2008
the Massachusetts Institute of Technology (MIT)
In the MIT OpenCourseWare course 21M.361: Composing with Computers I (Spring 2008), Peter Whincop features Max Neuhaus in the Listening Notes 2.1: Whole Feedback Compositions.
The Use of "Unacceptable" Materials: Whincop centers this module on using speaker-mic feedback—materials typically considered "noise" or "garbage". He credits Neuhaus as a primary inspiration for this approach, particularly his mid-1960s experiments.
The notes analyze Neuhaus’s realization of John Cage's Fontana Mix – Feed (1965/68). Whincop describes how Neuhaus created a four-channel loop by placing contact microphones on percussion instruments in front of loudspeakers, causing the instruments to vibrate through feedback.
Complexity and Interaction: Whincop highlights the "enormous" complexity of this setup, as each of the four feedback loops interacted with the others, turning the physical room and instruments into an unpredictable, self-generating system.
Whincop even included his own piece, 0704 [neuhaus–fontana–reverb] (2007), as a listening exemplar that directly references Neuhaus's feedback techniques, though he describes his own work as "more minimalist".