Re:Sound Changing Landscapes
Sep
9
4:00 PM16:00

Re:Sound Changing Landscapes

In partnership with the US Forest Service, we present our first concert at a new venue, River Bank. River Bank is a downtown Vallejo landmark with a 3,840 square foot main performance area and 30-foot ceilings. Original fixtures from the building’s days as a working bank, including the vault, remain intact.

As part of the festival Re:Sound will present a lecture and concert on September 9th from 4pm-6:30 at the River Bank.

Artists include:

 David Dunn

 Cheryl Leonard

 Jorge Bachmann, Jen Boyd and Kevin Corcoran.

Re:Sound is a project of 23five

Doors at 3:30pm, Sound at 4:00
$10 suggested donation
 

david beetle.jpg

Renowned composer, theorist, sound engineer, professor, speaker, researcher and current director of the Art and Science Laboratory, David Dunn is also the recipient of several awards. In 1999, this conceptual artist's CD-ROM Music, Language, and Environment: A Thirty Year Retrospective (IML) brought together his texts, musical scores, sounds and images. The indispensable catalogue Eigenwelt Der Apparatewelt (Ars Electronica, 1992)(1)was also created under his leadership. Like artists Robert Smithson and Michael Heizer, who left galleries and museums behind and explored the intersection between art and nature by producing monumental works known as Land Art, Dunn made his reputation when he left the recording studio for the natural world, to experiment with new sound and musical forms. In 1973, for example, he traveled with three trumpet players to the Grand Canyon, where they improvised over a three-day period with the spatial acoustics of rock formations and animals in the Canyon. He is a pioneer of what is now called "environmental music." At the heart of such research lies the question: can environmental sounds be considered music? He has since prepared numerous in situ performances, installations, soundtracks and radio programs, all while pursuing his bio-acoustical research.

Cheryl Leonard

Cheryl Leonard

Glass shards and pinecones, glaciers, boxspring mattresses, a flock of accordions, circular saw blades, viola, the erhu, hyenas and whales and elk, Cheryl E. Leonard’s music finds its raw materials just about anywhere. From these diverse sources come works that embrace the spectrum of musical possibilities: improvised to composed, acoustic to electronic, diaphanous to bombastic, notes to noise. Over the last decade Cheryl has focused on investigating sounds, structures, and objects from the natural world. Many of her recent works cultivate stones, wood, water, ice, sand, shells, feathers, and bones as musical instruments. Leonard uses microphones to explore the micro-aural worlds contained within her sound sources and develops compositions that highlight the unique voices they contain. Her projects often involve constructing one-of-a-kind sculptural instruments that are played live on stage. She is particularly interested in collaborating across artistic disciplines and developing site-specific works.

Cheryl holds a BA from Hampshire College and an MA from Mills College, both in music composition. She studied composition and electronic music with Alvin Curran, Chris Brown, George Lewis, Frederic Rzewski, Laeticia Sonami, Salvatore Macchia, and Alan Bonde; and performance art with Moira Roth, Carole E. Schneemann, and Betsy Damon.

jorge.jpg
jen.JPG

Jorge Bachmann is a photo-based, multimedia and sound artist. He has collected field recordings exploring the strange, unique, and microcosmic sounds of everyday life. He creates sound atmospheres meant for deep listening and often composed in symbiosis with sculptural installations exploring social and sensual constructs and experiences. Bachmann has exhibited and performed in North America, Europe, Japan, and South America – including appearances at the San Francisco Electronic Music Festival and projects with the MoBu Dance Group. He has also been the Technical Director and Resident Artist of San Francisco’s Sound Wave Festival since 2005.

Jen Boyd is a sound artist and curator based in Northern California who works with field recordings of the natural world, forgotten spaces, and the environment. She received degrees from CalArts and Mills College in composition and recording media. Jen continues to spark the interest in people of all ages to listen to the environment they live in everyday. 

Kevin Corcoran works with environmental recordings, feedback systems and cassette tapes. These sounds are often combined with percussion in his performances where displaced environmental sounds provide a temporary acoustic identity of the space, and layers of past actions join the present moment of sound-making. After earning a degree in Technocultural Studies from the University of California at Davis where he studied sonic arts and media theory he relocated to San Francisco where he currently lives and works.

Thank you to Steve Dunsky, the Forest Service and the Riverbank for sharing this space. 

 23Five Incorporated  is dedicated to the development and increased awareness of sound works in the public arena.

Our mailing list is:
info@re-sound.net

Keep listening

 

 

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Re:Sound SUN
Jun
17
3:30 PM15:30

Re:Sound SUN

23five is pleased to present:
Re:sound SUN

Maggi Payne (Oakland)
Elise Baldwin (Seattle)
Flex (Benicia/SF)

Doors at 3:30pm, Sound at 4:00
Tickets: $10
Bring something cozy to sit on.
Percentage of donations go to the Mare Island Shoreline Preserve

Re:Sound is an experimental music series which explores the relationship between forgotten spaces, sound abstraction and the natural environment. The series takes place on the Mare Island Shoreline Heritage Preserve, a 215-acre park that formerly served as one of the first Naval Ammunition Depots.

The event is held in a concrete munitions storage magazine measuring 55'x100' with ceilings over 15'. The architecture of the building traps sound resulting in a prolonged reverberation.

