I have been working on the integration of electroacoustic feedback for many years and, for at least five of them, I have focused on integrating transducers into instrumental performance. This new piece of mine is the result of research that began during a residency at the SWR studios in Freiburg in 2020, and continued through another artistic residency at the Milano Musica Festival in 2021. In 2023, the Steffani Conservatory supported my research for the construction of the prototype of a first Larsen station.
Together with Olivier and Ayako, during a residency with them here in Strasbourg in 2024, we imagined this setup in which chironomic practice plays a fundamental role in the sound-production process. Feedback here is not only generated and controlled, but also processed in real time just like any other sound source.
The sound of the Larsen station is produced without touching surfaces or the objects placed on them; the sound emerges by violating the distance that allows the system to remain at rest, and while in most cases this would be considered a problem, here it is intentional—indeed essential.
The way one touches the air dramatically influences the evolution of electroacoustic feedback and offers a tangible way to understand how the space around us is not empty. Likewise, flutes conceived as filtering tubes give the air a different colour and new timbres. The coexistence of these two realities converges in the timbre of the electronics, and after its passage into the digital domain, it regains the spirit of chamber music.
Please take into consideration my availability to personally prepare the video of the performance (see the YouTube link below) as well as the score for the Scorefolio publication, should you be interested in publishing this piece. Although I cannot prepare them in advance due to family commitments, I can do it immediately upon request. Thank you in advance for your attention.