|Elise Baldwin (San Francisco)
Seitz vs. Gendreau (Oakland / San Francisco)
presented in conjunction with the SFCinematheque's Crossroads Festival
Saturday • April 5, 2014 • 8pm • $5 members / $10 non-members • Festival Pass: $25 members / $50 non-members
Victoria Theatre • 2961 16th Street • San Francisco, California • www.sfcinematheque.org
Apparent Motion is Crossroads’ annual celebration of projection as art and object, the cinematic exhibition apparatus exposed as a primal light and sound machine, an invention without a future, ripe for rediscovery
Seitz vs Gendreau defines a particular collaborative audiovisual experience, containing a wide-ranging array of images, instruments and sources. Phantom Needle is narrative vidéo concrète: the 2½ pillars of film, with illegal flight images and those of sealed bunkers and a live soundtrack.
Elise Baldwin is active in the San Francisco experimental music and electronic art community, focusing on solo intermedia performance and collaborative music ventures. She holds a degree in Film and Video production as well as an MFA in Electronic Music from Mills College. Elise can be found cooking up aurally hazardous byproducts in her studio or building software instruments for video manipulation. She has spent much of the past decade working as a multimedia director, recording engineer, sound designer, and digital video editor on commercial, gaming and educational projects. She has designed sound and created musical compositions for many theater and film productions, and had the good fortune to collaborate with many talented musicians, dancers, performers and theater companies in San Francisco and elsewhere. The Philosophy of Storms (2014): “The Philosophy of Storms is inspired by my fascination with early American meteorology, storm watching and our cultural evolution from a faith-based society to a scientific one. In the Victorian era, storms were often interpreted to be signs from God or indications of coming end times. With recording and communication technology, our collective perceptions of weather shifted towards scientific and predictive models. As always in my work, there is the tension between the natural world and the technological means that we use to measure and record it.” (Elise Baldwin)
MSHR is Brenna Murphy and Birch Cooper. “They come from Portland, Oregon, a land of wild forests and dormant volcanoes, and consistent with the spirit of the place, they created a decidedly unusual performance. With measured, almost religious, gestures, these media priests celebrated the rites of mysterious lands using a primitive, hellish contraption. After asking us to take our shoes off, MSHR created visions and sounds through technologically up-to-date noisemakers, visions and sounds between the borders of reality, primitive magic and science fiction, opening a path for us towards the New World. All of us present found ourselves immersed in an uninterrupted flow of noise, images and action, leading us on a THREE-DIMENSIONAL ADVENTURE three-dimensional adventure and making us rediscover the roots of our consciousness. Without using drugs of any kind, they projected us into a dream of the future.” (Paola Manfrin, Vogue Italy)
||G*PARK : Sub
23five018, Double Compact Disc
release date: September 24, 2013
$15.98, plus shipping
The most enigmatic of the Schimpfluch-Gruppe, Marc Zeier in the man behind G*Park; and here, he presents his first major album since the acclaimed 2008 album of cryptic electro-acoustics entitled Reuters. Many years in the making, Sub is a sprawling masterpiece of modern day musique concrete, reflecting the early pioneers' use of razor cut tape with a grandiose revelation of an existential horror. Zeier describes this album as the manifestation of amorphous conditions that lead to (or interfere with) representational forms or states of being. His examples of the shifting patterns from clouds of blackbirds or the clinging masses from algae blooms are rudimentary entry points for his rhizomatic, chimerical work.
For every malignant drone and turgid thrumming, Zeier will puncture his fluttering, frozen methane surfaces with jagged incisions, pneumatic hammerings, and decompressed gasps. This fragmented punctuation is a signature to the G*Park aesthetic, used highly effectively in mapping his clinical situations turned septic. The titles to the tracks on Sub address the physical attributes of the source material that went into each track, with some decidedly specific ("Swine", "Wasp", "Stone") and others nebulously abstract ("Purge", "Glow", "Pulse"). For Zeier, the exact nature of the sound object is informed more by a shadowy deconstruction than by a direct representation, thrust into an absurd existence as an abomination, a violation, a monster.
Sub locates itself near the psychological minefields of Luc Ferrari, Steven Stapleton's prediliction for windows, and the cruel x-ray visions from fellow Swiss aktionists Sudden Infant & Dave Phillips.
Purchase through by clicking on the publications link above, or here.
||Bonnie Jones & Andrea Neumann (Baltimore / Berlin)
Danishta Rivero (San Francisco)
presented in conjunction with the sfSoundSalonSeries
Tuesday • February 11, 2014 •7:49pm • $15.00 / $10.00 members & underemployed
Center For New Music • 55 Taylor Street • San Francisco, California • www.centerfornewmusic.com
Bonnie Jones is a Korean-American writer, improvising musician, and performer working primarily with electronic music and text. Born in 1977 in South Korea she was raised by dairy farmers in New Jersey, and currently resides in Baltimore, MD. Bonnie creates improvised and composed text-sound performances that explore the fluidity and function of electronic noise (field recordings, circuit bending) and text (poetry, found, spoken, visual). She is interested in how people perceive, "read" and interact with these sounds and texts given our current technological moment. Bonnie has received commissions from the London ICA and has presented her work in the US, Europe, and Asia and collaborates frequently with writers and musicians including Ric Royer, Carla Harryman, Andy Hayleck, Joe Foster, Andrea Neumann, Liz Tonne, and Chris Cogburn. She received her MFA at the Milton Avery School of the Arts at Bard College.