Maggi Payne

Maggi Payne


Maggi Payne composes music for concert presentation, video, and dance, and is a video artist, photographer, recording engineer, flutist, and Co-Director of the Center for Contemporary Music at Mills College, in the San Francisco Bay Area, where she teaches composition, electronic music, and recording engineering. She creates immersive environments, inviting listeners/participants to enter the sound and be carried with it, experiencing it from the inside out in intimate detail. The sounds are almost tactile, visible, tangible.
Her works have been presented in the Americas, Europe, Japan, and Australasia. She received Composer's Grants and an Interdisciplinary Arts Grant from the National Endowment for the Arts; video grants from the Mellon Foundation and the Western States Regional Media Arts Fellowships Program; and honorary mentions from Concours International de Musique et d’Art Sonore Electroacoustiques de Bourges and Prix Ars Electronica.
Her works appear on Aguirre, Innova, Lovely Music, Starkland, Asphodel, New World (CRI), Root Strata, Centaur, Ubuibi, MMC, Digital Narcis, Music and Arts, Frog Peak, and/OAR, Capstone, and Mills College labels. 
www.maggipayne.com
 

Elise Baldwin

Elise Baldwin


Raised on a farm in Idaho, Elise Baldwin now resides in Seattle. Active in the experimental music and electronic art community, she focuses on solo intermedia performance and audio-visual installation. Her work revolves around intersections between the natural world and the technological and often employs archival sources. Elise can usually be found digitally composting media in her studio or building software instruments. Her work demonstrates clear predilections: a fondness for recombinant media and collage techniques, a fascination with human memory and technological forms of communication, and a historic multiplicity with regard to medium. Interrelationships between audio and video have been the primary area of exploration and experimentation for the past decade.
 

Flex

Flex


Flex is a sound art collaboration between Crank Ensemble veterans Larnie Fox, Bodil Fox, Chris Miller, and Lena Strayhorn. Flex explores sound and visual performance using low-tech handmade instruments, bamboo structures, and lighting. Members are visual artists and musicians working together to create layers of material-based sound produced by invented analog instruments accompanied by improvised visual effects.

For the Mare Island performance, Flex will look at the idea of Circumambulation, individually and collectively, meandering through hand-cranked soundscapes to produce a fragile gesamtkunstwerk.

Recent Flex performances include Center for New Music, Montalvo Art Center, and the Turquoise Yantra Grotto.

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SWI/FR/CA
Apr
29
3:00 PM15:00

SWI/FR/CA

Jason Kahn (Switzerland)

Jean-luc Guionnet (France)

Adria Otte/Kristina Dutton/Kanoko Nishi-Smith (Oakland)

Jason Kahn kindly supported by Swissnex and Prohelvetia

Doors at 3pm

Tickets: $10

Bring something cozy to sit on.

Percentage of donations go to the mare island shoreline preserve

Jason Kahn is a musician, artist and writer. He was born 1960 in New York and grew up in Los Angeles. He re-located to Europe in 1990 and is currently based in Zürich. As an electronic musician, vocalist and drummer Kahn collaborates regularly with many musicians, both in improvised settings and in the context of graphical scores which he composes for specific groups. Kahn has exhibited his installations in museums, galleries, art spaces and public sites internationally. These works focus on the idea of space: the conceptual and physical juncture points, its production and dissolution, and our relation to it as a political, social and environmental medium. Kahn's other activities include sound pieces for radio, film, dance and theater. He has also designed numerous CD, LP and cassette covers. As a writer, his work has appeared in books, magazines and as liner notes to many audio publications. Performing regularly around the world, Kahn has given concerts throughout Europe, North and South America, Australia, China, Egypt, Hong Kong, India, Indonesia, Israel, Japan, Korea, Lebanon, Malaysia, Mexico, New Zealand, Russia, Singapore, Taiwan, Turkey and South Africa. In 2011 Kahn started the Editions imprint to publish his own recordings and writings.

Jason Kahn is a musician, artist and writer. He was born 1960 in New York and grew up in Los Angeles. He re-located to Europe in 1990 and is currently based in Zürich.

As an electronic musician, vocalist and drummer Kahn collaborates regularly with many musicians, both in improvised settings and in the context of graphical scores which he composes for specific groups.

Kahn has exhibited his installations in museums, galleries, art spaces and public sites internationally. These works focus on the idea of space: the conceptual and physical juncture points, its production and dissolution, and our relation to it as a political, social and environmental medium.

Kahn's other activities include sound pieces for radio, film, dance and theater. He has also designed numerous CD, LP and cassette covers. As a writer, his work has appeared in books, magazines and as liner notes to many audio publications.

Performing regularly around the world, Kahn has given concerts throughout Europe, North and South America, Australia, China, Egypt, Hong Kong, India, Indonesia, Israel, Japan, Korea, Lebanon, Malaysia, Mexico, New Zealand, Russia, Singapore, Taiwan, Turkey and South Africa.

In 2011 Kahn started the Editions imprint to publish his own recordings and writings.

Jean-Luc Guionnet
My musical work subdivides itself into as many ways as occasions arise for me to think and act with sound. Those occasions have always to do with a strong meeting with an outside element : an instrument (saxophone/organ), a theoretical idea (what is "rumour"?), and mainly a collaborating friend (André Almuro, Éric Cordier, Éric La Casa, Franck Gourdien, Taku Unami, Seijiro Murayama, Lotus Edde-Khouri) or long-term teams (Ames Room, Hubbub, Pheromones)... There then follows a collection of themes which, in turn, influences the evolution of the musical work and define the direction of meetings to come: the thickness of the air, the pidgin, the musical instrument considered as affective automaton, listening dark unto itself, the algebra of and in hearing, sound as a signature of space, signature of objects, signature of what it is not... the fact that French uses the same word – le temps – for time and weather, propagation and spread of forms in time etc. Music is, then, a way to test reality. Conversely, it’s a test whose experience defines a new distribution of the whole body by artificially localizing it in an unknown and purely physical environment, all the while being able to think, count, make relations or understand places, and so forth. The emotion I look for in music is made out of all these strata and the sliding of one over the other during the act of listening.

