Feedback Organ: The Sequel @ Produit Rien

jessie beier & rémy bocquillon
FEEDBACK ORGAN : THE SEQUEL

Résidence / installation sonore avec performance @ Produit Rien
Performance le samedi 19 septembre à 19 h

Feedback Organ: La Suite
 
Feedback Organest une machine expérimentale “en train de se faire” vibrant à travers les silences radio et les chronologies interrompues. À la fois performance, installation, “séance” et sabotage sonore, cet engin conjure les fantômes des fréquences pirates perdues depuis longtemps et les goules inouïes du bruit algorithmique. Nourri de résonances récursives, de transmissions spectrales et de dysfonctionnements mécaniques, à mi-chemin entre système nerveux et rituel de casse, cet organe machinique palpitera, convulsera et rampera à travers les surfaces analogues et numériques, laissant derrière lui des traces de larsens et des cicatrices sonores. 
 
La dernière fois, c’est à travers lapeau, le plus grand organe de feedback/rétroaction corporel, que nous avons établi le contact: à l’écoute des bandes magnétiques et de la chair, supports d’enregistrements agissant en parallèle, sur lesquels chaque rayure, chaque souffle, chaque abrasion ré-écrit lentement les archives qu’ils contiennent. Cette fois-ci (la suite !), nous tournons nos oreilles vers le ciel, ainsi que vers le sol, retraçant d’étranges circuits vaporeux, où les particules atmosphériques se condensent en strates géologiques, là où le soit-disant nuage se replie vers la terre, révélant ainsi les puissances de calcul comme forces de résonance matérielles, composées de métaux rares, de silicone, de cuivre, de lithium, de poussière, sans oublier les longues rémanences des procédés d’extraction contribuant à la production desrythmes terrestres.   
 
Tout au long de la semaine, cet orgue/organe (ou “machine concrète”) sera assemblé sous la forme d’une installation itérative construite à partir d’enregistreurs récupérés, de sons trouvés, de diffusions radiophoniques échantillonnées, d’opérations machiniques codées en temps réel, d’interférences atmosphériques et d’instruments (re-)synthétisés. Le point d’orgue (!) de cette résidence sera une performance en direct lesamedi 19 septembre à 19 heures, au cours de laquelle l’installation prendra vie grâce à des rituels rétroactifs improvisés et des conjurations sonores. 
 
jessie beier et rémy bocquillon (akaPHASECOMMONS) sont un duo d’artistes-philosophes oeuvrant dans les intervalles étranges de la sociologie, de la pédagogie, de l’étude des médias, des théories éco-politiques, des (in-)humanités énergétiques et de l’étude des extinctions. À travers des expériences de pensée sonore, d'atmosphère souterraine et de conjuration algorithmique, leurs collaborations accordent les rencontres tangentielles aux infrastructures spéculatives qui pensent et pratiquent la fabrique de la théorie comme une hérésie commune et collective. 

Feedback Organ: The Sequel 
 
Feedback Organis 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. Fed by recursive resonances, spectral transmissions, and machinic misbehaviour, 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.
 
Last time we got together (Berlin, October 2025), we made contact throughskin—the body's largest feedback organ—listening to magnetic tape and flesh as parallel recording surfaces where every scratch, every hiss, every abrasion slowly rewrote the archive. This time—the sequel!—we turn our ears toward the sky, but also the ground, tracing the strange cloud-core circuits where atmospheric particulates settle into geological strata as the so-called cloud folds back into the earth, revealing computation as a material resonance composed of rare earths, silicon, copper, lithium, dust, and the long afterlives of extraction in the production ofterrestrial rhythms.
 
Throughout the week, the organ (or “machine concrète”) will be assembled as an iterative installation built from scavenged recording devices, found sounds, sampled radio broadcasts, live-coded machinic operations, atmospheric interferences, and (re-)synthesized instruments. The residency culminates in a live performance onSaturday, September 19 at 7:00 pm, where the installation will come alive through improvised feedback rituals and sonic conjurings. 
 
jessie beier and rémy bocquillon(akaPHASECOMMONS) 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.

