10th Annual Outsound New Music Summit
JULY 17-23, 2011
San Francisco Community Music Center
544 Capp Street @ 20th, San Francisco, CA click for map
Jul 17-18 - free admission Jul 20-23 admission $12 General / $10 Student
Q&A Sessions 7:15 -7:30 pm Music Performance Starts @ 8:15 pm

Parking: New Mission Bartlett Garage (21st Street, between Mission and Valencia Streets)
Public Transportation: MUNI lines 14, 33 & 49, BART 16th or 24th Street Station

Buy tickets for 10th Annual Outsound New Music Summit

AT A GLANCE KFJC so-presents the 10th Annual Outsound New Music Summitco-presents Meet the Composer SFFCM
Sun Jul 17 Mon Jul 18 Wed Jul 20 Thu July 21 Fri Jul 22 Sat Jul 23
OutSpoken Events
7-10pm
Hands-On Expo
Touch The Gear
7-9pm
Panel discussion on the Elements of non-idiomatic compositional strategies
Kanoko Nishi, Andrew Raffo Dewar, Krystyna Bobrowski,
Gino Robair
7:15 PM
Pre-Concert Q&A
All Artists
7:15 PM
Pre-Concert Q&A
All Artists
7:15 PM
Pre-Concert Q&A
All Artists
7:15 PM
Pre-Concert Q&A
All Artists
Performance
    8:15 PM
FACE MUSIC
Theresa Wong,
Joseph Rosenzweig, Aurora Josephson, Bran...(POS)

8:15 PM
The Freedom of Sound
Tri-Cornered Tent Show Dina Emerson, Positive Knowledge, Grosse Abfahrt
8:15 PM
The Art of Composition
Kanoko Nishi, Andrew Raffo Dewar's Interactions Quartet, Krystyna Bobrowski, Gino Robair's Ensemble Aguascalientes
8:15 PM
Sonic Foundry Too!
Tom Nunn, Steven Baker, Bob Marsh, Dan Ake, Sung Kim, Walter Funk, Brenda Hutchinson, Sasha Leitman, Bart Hopkin, Terry Berlier, David Michalak
 
The 10th Annual Outsound New Music Summit is made possible through the Musical Grant Program, which is administered by the San Francisco Friends of Chamber Music, and supported by Heller Foundation, the Hewlett Foundation, the San Francisco Foundation and San Francisco Grants for the Arts. For more information www.sffcm.org
Funded in part through Meet The Composer's MetLife Creative Connections program.

Sunday July 17OutSpoken
Touch the Geartm Expo
A hands-on experience of sound producing gear and instruments!
7-10pm admission is free - An OutSpoken Event

Ever wanted a closer look at the gear on stage? Want to try it out yourself? The Third Annual Touch the Gear Expo is Outsound’s free event that allows the public to roam among the musicians and sound artists and their sonic inventions, asking questions, making noise and learning how these often one-of-a-kind set-ups work. It’s a hands-on, family-friendly environment that demystifies technology while inspiring the creativity. This is a free public event.

looping rigs, MIDI controllers, analog electronics, homemade instruments, Walker Manual Glitch pedal, electroacoustic percussion, turntables and more!
Touch the Gear Expo

Monday July 18OutSpoken
Discussion Panel:
Elements of non-idiomatic compositional strategies

7-9pm admission is free - An OutSpoken Event
Skatchbox
Krys Bobrowski, Andrew Raffo Dewar, Kanoko Nishi and Gino Robair will discuss the joys and pains of creating new works some of which to be premiered on Friday night in The Art of Composition. There will be an answer and questions segment for attendees of this free public event.
 
Face Music, Theresa Wong, Joseph Rosenzweig, Aurora Josephson, and Bran...(POS) bran(...)pos is the ongoing audio-visual-performance-noise-musique-brain-bend of Jake Rodriguez from San Francisco, CA. Rodriguez has been performing and recording under this moniker for 14 years with releases on C.I.P., Resipiscent, Ratskin Records, Animal Disguise, and Chitah! Chitah! Soundcrack. synthesizer and mouth manipulations are the most common audio elements, rounded out with rubber face and a live video component to complete the human-analog-digital-human circle. in March 2011, two bran(...)pos releases were on display at the Editions of You fair in Oxford, UK and added to the Oxford Brookes University Popular Music Research Unit's permanent collection of hand-made editions and zines. more info, sounds, photo, video can be found at soundcrack.net. "With a background in theater performance and sound (and a seriously demented mind), Rodriguez with his bran(...)pos project has boiled down the most absurd elements of our ongoing ritual into an amalgamation of human, sound, and light that is at once ridiculous and terrifying." - Paris Trans-Atlantic
more information for bran(...)pos & video of recent live show

