This piece is an exploration of potential meeting points, and frictions, between the acousmatic tradition, and that of the developing area of live electronics which concerns itself with post-digital aesthetics, bricolage with electronics and found objects, hybridity, and a reaction to the laptop in performance. The ‘Interiorities’ cycle comprises works made exclusively from feedback sounds. The composition of ‘Interiorities 1’ posed several research questions: - Can ‘composing inside electronics’ aesthetics be meaningfully engaged with in the acousmatic studio? - How can one compose for an instrument that defies the conventional concept of the instrument (and arguably doesn’t exist)? - Can the theatricality of using found objects as controllers (e.g. a lit candle acting as resistance controller) be effectively employed in relation to more traditional acousmatic discourse? - How can the conventional composer work with performers who build their own idiosyncratic, highly personal and bricolage-based hybrid systems (often designed for solo work or free improvisation)? - Can the use of feedback systems in live performance be exploited to bring into an acousmatic soundworld an element of controlled indeterminacy? If so, how might (and should) this be notated? In addition to the eight channels of fixed electroacoustic sound, there is a ninth, unheard by the audience, which is fed into the feedback instrument (‘control’ information, further modulating the network) and which forms further basis for the performer’s musical interactions. - Commissioned by Society for Electroacoustic Music in Sweden (SEAMS) - World premiere at invited concert at Fylkingen, Stockholm 24th February 2007 (performed by John Richards, with Simon Atkinson sound diffusion) - Broadcast (live concert recording) by SEAMS as featured web radio item throughout May 2007 – present (http://www.seams.nu/broadcast.asp) - Invited talk ‘Inscribing Instabilities’ given on the piece, 23rd February 2007, at Elektroakustisk Musik i Sverige - Electron CD EM1012 recording.