The Feedback Organ by PHASECOMMONS

It lives!

I am excited to share The Feedback Organ —a new sound work I developed with my dear pal and collaborator, Rémy Bocquillon, which is now available online… 

LISTEN LISTEN LISTEN >>>>>

What you will find via the link is a binaural rendering (ambisonic) of the 8-channel installation that Rémy and I performed live last October in Berlin, where we built out a scrappy sonic séance machine at Errant Sound over just a few days using old radios, cassette tapes/players, digital sampling, live coding, and live recording. Special thanks to Laura Mello for being so amazing during our lil’ pocket residency. And also big thanks to Catlin W. Kuzyk at Sublet Sound for mastering the track and to Reza Sedighian for creating the cover art. <3

IPNE 2026 Keynote Talk // In Defense of Study

Why do philosophy now??? This is one of the questions I will dig into in my keynote talk at the upcoming 2026 International Network of Philosophy of Education (INPE) conference. Excited to think with all of the fine folks with the Faculty of Education at Université du Québec à Montréal (UQAM), who will be hosting the event, as well as all of the other educational philosophers travelling to Montreal for this year’s conference, titled Initiating New Conversations Across a Divided World.

Here’s a taste of what I will try to unpack…

In Defense of Study: Counter-Sorceries for Non-Fascist Pedagogical Life

What is philosophy of education for under conditions increasingly organized against study? Or, perhaps a better question, what might philosophy still do, here and now? As universities shutter humanities programs while investing in AI infrastructures that promise to know us before we know ourselves; as reality television, social media, and machine learning school us in the arts of optimization, self-monetization, and sole survival; as tech billionaires increasingly script educational futures while anti-intellectualism is repackaged as common sense; as genocide is livestreamed alongside productivity hacks and wellness routines; as every crisis—personal or planetary—arrives pre-packaged with solutions (made just for me!) that script what to do, what to think, what to feel, who to become, it has become increasingly difficult not only to think differently, but to desire differently.

Situated here, and drawing together recent experiments in what I call weird pedagogy, this performance-lecture responds to the conference call by wagering that philosophy's task today is not merely to initiate new conversations across a divided world, nor to defend education as we know it, but to cultivate the fragile conditions under which collective study remains possible. Thinking aloud with you, I want to work through a series of vexing questions, which are not difficult because they resist understanding, but because they resist, and perhaps even repel, some of education's favourite charms: reassurance, recognition, betterment, and the promise that everything can still be made right. Questions whose force is less epistemological than existential, bringing with them a sense of shame because they implicate the very ways we live, teach, study, and desire. Questions like: Why do philosophy when thought itself increasingly appears to arrive too slow (how quaint), too indulgent (how luxurious), or too absurd (how ridiculous)—a cumbersome practice in a world that promises to think for us? What image of thought has education, as a discipline, inherited that makes thinking feel so shameful precisely when it might be most necessary? And how does this image of thought become part of education's desiring-machines? How, if we take Deleuze and Guattari at their word, do ‘we’ come to desire our own repression? (And who is this ‘we,’ anyways!?) Through what ordinary seductions does radical difference become smoothed over, domesticated, and, at its limit, exterminated—while certainty comes to feel intimate, optimization comforting, and control indistinguishable from care? What kinds of pedagogical experiments might break these spells, estranging the desires through which fascist life continually reproduces itself?

Bringing Deleuze and Guattari's micropolitics of desire into conversation with traditions of fugitive and abolitionist study, I explore how today's weird educational ecology of exhaustion, algorithmic intimacy, and distributed control becomes fertile ground for microfascisms—not simply as political formations, but as ordinary pedagogical habits that shape what we come to want, fear, and take to be possible. Revisiting Deleuze's call for “new weapons,” I will experiment with doing educational philosophy as a practice of pedagogical counter-sorcery: a collective craft of entering into strange pacts, composing minor relays, and inventing heretical fabulations through which non-fascist pedagogical life might be resingularized.

