The Feedback Organ
// Performance + Installation + Radio Play w/ jessie beier & rémy bocquillon // October, 2025
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.
Performances, Installations + Recordings
Developed during a Pocket Artist Residency at Errant Sound (Berlin, Germany), The Feedback Organ culminated with a sonic installation and a live performance, presented across two public events. Public presentations included:
Saturday, October 18, 2025. Open studio, listening session, and informal Q&A with the artists
Sunday, October 19, 2025. Live performative installation.
Audio documentation from the installation and performance is currently in production. Coming soon!
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.
