To provide an insight into the work of sound artists who use feedback to create music based on Heinz von Foerster's “order from noise” principle.
Selected examples of current and past working methods are given to demonstrate the research value of the artistic use of feedback music. It is attempted to find analogies between multi‐disciplinary uses of feedback by using the language of cybernetics to describe artistic practice. The text is augmented by graphic representations of audible feedback.
Audible feedback is suggested as a prime example to study the behaviour of circular systems. Feedback music is established as valid artistic practice. A set of questions is devised to push forward a pan‐disciplinary discussion about feedback mechanisms.
Very little research has been done on the subject, thereby the paper concentrates on subjective interpretations by the author.
Can only be considered a starting point for further research.
This paper is written for the curious reader who wants to discover the feedback strand of experimental music. It serves as another example for Heinz von Foersters boundary defying influence.
