The Feedback Organ
// Performance + Installation + Radio Play w/ jessie beier & rémy bocquillon // October, 2025 (Berlin, Germany); September 2026 (Montreal, Canada)
The Feedback Organ is an experimental machine-in-the-making that vibrates across dead air and broken timelines. Equal parts performance, installation, séance, and sonic sabotage, this contraption conjures the long-lost ghosts of pirate frequencies and the unheard-of ghoulies of algorithmic noise. Through a tangled ecology of radios, samplers, tapes, delay loops, and live-coded scripts, this machinic organ—part nervous system, part scrapyard ritual—will pulse and twitch and crawl its way across analogue and digital surfaces, leaving feedback trails and sonic scars in its wake.
The work was co-created with rémy bocquillon. Together, beier and bocquillon are a duo of artist-philosophers working in the weird intervals between sociology, pedagogy, media studies, eco-political theory, energy (in)humanities and extinction studies. Through experiments with sonic thinking, underground atmospherics, and algorithmic conjuring, their collaborations tune tangential encounters into speculative infrastructures that practice theory-making as collective heresy.
Recordings + Releases
The Feedback Organ — 2026
A binaural rendering (ambisonic) of the eight-channel installation performed live at Errant Sound in Berlin in October 2025. Recorded as a single 1h38min take, the work brings together old radios, cassette tapes and players, digital sampling, live coding, and live recording. Only minor mastering edits were made for loudness and dynamics, preserving what was sampled, spoken, recorded, looped, dubbed, distorted, and improvised live in the space.
Mastered by Catlin W. Kuzyk / Sublet Sound. Cover art by Reza Sedighian.
Best listened to LOUD + in stereo + preferably horizontal.
Performances + Installations
UPCOMING — Feedback Organ: The Sequel
September 2026 — Produit Rien, Montréal
Live performance: September 19, 2026, 7 PM - JOIN US
It lives…again! Last time around, we tuned through skin—the body's largest feedback organ—listening to magnetic tape and flesh as parallel recording surfaces. This time—the sequel!—we turn our ears toward the sky, but also the ground, tracing strange cloud-core circuits where atmospheric particulates settle into geological strata and the so-called cloud folds back into the earth: rare earths, silicon, copper, lithium, dust, and the long afterlives of extraction.
The installation will be built and activated throughout the residency, culminating in a live performance on September 19.
The Feedback Organ — Berlin, 2025
Developed during a Pocket Artist Residency at Errant Sound.
October 18, 2025 — Open studio, listening session + artist Q&A
October 19, 2025 — Live performative installation
Current + Forthcoming Writing Projects
Tangents: Cursory Touches—Algorithmic Mediation as Tangential Conjuring (Performance Lecture + Forthcoming Book Chapter). This paper riffs on a performance-lecture presented at the Tangentiality conference (University of Copenhagen, 2024), where philosophical improvisation was combined with live coding and sonic computational techniques. Taking the tangent as a figure of fleeting encounter—line, surface, volume—the essay explores how brief, cursory contact can nevertheless redirect flows, leave traces, and reconfigure relations. Situating tangentiality within contemporary conditions of algorithmic mediation, the paper examines how computation operates beyond human perception and cognition, shaping infrastructures of governance, communication, and pedagogy.
Underground Atmospheres: Sonic Thinking Beneath the Surface (Forthcoming Book Chapter in Unger, M. (Ed) Sonic Atmopsheres / Transgressive Sounds). This collaborative paper extends the duo’s sonic research into underground atmospheres as political, pedagogical, and aesthetic conditions. Engaging critically with the “atmospheric turn,” the essay explores three subterranean scenes: nuclear burial sites and resonant containment; basement noise scenes and the production of underground culture; and subsonic environments such as ASMR and algorithmic sonic saturation. Across these scenes, “underground atmosphere”s are approached not as immersive moods or aesthetic envelopes, but as zones of pressure, subtraction, and saturation—conditions that both enable and frustrate contemporary modes of critique.
