Pulse Demon borrows its title from Merzbow's 1996 noise record to frame feedback — the loop in which output returns to input, amplifying and distorting its source — as both method and subject. Works by Kadar Brock, Jessica Dickenson, Andrew Ross, and Alyson Vieira reactivate the remnants of studio practice: tools, surfaces, debris, and fragments recalibrated into autonomous objects. What is typically discarded or obscured becomes the work itself, rendering visible the entangled processes of consumption and production.