Adria Otte Adria Otte is a multi-instrumentalist whose primary focus has been on violin and guitar. She has performed in ensembles ranging from string quartets to rock bands to free improvisation groups and currently frequently collaborates with Dohee Lee and Navarrete x Kajiyama Dance Theater, focusing on sound design and electronics. Kristina Dutton Violinist/composer Kristina Dutton works in a wide range of musical settings, moving freely between improvisation, new music, and interdisciplinary collaboration. Conservatory trained, she has performed on more than 30 albums of various genres, appeared with numerous orchestras, and a handful of internationally acclaimed rock groups.  Konoko Nishi-Smith Although her primary training is in classical piano performance, Kanoko Nishi’s most recent interest has been in improvisational music making, both in a solo context and in collaborations with other artists. She has been exploring on the piano, as well as on her second instrument, koto (13, or 17-string Japanese zither), various extended techniques, in addition to more traditional techniques, in order to widen the range of vocabularies on each instrument and to enable them to adapt to different musical genres. Her frequent collaborators so far include: Jacob Felix Heule, Jon Raskin, Theresa Wong, Maryclare Brzytwa, and Shayna Dunkelman, but she has performed with various other musicians in the Bay Area, as well as in Europe. Kanoko also enjoys collaborating with dancers, such as Paige Sorvillo, Yuko Kaseki, Isak Immanuel, Sherwood Chen, as well as poets and visual artists to push the limits of her musical language.  

Adria Otte
Adria Otte is a multi-instrumentalist whose primary focus has been on violin and guitar. She has performed in ensembles ranging from string quartets to rock bands to free improvisation groups and currently frequently collaborates with Dohee Lee and Navarrete x Kajiyama Dance Theater, focusing on sound design and electronics.

Kristina Dutton
Violinist/composer Kristina Dutton works in a wide range of musical settings, moving freely between improvisation, new music, and interdisciplinary collaboration. Conservatory trained, she has performed on more than 30 albums of various genres, appeared with numerous orchestras, and a handful of internationally acclaimed rock groups. 

Konoko Nishi-Smith
Although her primary training is in classical piano performance, Kanoko Nishi’s most recent interest has been in improvisational music making, both in a solo context and in collaborations with other artists. She has been exploring on the piano, as well as on her second instrument, koto (13, or 17-string Japanese zither), various extended techniques, in addition to more traditional techniques, in order to widen the range of vocabularies on each instrument and to enable them to adapt to different musical genres. Her frequent collaborators so far include: Jacob Felix Heule, Jon Raskin, Theresa Wong, Maryclare Brzytwa, and Shayna Dunkelman, but she has performed with various other musicians in the Bay Area, as well as in Europe. Kanoko also enjoys collaborating with dancers, such as Paige Sorvillo, Yuko Kaseki, Isak Immanuel, Sherwood Chen, as well as poets and visual artists to push the limits of her musical language.
 

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Re:Sound Migration 2017
Feb
11
3:30 PM15:30

Re:Sound Migration 2017

Ashley Bellouin (Oakland)

Michele Seippel (San Francisco)

Joshua Churchill + Paul Clipson (San Francisco)

Doors at 3:00 pm
$10 Get tickets
All ages welcome
Bring something to sit on, blanket or chair. 
A percentage of the sales go to the Mare Island Shoreline Preserve

Ashley Bellouin’s work explores the merging of sound art, electro-acoustic composition, and instrument building. She focuses on the studies of sonology, psychoacoustics, and the interaction between sound and architecture. Her compositions emphasize and exploit the sonic potential contained within a single musical gesture, regularly using electronics to develop latent qualities. Spatialization, beat frequencies, auditory illusions, and microtonal tunings are frequent compositional tools.

Ashley holds an MFA in Electronic Music & Recording Media from Mills College, where she was awarded the Frog Peak Collective Experimental Music Award for most outstanding thesis. She has performed extensively throughout the west coast and has held residencies at the Paul Dresher Ensemble Artist Residency Center, the UC Berkeley Center for New Media, the Djerassi Resident Artists Program, Sitka Center for Art and Ecology, and EMS in Stockholm, Sweden. In the Fall of 2016 her debut solo LP, Ballads, will be released on Drawing Room Records.

Professionally, Ashley has worked for synth pioneers Don Buchla, as his assistant in research and development, and Dave Smith, as a technician at Dave Smith Instruments. She currently serves as Visiting Faculty at the San Francisco Art Institute and resides in Oakland, CA.

ashleybellouin.com

 

Michele Seippel: I strongly believe the intersection of mediums is the foundation of my work. In order for mediums to intersect, they must have a common thread. For myself, that thread is time. My work is comprised of captured personal moments from my audio diaries. During my live performances I am able to find a home for the physical and not so concrete memories with the use of field recordings, voicemails, and video footage, while manipulating them in real-time. The use of motion controllers, looping and audio analysis creates an ephemeral experience for the audience. My process of layering and blurring both imagery and soundscapes should hopefully provoke the audience to reminisce about fleeting memories that often escape our conscious. I am a graduate from Virginia Commonwealth with degrees in Kinetic Imaging and Painting and New Genres. My background in live performance sound and video editing has allowed me to participate in galleries, theaters domestically and abroad. I currently make sounds in my little green house, live in Santa Clara, California and run a neat net label with my brother over at seippelabel.com

Michele Seippel:

I strongly believe the intersection of mediums is the foundation of my work. In order for mediums to intersect, they must have a common thread. For myself, that thread is time. My work is comprised of captured personal moments from my audio diaries. During my live performances I am able to find a home for the physical and not so concrete memories with the use of field recordings, voicemails, and video footage, while manipulating them in real-time. The use of motion controllers, looping and audio analysis creates an ephemeral experience for the audience. My process of layering and blurring both imagery and soundscapes should hopefully provoke the audience to reminisce about fleeting memories that often escape our conscious.