Illustrations in "Unschooled Futures: Pluriversal Speculations"

Super stoked to be part of the new edited collection Unschooled Futures: Pluriversal Speculations, edited by Petra Mikulan and Nathalie Sinclair!

The volume gathers a truly interdisciplinary group of contributors who speculate on what learning might become beyond the inherited infrastructures of schooling. Moving across philosophy, Indigenous studies, anthropology, mathematics, architecture, biology, art, and literature, the collection refuses education as a settled project and instead experiments with pluriversal, undisciplined, and speculative futures.

I created the illustrations for the book's four speculative “orbits”—Trading Places, Viewing Points, Scaling Through, and Breaking Stories. As the editors explain, these orbits emerged by deliberately resisting thematic groupings, instead connecting chapters through “contrast and accident,” creating temporary alignments that “lean more on diffraction, on the production of differences that matter.” It was a real pleasure to develop images that accompany these strange constellations. :)

Mikulan, P., & Sinclair, N. (Eds.). (2026). Unschooled futures: Pluriversal speculations. Routledge.

New Essay: "Mixtaping" in Feminist Making, Doing, and Sensing: Experiments in Philosophy

Excited to share an essay on Mixtaping in a new book titled Feminist Making, Doing, and Sensing: Experiments in Philosophy, edited by Lauren Guilmette and Ada S. Jaarsma!

“Placing pressure on what it means to “do” feminist philosophy, Feminist Making, Doing, and Sensing offers an innovative and critical rethinking of feminist philosophical practice and feminist philosophy as a disciplinary field of thought. The collection raises questions about how disciplines are made, how philosophy gets done, and the collaborative nature of thinking.”

My chapter, follows the mixtape through childhood bedroom recording, underground music scenes, plastic petro-histories, and today's algorithmically curated playlists to ask what mixtaping does: how it holds, releases, remixes, and suspends relations in ways that might make space for collective feminist practices within contemporary computational culture. Or something like that! ;)

The editors have also launched feministmaking.com, a companion website featuring teaching resources, classroom activities, contributor blog posts, and a growing collection of open-access materials that extend the conversations in the book.

beier.j.l. (2026). Mixtaping. In L. Guilmette & A. S. Jaarsma (Eds.), Feminist making, doing, and sensing: Experiments in philosophy. Duke University Press.

New Essay: Weird Weapons and Pedagogical Counter-Sorceries

Response to Delphi Carsten’s Review of Pedagogy at the End of the World
Published March 31, 2026 — Studies in Philosophy and Education

Check out this short (and kinda personal) piece just out. :) Written as a response to a review of Pedagogy at the End of the World, it sketches some of my recent thinking on weird weapons and pedagogical counter-sorceries. For the stacks—have a read here: https://rdcu.be/faNSU

Figuring the apocalypse: jessie beier’s Pedagogy at the end of the world

A new review of Pedagogy at the End of the World is out in the world in Studies in Philosophy and Education! In “Figuring the apocalypse,” Delphi Carstens tracks the book’s weird wagers, offering a super thoughtful, generous, and critical take on the work.

Here’s a taste…

“Beier’s Pedagogy at the end of the world: weird pedagogies for unthought educational futures (2023) provides us with rich source material from which to launch a counter-sorcery of pedagogical negation. Her book arrives at a crucial moment when, with wars on four continents, multiple planetary boundaries exceeded, and neo-fascist revanches on the rise, obsolete humanist logics remain firmly sedimented at every level of social reproduction (including education). Identifying, connecting and binding the holes and gaps that the rapidly advancing ‘end of the world’ event have created in education’s stilted vision of a world-for-us, Beier shows how a non-normative weird pedagogy, appropriate to our situation of escalating permacrisis, might go about mobilising techno-scientific aporias, uncanny socio-economic situations and more-than-human contact zones from which educational futures can and must emerge. The lingering spectre of the terror of history raises discomforting questions about education’s relation to being and non-being, life and death, finitude and extinguishment. This spectre demands from education a justice to come for a people to come; it requires pedagogues to converse with its uncanny presence by casting lines to the absolute outside of human giveness.”

