The system is composed of two interdependent feedback networks: the acoustic net is formed by microphones and loudspeakers, and the environment in which the performance takes place. The second one is a digital feedback network, consisting of recursive signal processing functions that both generate and modify audio. The two networks are coupled, meaning that digital transformations incorporate microphones signals as part of their signal flow (the digital network is open to the environment); they have different sensitivities to these inputs and their internal processes are dependent on the sounds which are picked up by the microphones. The result of these transformations is eventually sent to the loudspeakers, bringing about the Larsen effect and thereby creating the conditions for circular causality. The causes are fed back to themselves through their effects, and the effects are the result of their combination with the causes, thus breaking the input–output linear proportion.
The interrelation of these sub systems creates an aural phase space which is always different, depending on the environment, on the spatial configuration of its physical elements and on the choice of its components (different kinds of microphones or loudspeakers affect the resulting sound quality). This phase space is considered as a territory that the performer navigates by executing various actions in the performance space. Different behaviours are achieved by exploring the room resonances, different angles and distances of the microphones from the loudspeakers, and low-level sonic interactions. The performance is articulated in three parts, each exploring different equilibria between the digital, the analog and the acoustic components.