Born 1968 in Freiburg, Andrea Neumann studied classical piano at the Hochschule der Künste, Berlin and has been active primarily as musician and composer in the fields of new music and experimental music since 1994. She has been significantly involved in the formation and development of the "echtzeitmusik" scene in Berlin, which borders on fields as varied as noise, electronica, contemporary composed music, performance, and sound art. She has co-organized “Labor Sonor,” a series for experimental music, film and performance in Berlin since 2000. Her exploration of the piano for new sound possibilities has led her to reduce the instrument to its strings, its resonance board and the cast-iron frame. Playing this unmounted 'leftover' of a piano, with the help of electronics to amplify and manipulate the sound, she has developed several of her own playing techniques, sounds, and ways for preparing the instrument. She has engaged in intensive cooperations in the mixed border areas between composition and improvisation, between electronic and hand-made music, between instrumental and performative music with ensembles like "Les Femmes Savantes", "Phosphor" and with musicians like Sophie Agnel, Burkhard Beins, Sabine Ercklentz, Bonnie Jones, Annette Krebs, and Hanna Hartman. Concert and festival performances in Europa, USA, Canada, Mexico, Argentina, Russia, Australia and Japan In 2008 she was a fellow at Villa Aurora in Los Angeles. In 2008, she received an honorary mention by Prix Ars Electronica for her piece Videobrücke Berlin-Stockholm, a collaboration with Sabine Ercklentz.
Danishta Rivero is a musician and sound artist who resides in San Francisco. She performs solo improvisations on the Hydrophonium, a water-based electro-acoustic percussion instrument. Danishta also does vocals and digital processing in Blood Wedding, a just intonation noise duo with Chuck Johnson on steel guitar and modular synth. Through the years, she has been involved in various music projects. Most notably, she was lead vocalist of progressive metal band Aghora (1997-2006), and she co-founded Optiphonal Wonder Machine, a multimedia collaboration with Jennifer Rannells.
|R.I.P. Zbigniew Karkowski // 1958-2013
|23five co-presents : Tension at Battery Townsley
as part of the Soundwave (5) Biennial
Battery Townsley at Fort Cronkhite
Golden Gate National Park
August 5, 2012
Eli Keszler (New York)
Ben Bracken and Ashley Bellouin (Oakland)
Tom Duff (San Francisco)
Soundwave Humanities takes you into the wilderness for a sonic event like no other. Up in the hills of the Marin Headlands, amongst the gorgeous ocean and parklands, lies a structure steeped with history, Battery Townsley at Fort Cronkhite. Built in 1940 during WWII, this strongest and most secretive harbor fortification was a marvel in technology outfitted with battleship guns to defend the western shores against the Japanese navy. After the war, the outpost was a military testing site but by the 1980s, it was largely abandoned. National Park Service took authority and historians, contractors and Volunteers in Parks helped restore a historic site.
Sound artists will use the Battery to explore notions of Tension (war and peace, and love and desire) in this former war installation with special performance installations using the extreme resonant spaces with the tensions of strings and stringed instrumentation to give voice to the Battery of what once was and what will become. New York artist Keszler creates a large scale mechanical string installation in the Battery gunwell formerly outfitted with battleship guns. Sonic duo Bracken and Bellouin use hand-made instruments that utilize strings, aluminum, wood, and microtonal tuning systems in the battery tunnel. Sound artist Duff creates Wire Machine, inspired seminal composition/installation Music on a Long Thin Wire, inside the battery rooms and hallways.
||23five Incorporated presents the fifteenth annual Activating The Medium festival
in collaboration with Art Practical, The Lab, and the San Francisco Art Institute
Since 1998, 23five Incorporated has produced the annual Activating The Medium festival -- an internationally recognized showcase for the most innovative and visionary practitioners of sound art. Now entering its fifteenth season, Activating The Medium addresses the theme of a 'dark ecology' -- a term which comes from the philosopher Timothy Morton, who argues that the idea of nature and the attitudes surrounding those ideas are the stumbling blocks to environmental thinking. A glance through the lens of dark ecology refuses to idealize nature as a Romanticized other; furthermore, it eschews the notion that mankind has disturbed and transgressed nature through our engineering and manipulation. A dark ecology frames reality that anything has the potential to disrupt everything, with global catastrophes inevitably occurring through such relationships. As such, Morton beseeches an aesthetic that does not forget the murk, the grime, and the filth that are the symptoms, causes, and glue of what might have once been described as 'nature.' It is from this vantage point that 23five is curating the 2012 Activating The Medium festival, seeking works that engage the specter of noise pollution, the melancholy of eco-acoustic blight, the horror of technological chimeras, and / or the altered states that may emerge from such meditations through sound-based composition and performance.
