a feedback performance for two performers, pvc-pipes, joints and digital processing.
Feedback is generated between two microphones and loudspeakers standing opposite to each other. Two performers use their bodies, pvc-pipes and joints to manipulate the sound. The feedback signal is digitally processed according to its amplitude. The processing is of a static nature: no virtual sound sources are used and there is no automation of musical time. Thus, all sound changes can be traced back to the actions of the performers.
The performance is composed of seven consecutive parts. In every part, a specific sound potential or playing technique is explored. In the first movement, a high-pitched feedback signal is generated or interrupted by mere body positioning between the microphones and loudspeakers. In the second movement, the pvc-pipes are used to generate innate resonances and to influence the amplitude of the feedback signal. The pipes become instruments for musical improvisation in the fourth movement. In the next movement, each performer telescopes two pipes of different sizes in a kind of trombone playing. At full length, the connection of the two pipes bridges exactly the distance between the loudspeaker and the microphone. This creates new feedback possibilities that are fully explored in the last movements, when all pipes get connected by joints to become one installation with very low innate resonances.
During the creation process of tubes, special attention was paid to the status of the performing bodies. The performers’ identity oscillates between the identity of a dancer executing choreographic movements in a disciplined way, the identity of a musician playing the tubes in a close interaction with what he/she hears, and the identity of a technician testing out sound possibilities and constructing a feedback instrument.