Here, sound is not accompaniment; it is material—vibratory architecture. Otomo and Mirza share a commitment to systems that exceed control: feedback loops, unstable circuits, resonant objects, frequencies that produce their own behavior. The artwork becomes an event of energy passing through matter, and that passage is where meaning forms. Mirza’s installations often translate electricity into an immersive, room-scale syntax—light, speakers, objects, cables—where the gallery becomes a live circuit. Otomo’s lineage of improvisation and noise pushes listening into a critical zone: not harmony as comfort, but sound as friction, interruption, and truth. Together, they make feedback a metaphor and a method. Feedback is what happens when a system listens to itself too intensely: it amplifies its own conditions until they become audible, visible, unavoidable. This has political resonance. Contemporary life is feedback-driven—algorithms, markets, outrage cycles, surveillance loops—systems that recursively intensify their own signals. By aestheticizing feedback without taming it, their work reveals both the seduction and the danger of self-amplifying infrastructures. Feedback Matter proposes an ethics of attention: you cannot stand outside vibration. You are in it, your body as receptor, your senses as part of the circuit. The piece is not an object; it is a negotiated instability. And in that instability, sound becomes a way to think: matter as restless, systems as fragile, and control as a fantasy that always leaks noise.
