unknown Date)
Available at: http://www.bbc.co.uk/radio3/ Internet Archive. Unknown Year. ‘a loop con-
cutandsplice/wolfman.shtml [Accessed 21st trolled by varying delay, Feedback and level,
February 2010] post output 01..mp3’ [Online] (Update Un-
known)
Carolina Environmental Diversity Explorations. Available at: http://www.archive.org/details/al
Unknown year. ‘Hurricanes on sandy shore- oopcontrolledbyvaryingdelay,Feedbackandleve
lines: by Dirk Frankenberg’. [Online] (Unknown l,postoutput01__mp3 [Accessed 21st Febru-
Update) ary 2010]
Available at: http://www.learnnc.org/lp/edi-
tions/cede_hurricanes/glossary [Accessed Internet Archive. Unknown Year. ‘a loop con-
13th February 2010] trolled by varying delay, Feedback and level,
post output 01..mp3’ [Online] (Update Un-
Internet Archive. 2007. ‘Dyad-Feedback_EP- known)
dsound-2007 ‘ [Online] (Update Unknown) Available at: http://www.archive.org/details/al
Available at: http://www.archive.org/details/ oopcontrolledbyvaryingdelay,Feedbackandleve
Dyad FeedbackEP-dsound-2007 [Accessed l,postoutput01__mp3 [Accessed 21st Febru-
21st February 2010] ary 2010]
70
Internet Archive. Unknown Year. ‘fb_eight’ Internet Archive. Unknown Year. ‘Monitor Epi-
[Online] (Update Unknown) sode 10’ [Online] (Update Unknown)
Available at: http://www.archive.org/details/ Available at: http://www.archive.org/details/
fb_eight [Accessed 21st February 2010] MonitorEpisode10 [Accessed 21st February
2010]
Internet Archive. Unknown Year. ‘fb_nine’ [On-
line] (Update Unknown) Jones Thought. 2008. ‘2008 September:
Available at: http://www.archive.org/details/ Monthly Archive’. [Online] (Updated 10th Sep-
fb_nine [Accessed 21st February 2010] tember 2008)
Available at: http://jonesthought.wordpress.
Internet Archive. Unknown Year. ‘fb_one’ [On- com/2008/09/ [Accessed 22nd February
line] (Update Unknown) 2010)
Available at: http://www.archive.org/details/
fb_one [Accessed 21st February 2010] Optics. Unknown Year. ‘Fractal Video Feedback
Research’. [Online] (Updated Unknown)
Internet Archive. Unknown Year. ‘Feedback Available at: http://www.physics.gla.ac.uk/
Joy’ [Online] (Update Unknown) Optics/play/fractalVideoFeedback/ [Accessed
Available at: http://www.archive.org/details/ 21st February 2010]
FeedbackJoy [Accessed 21st February 2010]
SFX Machine. Unknown Year. ‘SFX Machine
Internet Archive. Unknown Year. ‘Feedback Online Documentation: GLOSSARY’. [Online]
Monitor Episode 08’ [Online] (Update Un- (Unknown Update)
known) Available at: http://www.sfxmachine.
Available at: http://www.archive.org/details/ com/docs/sfx_machine_glossary
FeedbackMonitorEpisode 8 [Accessed 21st html#frequencyresponse [Accessed 13th Feb-
February 2010] ruary 2010]
Internet Archive. Unknown Year. ‘Ground Noise

Static Music’ [Online] (Update Unknown)
Available at: http://www.archive.org/details/
GroundNoiseStaticMusic [Accessed 21st Feb-
ruary 2010]
71
Systems Theory. Unknown Year. ‘Glossary of Youtube. 2007. ‘Feedback’. [Online] (updated
Systems Theory Terms’ [Online] (Unknown 16th April 2007)
Available at: http://www.youtube.com/
Update)
watch?v=Toh5xhB [Accessed 22nd February
Available at: http://science.csumb.edu/
2010]
esse21/glossary.php [Accessed 13th February
2010] Youtube. 2007. ‘Jackson five-Blame it on the boo-
gie’. [Online] (Updated 27th June 2007)
TRNmag. 2001. ‘Environment may dictate Available at: http://www.youtube.com/
intelligence’. [Online] (Updated 5th December watch?v=vjW1iq4IO2k [Accessed 21st February
2001) 2010]
Available at: http://www.trnmag.com/Sto-
ries/2001/120501/Environment_may_dic- Youtube. 2007. ‘pollute, passive Feedback looper
tate_intelligence_120501.html [Accessed pedal by properboy’. [Online] (Updated 27th May
2009 )
21st February]
Available at: http://www.youtube.com/watch?v=_
x4HZZAkog8 [Accessed 22nd February 2010]
TRNmag. 2002. ‘Pixel Feedback forms frac-
tals’. [Online] (Updated 2nd January 2002) Youtube. 2008. ‘Amii Stewart - Knock on Wood’.
Available at: http://www.trnmag.com/Sto- [Online] (Updated 02nd July 2008) Available at:
ries/2002/010202/Pixel_Feedback_forms_ http://www.youtube.com/watch?v=1Hm08f5b8tc
fractals_010202.html [Accessed 21st Febru- [Accessed 21st February 2010]
ary 2010]
Youtube. 2008. ‘Klaxons - Gravitys Rainbow’. [On-
Wikipedia. 2010. ‘Audio Feedback’. [Online] line] (Updated 07th January 2008)
(Updated 20th February 2010) Available at: http://www.youtube.com/
watch?v=qDrctb2BzLg [Accessed 21st February
Available at: http://en.wikipedia.org/wiki/Au-
2010]
dio_Feedback [Accessed 21st February 2010]
Youtube. 2009. ‘Smashing Pumpkins - Ava Adore
Wikipedia. 2010. ‘Optical Feedback’. [Online] (Video)’. [Online] (Updated 27th February 2009)
(Updated 27th January 2010) Available at: http://www.youtube.com/
Available at: http://en.wikipedia.org/wiki/Opti- watch?v=QTtee6c [Accessed 21st February
cal_Feedback [Accessed 21st February 2010] 2010]
72
Electronic Music/CD
Ashley, R., 1966 ‘Wolfman’ (CD)