I am a graduate from Virginia Commonwealth with degrees in Kinetic Imaging and Painting and New Genres. My background in live performance sound and video editing has allowed me to participate in galleries, theaters domestically and abroad. I currently make sounds in my little green house, live in Santa Clara, California and run a neat net label with my brother over at seippelabel.com

Joshua Churchill + Paul Clipson Joshua Churchill and filmmaker Paul Clipson create hallucinatory collisions of sound, light, and image using field recordings, guitar, tape loops, electronics and film, respectively. For Re:Sound, Churchill and Clipson will be incorporating sounds and images collected on Mare Island, while utilizing the element of chance as each artist presents densely layered and textured abstract collages within their respective mediums without premeditations on their coalescence. Churchill and Clipson's most recent collaborations include the MONO NO AWARE festival in New York City (with John Davis), and the UNSEEN series at Gray Area in San Francisco. Joshua Churchill is a San Francisco-based cross-disciplinary artist whose immersive site-specific sound and light work takes the form of both installation and performance, often blurring the line between the two. In addition to performing with filmmakers such as Paul Clipson and John Davis, Churchill also performs and records under the moniker Plumes. Churchill has exhibited and performed throughout the US and abroad.  Paul Clipson makes films in Super8 and 16mm. Many of his films are the result of collaborations with sound artists such as Grouper, Jefre Cantu-Ledesma and Joshua Churchill, all of whose methods of experimenting with sound and instrumentation, incorporating improvisation, mistakes and accidents into live performances and recordings, have greatly influenced his work. His films have screened around the world in festivals and at sound & film events such as the International Film Festival Rotterdam, The New York Film Festival and the Cinémathèque Française

Joshua Churchill + Paul Clipson

Joshua Churchill and filmmaker Paul Clipson create hallucinatory collisions of sound, light, and image using field recordings, guitar, tape loops, electronics and film, respectively. For Re:Sound, Churchill and Clipson will be incorporating sounds and images collected on Mare Island, while utilizing the element of chance as each artist presents densely layered and textured abstract collages within their respective mediums without premeditations on their coalescence. Churchill and Clipson's most recent collaborations include the MONO NO AWARE festival in New York City (with John Davis), and the UNSEEN series at Gray Area in San Francisco.

Joshua Churchill is a San Francisco-based cross-disciplinary artist whose immersive site-specific sound and light work takes the form of both installation and performance, often blurring the line between the two. In addition to performing with filmmakers such as Paul Clipson and John Davis, Churchill also performs and records under the moniker Plumes. Churchill has exhibited and performed throughout the US and abroad. 

Paul Clipson makes films in Super8 and 16mm. Many of his films are the result of collaborations with sound artists such as Grouper, Jefre Cantu-Ledesma and Joshua Churchill, all of whose methods of experimenting with sound and instrumentation, incorporating improvisation, mistakes and accidents into live performances and recordings, have greatly influenced his work. His films have screened around the world in festivals and at sound & film events such as the International Film Festival Rotterdam, The New York Film Festival and the Cinémathèque Française

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Re:Sound September 2016
Sep
24
3:00 PM15:00

Re:Sound September 2016

Re:Sound

Tim Barnes + Jeph Jerman  (Cottonwood AZ + Louisville KY)

Joe Colley  (Oakland)

Michael Gendreau  (San Francisco)

Doors at 3:00 pm
$10 Get Tickets Here
All ages welcome
Bring something to sit on, blanket or chair.
Food and drink and merch will be avaliable. 
A percentage of the sales go to the Mare Island Shoreline Preserve

Tim Barnes + Jeph Jerman JEPH JERMAN: I grew up in a military family, so we moved around a lot, a different place every two years until my father retired in Colorado. I started playing music in a number of bar bands, whilst also experimenting with other forms – playing around with tape recorders and trying to find people to improvise with. Formed a few long lasting bands (Big Joey, City Of Worms, Blowhole) and began recording and playing solo as hands to. Ran a cassette label during the 80s cassette culture explosion.  Eventually ended up in Seattle, where I fell in with the local musical community. Two years of near-constant playing with people like Paul Hoskin, Doug Theriault, Dave Knott, Angelina Baldoz, Lori Goldston, Mike Shannon and Wally Shoup. One memorable concert with John Butcher. Continued to develop my solo work, and began improvising with natural sound makers (stones, shells, pine cones) around 1996. Formed the first animist orchestra in 1999, to perform works for same.  Moved to Arizona and have since done tours with Tim Barnes, Sean Meehan and David Daniell, Paul Hoskin, and toured Australia and New Zealand with Greg Davis. In 2001 I made recordings of the desert and it’s interaction with man made structures and released a new cassette every month for a year. I continue to investigate the desert, build crude sound making devices and play and record whenever the opportunity arises. TIM BARNES is a globally recognized percussionist, composer, sound designer, and audio archivist. He has performed at the Guggenheim, Whitney, and Pompidou museums, as well as in galleries and performance halls in Tokyo, Berlin, Rome, Belgium, Stockholm, Mexico City, and Melbourne. He has been recruited to perform with some of experimental music’s most accomplished players, including John Zorn, Kim Gordon, Ikue Mori, Jim O’Rourke, Lee Ranaldo, and Jeph Jerman. American corporations such as Starbucks, Nike, Cadillac, and Merrill Lynch have hired Tim to create sound collages for their television advertisements. He has also worked closely with Fluxus artists La Monte Young and Henry Flynt with archival restoration of recorded works, and in 2005, Tim performed and recorded Alison Knowles’ composition “Onion Skin Song”. Currently, he is working with Vito Acconci and the publisher Primary Information on presenting Mr. Acconci’s complete recorded works. Tim lives in Louisville, Kentucky, where he is the Artistic Director of the performing and visual art space Dreamland.