SAGSA Keynote: Beyond Wild, Beyond Exhausted: On Weird Pedagogy and Co-Composing Conditions for Nonfascist Pedagogical Life

I was honoured to be invited as the keynote speaker for the Sociology and Anthropology Graduate Student Association (SAGSA) conference, Transformative Study: Within and Beyond the University, held at Concordia University in Montreal from March 13–15, 2026. The gathering brought together graduate students, researchers, and artists to collectively think through what it means to study in a moment where the boundaries of the university—its spaces, practices, and purposes—are increasingly disturbed and disturbing.

ABSTRACT

In the introduction to The Undercommons, Jack Halberstam draws out Fred Moten and Stefano Harney’s gesture toward the wild beyond—what they call “beyond the beyond”—a space of study that is not outside the university, not an after or an elsewhere, but something that is always already here. The path to this wild beyond—“the common beyond and beneath”—is, Halberstam writes, paved with refusal. Reform will just not do. Nor will critique at/as distance, especially where “the critical academic has become the professional par excellence,” where critique circulates as credential, as job description, and even dissent becomes a form of professional credit. No, the subversive intellectual, Moten and Harney tell us, does not want to fix the university through better critique or smarter reform. She does not want to redeem it. She does not want to save it. She wants to believe, to believe in the world, and in another world in the world, to stay a believer (like Curtis Mayfield, like Deleuze) all the way to the end of it.

Written over a decade ago, these fugitive propositions return today under conditions that feel beyond wild. It’s wild out there, we say, shaking our heads, as equity infrastructures are hollowed out and environmental protections are rolled back; as arts and humanities programs quietly disappear alongside entire futures once imagined for something called “public” education; as universities increasingly resemble border regimes, audit machines, and austerity engines rather than sites of study; as algorithmic spectacle collapses governance, culture, and violence into a single predictive feed that sorts and optimizes, administers and smooths, exhausting attention, time, and planetary resources along the way. This non-exhaustive list is itself exhausting, but it only skims the surface of a deeper exhaustion—of bodies but also possibility—one produced by the relentless capture of study by debt, of learning by accreditation, and by the punitive demand to remain legible, compliant, and “realistic” even as the world grows more incoherent, more volatile, more brutal by the day. Worn down and weary, collective capacities for study are stretched and strained: desire contracts into individualized survival logics; energy dissipates into thin air; and organizing feels harder to imagine, harder to sustain, harder to hold together.

Drawing on ongoing experiments in what I call weird pedagogy, this talk wants to think with the wild beyond (and with what now feels beyond wild) to ask what pedagogy might still do under such exhausting and exhausted conditions. Here, pedagogy becomes a site of struggle. As Moten and Harney ask, “what would it mean if teaching—or rather what we might call the beyond of teaching—were precisely what one is asked to get beyond?” In this question, the beyond of teaching names not a refusal of pedagogy, but a refusal of indebted educational forms where teaching metabolizes tiredness, siphons off desire, and insists that we call what is left “just the way things are.” Attuned to this threshold, this beyond the beyond, this talk asks how weird pedagogy might create experimental conditions for co-composing nonfascist pedagogical life, and thus fragile but necessary potentials for belief in study in beyond wild times.

Learning Machines: Algorithmic Instructions for Analogue Circuits

Wednesday, March 4th, 13h00-15h00 EST @ 4th Space - Concordia University

Learning Machines: Algorithmic Instructions for Analogue Circuits is a live, public experiment in machinic pedagogies, where transparency shifts from promises of clarity and control toward a limit point where instruction breaks down and learning amps up! 

