Philosopher Timothy Morton refuses to talk about climate change, but insists on calling the times we are living in, the period of the sixth mass extinction. Cause for this new mass extinction is the “run-away effect” in which several human-caused ecological changes feed back into eachother until they spin out of control. In Inhibition Space #2 this feedback effect, is being transposed into the sonic realm.
The bass clarinet is able to create feedback through the interaction between a speaker standing next to it and two microphones inserted in it. The feedback frequencies can be manipulated through the fingerings on the instruments and their position relative to the speaker. Custom-built software (developed by Dries Tack) then further manipulates the sounds. All this creates a close-knit, hybrid ecology of multidirectional relationships, which can be controlled only partly, between the human performer, his instrument, technological expansions, and the performative space.