Tim Barnes + Jeph Jerman

JEPH JERMAN: I grew up in a military family, so we moved around a lot, a different place every two years until my father retired in Colorado. I started playing music in a number of bar bands, whilst also experimenting with other forms – playing around with tape recorders and trying to find people to improvise with. Formed a few long lasting bands (Big Joey, City Of Worms, Blowhole) and began recording and playing solo as hands to. Ran a cassette label during the 80s cassette culture explosion. 

Eventually ended up in Seattle, where I fell in with the local musical community. Two years of near-constant playing with people like Paul Hoskin, Doug Theriault, Dave Knott, Angelina Baldoz, Lori Goldston, Mike Shannon and Wally Shoup. One memorable concert with John Butcher. Continued to develop my solo work, and began improvising with natural sound makers (stones, shells, pine cones) around 1996. Formed the first animist orchestra in 1999, to perform works for same. 

Moved to Arizona and have since done tours with Tim Barnes, Sean Meehan and David Daniell, Paul Hoskin, and toured Australia and New Zealand with Greg Davis. In 2001 I made recordings of the desert and it’s interaction with man made structures and released a new cassette every month for a year. I continue to investigate the desert, build crude sound making devices and play and record whenever the opportunity arises.

TIM BARNES is a globally recognized percussionist, composer, sound designer, and audio archivist. He has performed at the Guggenheim, Whitney, and Pompidou museums, as well as in galleries and performance halls in Tokyo, Berlin, Rome, Belgium, Stockholm, Mexico City, and Melbourne. He has been recruited to perform with some of experimental music’s most accomplished players, including John Zorn, Kim Gordon, Ikue Mori, Jim O’Rourke, Lee Ranaldo, and Jeph Jerman. American corporations such as Starbucks, Nike, Cadillac, and Merrill Lynch have hired Tim to create sound collages for their television advertisements. He has also worked closely with Fluxus artists La Monte Young and Henry Flynt with archival restoration of recorded works, and in 2005, Tim performed and recorded Alison Knowles’ composition “Onion Skin Song”. Currently, he is working with Vito Acconci and the publisher Primary Information on presenting Mr. Acconci’s complete recorded works. Tim lives in Louisville, Kentucky, where he is the Artistic Director of the performing and visual art space Dreamland.

Jeph Jerman   

Jeph Jerman 

 

Joe Colley JOE COLLEY has spent ten years exploring the multiple conceptual possibilities of sound, through music production, installations, or collaborations with video artists, dancers, and even prisoners. His latest installations attempted to dissimulate the artist by concentrating on the instigation of unstable situations unique to the composition of random sound. Colley first began recording under the moniker Crawl Unit in 1993, and later dropped the name in favor of his given name in 2001. He's released numerous recordings for Auscultare, Antifrost, ERS, Manifold, C.I.P, and his own Povertech Industries. In 2006, Colley won an Award of Distinction for the 2006 Prix Ars Electronica in Digital Music for his album Psychic Stress Soundtracks.

Joe Colley

JOE COLLEY has spent ten years exploring the multiple conceptual possibilities of sound, through music production, installations, or collaborations with video artists, dancers, and even prisoners. His latest installations attempted to dissimulate the artist by concentrating on the instigation of unstable situations unique to the composition of random sound. Colley first began recording under the moniker Crawl Unit in 1993, and later dropped the name in favor of his given name in 2001. He's released numerous recordings for Auscultare, Antifrost, ERS, Manifold, C.I.P, and his own Povertech Industries. In 2006, Colley won an Award of Distinction for the 2006 Prix Ars Electronica in Digital Music for his album Psychic Stress Soundtracks.

Michael Gendreau Michael GENDREAU has composed and performed solo as well as in several group configurations since 1979. His former group, Crawling With Tarts (1983 – 1998), expressed ideas within elementalism and pre-language states. Gendreau has elaborated on this while adding concepts inspired by his studies of physics, parataxis, philosophies centered on temporal and environmental persistence; and his experiments with small motors and turntable mechanisms. Performances have involved one-off transcription discs cast by others in the middle of the last century, and those cut in his studio using a decrepit lathe. More recently, Gendreau has sought to extend these studies, while experimenting with the use of a building as a speaker. He records infrasonic vibrations of a performance space, then in the concert, he uses the structure’s resonances as an additional instrument in his site-specific compositions. These practices are based in part on his current work as an acoustician working primarily on low-vibration and noise design for buildings. Gendreau has performed these site-specific compositions in locations around the world: Valencia, Spain; Paris, France; Athens, Greece; Lausanne, Switzerland; and others.