Tender Circuits: Scores for Artificial Intimacies - Workshop @ Karlsruhe University

This one-day workshop engages participants in prototyping alternative pedagogies that critically and creatively explore the entanglements of computation, care, and contemporary art education. Drawing from conceptual art strategies such as scores, prompts, and performative instructions, participants will collaboratively create and enact a series of lo-fi instructional artworks that foreground aesthetic, political, and material questions about teaching and learning in an age of artificial intimacies.

Read more >>>

Artificial Intimacies: Figuring Care in the Age of AI (Talk)

On October 21, I joined the Care Research Lab (University of Cologne / University of Education Karlsruhe) to give an online lecture titled Artificial Intimacies: Figuring Care in the Age of AI..

Artificial Intimacies: Figuring Care in the Age of AI (Talk)

What happens when machines are trained to care? From wellness platforms that track mood and behaviour, to therapeutic chatbots, classroom emotion-recognition software, and the AI girlfriend/boyfriend experience, today’s algorithmic tools increasingly promise intimacy, attentiveness, and support—while simultaneously reorganizing perception, flattening sensation, and quietly hardwiring normative models of emotion, embodiment, and subjectivity. As these systems rush to patch the widening holes in precarious care infrastructures, they do so by running on hidden circuits of energy and data, tied to ever-intensifying regimes of planetary extraction and the spectre of human labour that props up so-called artificially intelligent systems. To figure care in the age of AI is thus to ask how today’s “feeling machines” sense and standardize intimacy, how affective labour is black-boxed into protocols of learning, and how work, energy, and desire are recoded to naturalize some forms of care as authentic, others as artificial. Drawing on recent research-creation projects, the talk weaves theoretical inquiry, artistic experimentation, and pedagogical reflection to investigate care as a site of tension and ambivalence—where intimacy meets infrastructure, tenderness becomes protocol, and collective resistance might be reworked with and beyond the machine.

WATCH THE ONLINE TALK HERE!

The Feedback Organ @ Errant Sound

Performance | Installation | Séance | Sonic Sabotage

Pocket Artist Residency @ Errant Sound (Berlin)
Sat 18th 5-7 pm: "happy hour" and informal Q&A with the artists
Sun 19th 6-9 pm: performative installation, ongoing

Errant Sound is excited to host jessie beier & rémy boquillon´s The Feedback Organ at the Gerichtstrasse 45 (Errant Sound@Miss Read). Join us for "happy hour" on Saturday from 5 to 7 pm to experience the project and chat with the artists in an informal atmosphere. You are also welcome to drop by on Sunday between 6 and 9 pm, to listen to The Feedback Organ in interaction with the artists.

A machine that plays a score. A score that machines a play. A play that scores a machine.

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.

READ MORE >>>

Out Now: FluxKit for Energy Transition + Reflector Podcast

The FluxKit for Energy Transition, developed by the Speculative Energy Futures (SEF) team under the Just Powers project, is now available online—alongside Episode 7 of the Just Powers: Reflector podcast, which features several projects I contributed to with some dear collarborators, including Energy Emergency Repair Kit (E.E.R.K.), Paramancy, and Notes from the Energetic Quietus.

Listen to the Reflector Podcast episode here >>>
Learn more about the FluxKit for Energy Transition here >>>

Future Observatory Journal - Issue No2 More Than Human

Check it out! The second issue of issue no. 2 of the Future Observatory Journal — More than Human - is (a)live! Super thrilled to have been invited to contribute the the Worlding section, a forecast that gathers ideas, critiques, and scenarios on more-than-human futures. (Big thanks to Jennifer Cunningham for the invite and for all of her amazing work on the issue!) 

The FOJ is an interactive platform that blends research, writing, and design to reimagine how humans live among other species. Alongside Worlding, the Practice section features case studies from artists, designers, and collectives such as Studio Ossidiana, Duane & Raby, James Birdie, Justin McGuirk and Anna Tsing. 

Explore the full issue here: Future Observatory Journal

Canadian Art Teacher 20.2

Out now! The latest issue of Canadian Art Teacher / Enseigner les arts au Canada (TWENTY/VINGT 20, vol. 20.2) is now live. This special anniversary issue celebrates 20 years of publishing in the art education community with 20 reflective and creative contributions from artists, teachers, and scholars across Canada.