Activating The Medium XV : Chapter One
Friday, April 20, 2012 : San Francisco Art Institute
Bevin Kelley / Blevin Blectum (Providence)
8pm : free lecture
Activating The Medium XV : Chapter Two
Saturday, April 21, 2012 : San Francisco Art Institute
Bevin Kelley / Blevin Blectum (Providence)
Pod Blotz (Oakland)
Andrea Williams (Oakland)
8pm : performances : $10 - $15 sliding scale : free to current SFAI students and staff
Activating The Medium XV : Chapter Three
Friday, April 27, 2012 : The Lab
Relay for Death (North Carolina)
Danishta Rivero (San Francisco)
Jen Boyd (Vallejo, California)
8pm : performances : $10 - $15 sliding scale
Activating The Medium XV : Chapter Four
Saturday, April 28, 2012 : The Lab
Maile Colbert (Portugal)
Marielle V. Jakobsons (Oakland)
Holly Herndon (San Francisco)
Andrea Polli (Albuquerque) : lecture
7:30 : lecture : 8pm : performances : $10 - $15 sliding scale
Activating The Medium XV : Chapter Five
Sunday, April 29, 2012
Andrea Polli (Albuquerque)
Andrea Williams (Oakland)
3pm : soundwalks : Oakland : $10
2948 16th Street : San Francisco
San Francisco Art Institute : Lecture Hall
800 Chestnut Street : San Francisco
Activating The Medium XV was curated by Andrea Williams and Jim Haynes.
||Runar Magnusson (Denmark / Iceland)
Jim Haynes (San Francisco)
Brown Un (San Francisco)
Saturday • November 26, 2011 • 9:00pm • $8.00 donations
Five Points Art House • 72 Tehama Street • San Francisco, California • fivepointsarthouse.com
Runar Magnusson is an Icelandic composer, working in Copenhagen, Denmark. Inspired by the sounds of nature, horror movies, noise, and meditation, Magnusson specializes in atmospheric disturbances through minimalist compositions. While an oppressive hue is often cast upon Magnusson's work, it is nevertheless always drafted with a sly trace of humor.
Over the past 10 years, Magnusson has travelled the globe presenting his work at various festivals and in various guises, including in the ensembles Vindva Mei and SameSameButDifferent. Recently, he has been focusing on surround sound, playing multi channel concerts at various locations, in churches, galleries, clubs and theaters located throughout the world including China, Hong Kong, the Philippines, Mexico, and the USA. Runar is the cofounder of Hljódaklettar, a boutique record label he founded with Sabrina Joy Winogrond for the purposes of releasing rare, limited, and collectible music and organizing events of art and music.
Describing his work through the pithy phrase, "I rust things," Jim Haynes is an artist who has developed a vocabulary of decay that he has applied to photography, sculpture, installation, and sound. Haynes' sound work draws from shortwave radio static, electric field disturbances, controlled feedback manipulation, and numerous textural scrapings, manifesting broken minimalism of magnetic drones and volatile tactility. This engineering of disparate materials and media seeks to evince the unpredictability of decay, to manifest its potential for a rough hewn beauty, and to bare witness to its inevitability.
He has exhibited internationally at Electric Works (San Francisco), the San Francisco Museum of Modern Art , the Bekerley Art Museum, The Exploratorium (San Francisco), WestSpace (Melbourne, Australia), Jack Straw Productions (Seattle), Eyedrum (Atlanta), Diapason (New York), and The Lab (San Francisco). Haynes has published his work through the Helen Scarsdale Agency, 23five Incorporated, Intransitive, Observatoire, and Elevator Bath. He has collaborated with Steven Stapleton (Nurse With Wound), M.S. Waldron (irr. app. (ext.)), Keith Evans, Allison Holt, and Loren Chasse. He is also a contributing writer for The Wire. Haynes is one of the Directors for 23five and is the lone occupant at the Helen Scarsdale Agency.
|| 23five Incorporated, swissnex San Francisco, & The Lab present
Jason Kahn (Switzerland)
Francisco Meirino (Switzerland)
Tuesday • September 27, 2011 • 8:00pm • $12.00
The Lab • 2948 16th Street • San Francisco, California • www.thelab.org
On September 27, 23five celebrates 10 years of Infrasound, the acclaimed collaborative project between Scott Arford and Randy Yau. These two sound artists engage the architecture of a particular performance space in manipulating the resonant frequencies of that space through finely tuned broadcast of specific frequencies at extreme volumes. The low frequencies literally rattle the walls and manifest standing waves through the space. As such, Infrasound performances are experienced only in a live context; and they have never played the same space twice. Infrasound will also be joined by the pioneering electro-acoustic minimalist Jason Kahn and the noise tactician of failed electronics Francisco Meirino. Preceding Infrasound, Kahn and Meirino will be presenting two solo sets and a collaborative set.
With the support from the Swiss Arts Council, Pro Helvetia.