Michael Gendreau

Michael GENDREAU has composed and performed solo as well as in several group configurations since 1979. His former group, Crawling With Tarts (1983 – 1998), expressed ideas within elementalism and pre-language states. Gendreau has elaborated on this while adding concepts inspired by his studies of physics, parataxis, philosophies centered on temporal and environmental persistence; and his experiments with small motors and turntable mechanisms. Performances have involved one-off transcription discs cast by others in the middle of the last century, and those cut in his studio using a decrepit lathe. More recently, Gendreau has sought to extend these studies, while experimenting with the use of a building as a speaker. He records infrasonic vibrations of a performance space, then in the concert, he uses the structure’s resonances as an additional instrument in his site-specific compositions. These practices are based in part on his current work as an acoustician working primarily on low-vibration and noise design for buildings. Gendreau has performed these site-specific compositions in locations around the world: Valencia, Spain; Paris, France; Athens, Greece; Lausanne, Switzerland; and others.

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Re:Sound SUN
Jun
25
3:30 PM15:30

Re:Sound SUN

Daniel Menche (Portland, OR)

Mem1 (Providence)

Chris Duncan (Oakland)

Zachary James Watkins (Oakland)

$10 Get Tickets Here

Daniel Menche's work originates from the idea that there is no restriction to potential sound sources, especially in terms of a sound’s potential sonic energy. Self-made recorded sound sources, instruments, and percussion can all be equally harnessed in creating a living and emotional feeling within Daniel Menche's contemporary work.

Mem1's music moves beyond melody, lyricism and traditional structural confines, revealing an organic evolution of sound that has been called “a perfect blend of harmony and cacophony” (Forced Exposure).

Chris Duncan is an Oakland-based artist who employs repetition and accumulation as a basis for experiments in visual and sound based media. Often in flux between maximal and minimal, Duncan's work is a constant balancing act of positive or negative, loud or quite, solitary or participatory and tends to lead towards questions regarding perception, experience and transcendence.

Zachary James Watkins is a sound artist who has earned degrees in composition from The Cornish School and Mills College. Zachary has received numerous grants and commissions and presented works in festivals across the United States, Mexico and Europe. 

Re:Sound explores the relationship between forgotten spaces, sound abstraction and the natural environment. The series takes place on the Mare Island Shoreline Heritage Preserve, a 215-acre park that formerly served as one of the first Naval Ammunition Depots. The event is held in a concrete munitions storage magazine measuring 55'x100' with ceilings over 15'. The architecture of the building traps sound resulting in a prolonged reverberation. 
 

 
Doors at 3:00 pm
$10 Get Tickets Here
All ages welcome
Bring something to sit on, blanket or chair.
Food and drink and merch will be avaliable. 
A percentage of the sales go to the Mare Island Shoreline Preserve, 
re-sound.net

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Schimpfluch
Jun
11
6:00 PM18:00

Schimpfluch

Join us for three very special solo performances by Dave Phillips, Rudolf Eb.er & Joke Lanz Tickets are now avaliable.

Founded in Zürich in 1987, the 5chimpfluch Grupp3 has become the epitome of radical outsider art in many respects. Appearing in varying lineups over the years, the 5chimpfluch Grupp3 has been forging a bridge from stirring audio and visual works to disturbing and highly challenging live performances ever since. Their work has covered a wide range of live and recorded output: audio/sonic art, actionism, bruitism, performance, musique concrète, painting and installation-work, confrontational radio broadcasts, physically demanding performances, ‘abreaction plays’ and ‘psycho-physical tests and trainings.’The work created under the name 5chimpfluch deals with therapeutic and analytical actions and reactions of the psyche, the body, and of senses and realities (of both the performers and the audiences), in a radical, critical but also liberating way - an attack on the mind as well as a stimulation of the senses. 

Rudolf Eb.er’s rites and artefacts are portals to the traumatic expanses and abysses of human existence. Regarded as psychopomp or art-brut shamanist, his trail of work leads deep down to - and through - the nethermost regions of the human psyche. Rudolf Eb.er’s research de-occults the psychic body through psycho-physical tests and trainings. He employs and combines abreactive and cleansing actionism with sonic rituals, psychoactive acoustics and close-up fieldrecordings of nature and decay, generating audio-environments into which he plants grotesque psycho-magic rituals and tantric exercises that trigger a nondual, higher awareness. 

Rudolf Eb.er aka Runzelstirn & Gurgelstøck founded the Schimpfluch extreme and outsider artist collective in Zürich in 1987. Schimpfluch exponents are highly regarded for their unique and obscure aural and visual work; their confrontational, physically demanding performances and shock treatments remove the boundaries of the body and open up accesses to the collective unconscious.

Eb.er, born 1967 in Zürich, Switzerland, is currently based in Osaka, working as painter, de/composer and psycho-spiritual researcher.

http://www.runzelstirn-gurgelstock.net/

https://rudolfeber.bandcamp.com/

http://www.tinymixtapes.com/features/rudolf-eber

https://www.youtube.com/watch?v=zhkZv5ovcWY 

soundcloud.com/rudolf-eb-e

dave phillips is an activist using sound as a language, creating sonic rituals that address and oppose the restriction and reduction of life and living, regularly touching on existentialist topics, animal rights, human rights and environmental awareness, resulting in a unique and often cathartic sound world that activates primordial shared emotions and rings in the era of humanimal. dp re/searches and ponders existences and behaviourisms humanimalistically via audio de/construction, psycho-acoustics, sonic rituals; sound as communication in direct and primal form, a tool of metaphysics, a conscience, an unrestrained language. sound as a means to activate primordial shared emotions otherwise hidden by civilised experience. dp's work engages, invites rumination, endorses sentient and environmental e/quality and encourages intervention and action; therapeutical stimulation is acknowledged. a form of release is evoked, a liberating cleansing, a sound catharsis that opposes the omnipresent reduction of existence, that puts us in touch with our sentient origins as well as with the realities of our times. dp rings in the era of humanimal..