Ashley, R., 1996 ‘Automatic Writing’ (CD)
Doki, D., Unknown Year. ‘Feedback Joy’ (CD)
Dunsmuir, C., 2004. ‘Feedback Monitor Episode 10’ (Pod cast)
Dunsmuir, C., 2004. ‘Feedback Monitor Episode 8’ (Pod cast)
Hendrix, J., 1998. ‘Experience Hendrix: The Best of Jimi Hendrix’ (CD)
Nakamura, T., 2001. ‘No-Input Mixing Board 2’ (CD)
Nakamura, T., 2006. ‘Weather Sky’ (CD)
Swearengin, J., 2007. ‘Dyad: Feedback EP’ (CD)
Thomas, G., 2008. ‘The Title Is The Score’ (Online Sound)
Various Artists., 2001. ‘Improvised Music From Japan, Disc 1’ (CD)
73

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Feedback Loop and Analytical Schematics:

Electronic, Conceptual and Abstract Situations

Table of Contents (continued)

DVD Signal Manipulation #2 45

As a phenomenon, Feedback is everywhere. There would be reason to hypothesise that noth-

1. We do not understand the technologies which we surround ourselves with. As

2. The products (usually visual or aural outputs in electronic circuits) of Feedback

Self-Identical Fractal: Self-identical fractals may be most accurately described as instances

Monological: The descriptive ‘monological’ is used to describe circuits of a singular nature,

Note regarding monological circuits:

Negative Feedback: A signal which will decay/progress into silence.

Digital Video Camera (HDD) Sony HDR-SR10E

Digital Stills Camera Nikon D3000

Liquid Crystal Display (LCD)

SM 58 Microphone Shure SM58

Cathode Ray Tube (CRT) Moni-

Contact Microphone Generic

Amplifier (P.A/Bass/Guitar...) Laney RB1, Various Other

Effects Pedal (any, unless

Video Channel Mixer Unspecified

Video Channel Mixer (Edirol) Edirol

Audio Mixing Desk Allen and Heath

Laptop Computer Mac Book Pro

Desktop Computer Unspecified

Electric Guitar Fender Deluxe: Jazz

DVD Player Samsung

Mobile Phone/Telephone Unspecified

Transmission Through Solid

Satellite Signal Transmission

Standard Page Layout

* sch is an abbreviation for schematic

Lens and Screen in Dialogical Feedback Loop

Multiple Lens and Screen Feedback Loop

Multi-Lens and Screen Circuit; Manually Reiterated Images

Lens and Screen Feedback Loop with Audio

‘Video Channel’ Mixing Desk Feedback Loops

Monological Mixing Desk Feedback Loop (various outputs)

The music genre, Drone, incorporates some uses of mixing desk

Because the Feedback loop is fundamentally a cyclic process and

Mixing Desk and Effects Pedal in Dialogical Feedback Loop

Amp to Amp Dialogical Loop

Contact Microphone Abstract Feedback Situation

DVD Signal Manipulation and Mixing Desk Feedback

Video Display Units in Monological Loops

23. 25. 27.

Microphone and Guitar Pick-up Feedback Loop

Radio Feedback Loop

Mobile Phone Feedback Loops

Cover Art by Anthony Askew

Glossary of Useful Terms

Iteration: A repeated step or duplication.

Negative Feedback: A signal which will decay/progress into silence.

Reiteration: Act of repeating steps or duplicating.

Self-~Affinity: Sharing a sense of being with oneself.

Self-Identical Fractal: Self-identical fractals may be most accurately described as instances

Self-Similar: Being the same in semblance to oneself.

Similar: Corresponding to or appearing by near approximation to be the same as something else.

Utopian: An idealist, romantic, or fantastical viewpoint.

Decker-Phillips, E., 1988. ‘Paik Video.’ Barrytown, LTD. New York.

‘Arthur C Clarke’s Colours of Infinity’ A Nigel Lesmoir-Gordon Film, 2004.

Magazine articles, Essays, and Journals

Internet Archive. Unknown Year. ‘Ground Noise

Ashley, R., 1966 ‘Wolfman’ (CD)