I contributed some thoughts on hope(lessness) to a new section, Art Educators’ Perspectives in Art Education, organized by guest editor Nancy Long and artist-teacher Cynthia van Frank.

You can read the full issue here: Canadian Art Teacher (and soon on Érudit).

New aAaR Interview Series Just Dropped

The new season of about Art and Research (aAaR) is now live, and I’m thrilled to be part of it!

This video series, hosted by the University of Cologne, invites artists, theorists, and scholars to answer eight questions about artistic research. Think quick takes on big ideas: What is artistic research? What is its value? Why bother? In this economy?!

Watch my interview (and the full series) here >>>

Summer Reads Feature: Sound Research in Troubling Times

Our edited collection Sound Research in Troubling Times: Hope in Crisis (co-edited with Owen Chapman) was featured in Concordia’s Faculty of Fine Arts “Summer Reads” list. The piece highlights recent publications across design, dance, and sonic research, offering cross-disciplinary insight into creative practices in turbulent times. Grateful to be included alongside such inspiring work.

Check it out here >>>

Split Solstice Record Now Online

In honour of the summer solstice, Split Solstice—a collaborative sound project between Nik Forrest and Owen Chapman—is now available online. I created the artwork for this double lathe-cut record, which captures very low frequency (VLF) signals recorded simultaneously in Gaspé, Quebec, and Lofoten, Norway, on June 21, 2022. These natural and technological electromagnetic sounds were exchanged, composed, and pressed onto a two-record set: one side featuring audio compositions, the other a selection of raw VLF recordings.

Collective Musicking Toward Hope/less Horizons and Horizon/less Hopes - Workshop w/ Annabelle Brault @ 4th Space

Workshop at C-Change Conference 2025

I’m excited to co-facilitate a workshop with Annabelle Brault as part of this year’s C-Change Conference at Concordia University. C-Change 2025 runs from June 14–19 and includes events at Concordia’s 4th Space, Jesuit Hall at the Loyola Campus, a therapeutic farm in North Lancaster, and online via Zoom.

Our session, titled Collective Musicking Toward Hope/less Horizons and Horizon/less Hopes, will take place Monday, June 16, 2025, from 1–3 p.m. Drawing on sonic and visual excerpts from an August 2022 artist residency and performances with the collective Landscape of Hate, we will explore the theme of hope/less horizons and horizon/less hopes through collective sound-making exercises that invite sensing, listening, and imagining otherwise, together.

Find out more about the Workshop here >>>

Find out more about the C-Change Conference here >>>

Rocket Science Room: General Audience Talk

On May 28, 2025, I will join with others at the Rocket Science Room for General Audience #17: ANTIFASCISM for a public conversation on daily practices of anti-fascism — planning to share some thoughts on speculative experiments in pedagogy, desire, and collective care as part of a broader inquiry into what it means to co-compose conditions for nonfascist life today.

More info >>>

General Audience #17: HOW BAD IS IT? 

General Audience is back at Rocket Science Room! 

General Audience is a community-based, informal lecture series, which provides an opportunity for people to share experience, knowledge, research, creative projects, information, or ideas with each other in a comfortable and friendly environment. Past themes for talks have included: PLAY, SOUND, DATING, GARBAGE, OUTER SPACE, PORNOGRAPHY, FEAR, PRISONS, MAGIC and TASTE.

After a long hiatus due to COVID (and Jessie’s move across the country to B.C.), General Audience Montreal is finally resuming with its 17th event: HOW BAD IS IT? With presentations (in English) from local anti-fascist organizers and thinkers exploring the rise of far-right movements in Quebec and beyond, emphasizing the urgency of resistance. Presentations will highlight both the broader political landscape and the power of everyday anti-fascist practices—through art, community, and conversation—while inviting open discussion in English and French. We hope to see you there!