dp has been sonically active for over 30 years, has appeared on more than 190 releases and has played around 500 concerts in 40 countries.

dp was born in 1969 in Zug, and lives in Zürich

http://www.davephillips.ch/

https://dave-phillips.bandcamp.com/

https://soundcloud.com/dave-phillips

https://www.youtube.com/watch?v=qjFraoLB56k 

Joke Lanz is one of the most prolific and profound artists working in the border zones where performance and body art meet Improvisation and Noise. Lanz creates a unique blend of physical sound poetry and epileptic noise bursts, using contact microphones, loops, tapes etc. The result is an extreme form of musique concrète that juxtaposes spasmodic gibbering with a battery of disorienting electronics. Since 1985 involved with a broad variety of musical projects, such as: Jaywalker, Sudden Infant, Schimpfluch-Gruppe, Psychic Rally, Vehikel & Gefäss, Catholic Boys in Heavy Leather, WAL, and Tell. 

Innumerable releases on international labels, including Schimpfluch, Tochnit Aleph, Blossoming Noise, RRR, Entr’acte, Artware, Klanggalerie, PAN, SSSM, iDEAL Recordings, Harbinger Sound, and Nihilist Records. Festival performances and tours in: USA, Japan, Taiwan, Hong Kong, South Africa, Israel and all over Europe.Born 1965 in Basel, Switzerland. Currently based in Berlin.

http://www.suddeninfant.com/

http://suddeninfant.blogspot.com/

http://www.tokafi.com/15questions/interview-joke-lanz-sudden-infant

Re:Sound explores the relationship between forgotten spaces, sound abstraction and the natural environment. The series takes place on the Mare Island Shoreline Heritage Preserve, a 215-acre park that formerly served as one of the first Naval Ammunition Depots. The event is held in a concrete munitions storage magazine measuring 55'x100' with ceilings over 15'. The architecture of the building traps sound resulting in a prolonged reverberation. 

Doors at 5:30 pm
$10 Get Tickets Here
Dress warm and bring something to sit on. 
Food and drink and merch will be avaliable. 
A percentage of the sales go to the Mare Island Shoreline Preserve, 
www.mareislandpreserve.org
re-sound.net

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Re:Sound Migration 2016
Feb
20
3:30 PM15:30

Re:Sound Migration 2016

 

 

Loren Chasse

Suki O'Kane

Andrea Williams

David Samas

Click to get tickets

Re:Sound Migration 2016
Join us for a weekend of artists presenting audio and visual pieces in conjunction with the San Francisco Bay Flyway Festival. The event celebrates the peak of migratory season for hundreds of species of birds in the Bay Area.
Doors at 3pm
Suggested donation $10
All ages welcome
A percentage of the donation goes to the Mare Island Shoreline Preserve, www.mareislandpreserve.org

Loren Chasse-
I have recorded/performed internationally as a solo artist (under my own name and the moniker Of) and also collaboratively with Keith Evans and the groups idBattery, Thuja, The Blithe Sons, The Child Readers, and Coelacanth beginning in San Francisco in the mid 90s. After a few years of doing projects about 'listening and field recording' with children in the Bay Area and London, I became a full-time elementary school teacher. Currently I live in Portland, OR, teaching at an environmental science school and continuing to record and perform.
Some recent releases are 'Characters at the Water Margin' (on the Belgian label Unfathomless), featuring recordings of driftwood, sand, stones, wind and water from Washington's Olympic Coast, 'The Animals and Their Shadows' (on the Russian label Semperflorens) and 'The Sodden Floor' (on Portland label Notice Recordings).
“Performances are my means for exploring the individual experience of the listener. At the same time, I investigate ways in which ‘fields’ are affected as they are recorded. I use numerous strategies for recording, playback and re-recording within the duration of the live event to evolve a sort of ‘composition.’ 

Suki O’Kane is a classically trained mallet percussionist, a composer and an instigator working with artists from a wide array of of music, movement and public art genres. One of the founding members of the lo-fi sampling ensemble The Noodles (with Michael Zelner), plays percussion with Moe! Staiano’s Moe!kestra!, Dan Plonsey’s Daniel Popsicle, Big City Orchestra and is an ensemble member of Thingamajigs performing new works by Edward Schocker, Dylan Bolles and Zachary Watkins.
Suki has performed live and recorded with She Mob and the side projects of its co-founder Sue Hutchinson: mad folk duo Junior Showmanship and it’s alter-ego speed metal Winner’s Bitch. She has performed in realizations of Jon Brumit’s Vendetta Retreat, and with Lucio Menegon in his Split Lip, Soundtrack Instumentals and Strangelet projects. Her long-running conversation about intermedia with Sarah Lockhart is occasionally expressed in drumkit duo and percussion trio performances of SL Morse. She works in partnership with House of Zoka, a live recording project that has documented over 13 years of creative new music in the Bay Area, and since 2003 has been curating performances of live music and film, such as The Illuminated Corridor, a nomadic public art project that creates streetscapes of live experimental music and performative projection and Music by the Eyeful, the indoor performance series exploring the work of intermedia artists. She has collaborated with Neighborhood Public Radio to present NOVA, a culminating event of NPR’s exhibition American Life at the 2008 Whitney Biennial, and with the Overdub Club, an ensemble made of performative filmmakers Alfonso Alvarez, Thad Povey, and musician Lucio Menegon.
http://sukiokane.com/music/

