Panel Discussion & Concert: "The Space of Feedback"
|Venue:||Jewish Museum of Florida-FIU|
Eric Goldemberg and Veronica Zalcberg present FEEDBACK the topic of their upcoming book in conversation with Jacob Sudol and Neil Leach. The program will also include sonic performances by Ed Keller, Emily Misura and Pablo Faraco playing MONAD Studio's 3D-printed music instruments currently on display in the museum as part of Goldemberg and Zalcberg's solo show titled "Subject to Interpretation: MONAD Studio".
Feedback is understood as the space of interactivity situated in the mutually inflected relation between subject and object, both in art and architecture. This book will situate discourses of design control through essays and projects of architects, musicians, designers, sound artists, makers, luthiers and painters, associating their work in close proximity to distill individual disciplines, obfuscate them and elucidate on the effects that Feedback - both instrumental and conceptual - has on their work.
We wish to expand upon feedback in its many iterations as a residue of an action - like guitar feedback - and as litmus of an action's effects, like a feedback loop. There is reciprocity in feedback that is embedded in most processes of design, but that territory is thought of as ephemeral or as check and balance. There are conditions of work that might not allow practices to see the object or effect of control, a Transeffect that loosens the framework allowing navigation of qualities, behaviors, tactics and objects of Feedback.
'Acople' is a Spanish word for feedback implying a mutual inflection of active bodies in a conductive milieu - a purposeful condition enabling Feedback. It encourages plural possibilities for feedback, whether programmatic, aesthetic and/or performative; and it can observed in a range of scales from urban to body. This books covers such ranges within practice.
We also define Feedback as a type of frictional atmosphere, given its lineage in motion-based spatial paradigms. Feedback focuses an awareness of perception related to movement that can become an enigmatic relationship between space, body and rhythm. Within the realm of reverberation in architecture, form and performance are connected quite explicitly. This rhythmical atmosphere is the invisible, but perceivable effect of feedback. There are corporeal consequences of Feedback in architecture that naturally extend from the scale of the body to the atmosphere of space, defining its character and allowing for measured experiences to percolate through our collective engagement with it.
Finally, this definition of feedback is harnessed by contemporary design practices concerned with singularities of rhythm and sound, as a fundamental condition for spatially induced behaviors. Feedback is the pervasive exchange between part and whole that can ne imbued through our design.