Variation on Electroacoustic Feedback for Multiband EQ Filter, Flute and Cello

Decibel artists Malcolm Riddoch (electroacoustics), Cat Hope (flute) and Tristen Parr (cello).
Performed by Decibel at PICA March 28 2011 for the concert A Voice from a Dark Space.

Composition (Malcolm Riddoch 2011): Use the Larsen effect (microphone feedback) to explore the various natural resonant frequencies of the acoustic space. Acoustic performers should listen and play the nearest microtonal equivalent in pitch, loudness and duration.

Performative attention should be paid to the resonance of one’s acoustic instrument in the space as it interacts with that space’s reinforcing resonant frequencies.

Variations in the acoustic instruments’ pitch and loudness may also drive new resonant electroacoustic feedback frequencies. In this case performative listening may alternate between passive (following the electroacoustic resonance) and active (playing the acoustic space itself).


Photography by Lisa Businovski

Zeitblut Dva

Zeitblut Dva direct video action and quadraphonic electroacoustic performance recorded at the Studentski Kulturni Centar, Beograd 01.09.2010 for the Triennial of Expanded Artistic Media – Belgrade

Action: Tatjana Šešerko
Audio: Malcolm Riddoch

Enargeia at Analogue to Digital

Enargeia is Jeremy Hicks and Malcolm Riddoch – we play electronic and electroacoustic technologies patched and re-patched using structural chaos as an organizing principle.

Video recorded live at Analogue to Digital 3, Scitech, Perth Western Australia 18.09.1010