New York sound artist and composer, Andrea Williams, utilizes site-specific elements and perceptual cues to reveal the unseen connections between people and their environment. Her compositions make use of field recordings, instruments, computer technologies and the sound of the performance space itself. She has led soundwalks in New York City and the San Francisco Bay Area, and has shown and performed both solo and with various musicians and artists at galleries and alternative spaces internationally, such as the Whitney Museum, Eyebeam Art+Technology Center, Observatori Festival, Children’s Creativity Museum, NPR, Miami Art Fair, and the Mamori sound artist residency in the Amazon rainforest. She is a board member of the American Society for Acoustic Ecology, a Co-Director at-large of 23five, Inc., but she is currently mostly buried in her studies at Rensselaer Polytechnic Institute in NY for her Ph.D. in Electronic Arts.
http://www.listeninglistening.com/biocv.html

David Samas, Curator, is a composer, cosmologist, poet, painter, performer, philosopher, farmer and father of 4. He is the Gallery Manager and Co-curator at the Window Gallery for Invented Instruments at the Center for New Music SF Where he has worked with Trimpin, Kronos Quartet, ROVA Arts, Bart Hopkin and more than a dozen local legends. He serves as Director and Curator of the Music for People and Thingamajigs Festival, now in its 19th year. He is also Artistic Director of the Turquoise Yantra Grotto, a house concert series for avant improvisers and invented instrumentalists, and was Curator for the Composers in Performance series for its final year at the Meridian Gallery working with Eliot Sharp, Gino Robair, Shelley Hersch, , CCRMA (Stanford) and Paul Dresher. In 2015 he organized MicroFest San Diego, featuring the exhibition Visual Harmony: Contemporary Tuning Graphics, with works of Lou Harrison, Harry Partch, Erv Wilson, Ivor Darreg and others. David earned a BFA in Conceptual Art at the SF Art Institute, and has performed everything from shamanic drumming at Grace Cathedral on Easter to the GRAMMY winning recording of Carmina Burana with the SF Symphony and Chorus to blackbox performances of his inventive chamber operas for which he builds an orchestra of experimental musical instruments. He has shown at the Exploratorium, the Diego Rivera Gallery, and is included in the Di Rosa Collection.


Important details about the space:
It can get cold so please dress accordingly and bring blankets to sit on, there is limited seating. 
Arrive early for hiking and exploring Mare Island.

 

 

 

 

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Re:Sound presents TOUCH
Sep
19
3:00 PM15:00

Re:Sound presents TOUCH

Re:Sound presents an afternoon of TOUCH artists

Co-presented by 23five

Get tickets here: Buy tickets


Simon Scott (UK) Slowdive

Steve Roden (Pasadena)

Mark Van Hoen (Los Angeles/UK) Seefeel, Locust

Touch "Live Mix"

Screening of the Fennesz/Wozencroft film Liquid Music

Doors at 3pm, Screening of Liquid Music at 3:30
Suggested donation $10,  Click Buy tickets for advance admission
A percentage of the donation goes to the Mare Island Shoreline Preserve, www.mareislandpreserve.org

Join the event on Face Book here: Re:Sound

Important details about the space:
It can get cold so please dress accordingly and bring blankets to sit on, there is limited seating. Arrive early for hiking and exploring Mare Island.

Transportation:

Re:Sound TOUCH ride share

Ferry

BART + Bus

We will be setting up a shuttle to pick people up at the Vallejo Ferry terminal at 2:30 pm.

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Re:Sound SUN
Jun
6
5:00 PM17:00

Re:Sound SUN

Magazine A-168 Mare Island Mercado Ct Vallejo, CA, 94592 United States

Re:Sound co-presented by 23five presents an afternoon of sound and video featuring artists form the San Francisco Bay Area.

Keith Evans

Cheryl Leonard + Rebecca Haseltine

Horaflora

 

Suggested donation is $5-$10. A percentage of the proceeds will be donated to the Mare Island Heritage Shoreline Preserve.

The show takes place in a concrete magazine. There is limited seating, please bring something to sit on and a jacket or blanket, it can get cold!

Click on the link to go to a Google doc that you can use to sign up to give rides or request a ride to the show.
RE:SOUND Ride Share

Ferry and Transit Schedule:

San Francisco + Vallejo Ferry

San Francisco + Vallejo Transit

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Re:Sound Migration
Feb
15
3:00 PM15:00

Re:Sound Migration

in conjunction with the San Francisco Bay Flyway Festival Re:Sound presents an afternoon of sound and video featuring artists form Southern California and the San Francisco Bay Area.

Video/audio installation by J.Frede

Voicehandler

Joe Cantrell

Gretchen Jude

 

Suggested donation is $5-$10. A percentage of the proceeds will be donated to the Mare Island Heritage Shoreline Preserve.

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Re:Sound Migration
Feb
14
3:00 PM15:00

Re:Sound Migration

In conjunction with the San Francisco Bay Flyway Festival re:sound presents an afternoon of sound and video featuring artists form Southern California and the San Francisco Bay Area.

Video/audio installation by J.Frede

Kevin Corcoran & Jen Boyd

Jorge Bachmann & Michael Mersereau  "Light Intervention"

Jim Haynes

 

Suggested donation $5-$10. A percentage of the proceeds will be donated to the Mare Island Heritage Shoreline Preserve.

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