Aurora Josephson is an accomplished musician and visual artist residing in Oakland, California. Building on a foundation of operatic training and a BA in Music Performance from Mills College, she has forged a bold vocal style that is uniquely her own. To unleash the limitless range of sonic possibilities in the voice, Josephson employs a variety of extended and unconventional techniques drawn from the worlds of contemporary composition, improvisation, and rock. She has performed and recorded with international talents like improvising musicians Martin Blume, Alvin Curran, Gianni Gebbia, Henry Kaiser, Joelle Leandre, Phillip Wachsmann and William Winant, musical groups like Big City Orchestra, The Molecules, the Flying Luttenbachers and the Merce Cunningham Dance Company.
more information for Aurora Josephson

Joseph Rosenzweig is an Oakland-based composer, performer, and artist. Much of his work concerns the site of the voice, its various articulations, and the artifacts of its technological mediation. In particular his work frequently focuses on the interaction of communication systems associated with speech, text, and sound. Joseph has performed and exhibited at various Bay Area venues including: MacArthur B Arthur, Oakland; The Contemporary Jewish Museum; The Luggage Store; and The Lab, San Francisco (Jun/Jul 2011). Joseph completes his MFA in Electronic Music and Recording Media at Mills College in 2011.
more information for Joseph Rosenzweig


Theresa Wong is a cellist, vocalist, composer and improviser whose work encompasses music, theater and the visual arts. Her training in classical music and design fused during a fellowship at Fabrica Center in Treviso, Italy where she recognized the possibility of creative performance through improvisation and the synergy of multiple disciplines. Bridging areas of musical and visual expression, Wong seeks to find the opportunity for transformation in each work for both the artist and receiver alike. Her current projects include: O Sleep, a multi-faceted improvised opera which explores the conundrum of sleep and dream life and The Unlearning, a collection of songs for cello, violin and two voices inspired by Francisco Goya's Disasters of War etchings to be released on Tzadik Records in 2011. Wong has collaborated with such artists as Fred Frith, Gianni Gebbia, Ellen Fullman, ROVA Saxophone Quartet, Carla Kihlstedt, Olympia Dukakis, ACT director Carey Perloff and dance pioneer Anna Halprin. Her performances have been included at the Fondation Cartier in Paris, Yerba Buena Center for the Arts in San Francisco, Festival Internacional de Puebla, Mexico, Unlimited 21 Festival in Wels, Austria, Radio France broadcast, A L'improviste and at The Stone in New York City. Wong currently resides in the San Francisco Bay Area. Theresa Wong will create a performance centered around vocal improvisation. Through amplification and manipulation with various objects, instruments and facial expressions, she will explore the expanses of vocal possibility, combining song, text, noise and gesture in a transformative ritual of sounding.
more information for Theresa Wong
 
Tri-Cornered Tent Show featuring guest vocalist Dina Emerson, Oluyemi and Ijeoma Thomas’ Positive Knowledge, and the ensemble led by Tom Djll known as Grosse Abfahrt with special appearance by Alfred23Harth  (A23H)Grosse Abfahrt
Tom Djll trumpets, preparations; matt ingalls clarinet & bass clarinet, violin; Tim Perkis electronics; Gino Robair energized surfaces & voltage made audible; John Shiurba electric guitar Guest: Kyle Bruckmann oboe, English Horn
Grosse Abfarhrt (“great departure”) is a project by founder Tom Djll to explore a number of problems in freely improvised music. The first and most obvious of these is the problem of ensemble size, which he wanted to tackle head-on: GA ensembles are always of seven to ten players. This range seems to settle in a locale where there is a strong opportunity for individual sound-agents to emerge and make a statement against the ensemble backdrop, and also for the entire ensemble to cohere into long-form structures that transcend the productions of conventional improvised-music sociality (another problem we tackle regularly). How these ensembles are collected takes up another problem: that of the conflict between fluency and comfort among improvising compadres. Fluency between players’ languages and approaches is desirable, of course; however, it can lead to complacency. Another goal of Grosse Abfahrt is to explode this complacency onstage. Grosse Abfahrt is made up of a core group of five players which does not vary. These people are all very familiar with each other’s strengths, preferences, and foibles, yet they do not play as a quintet (well, on one occasion they did). To this core Tom adds musicians who have not played with any of the core members. Often, these outsiders come from far away, and are playing as duos or trios already, so they arrive with some comfort and fluency in their own musical relationship. How these two dynamics come together to create music, with practically no introduction (much less, rehearsal), is their practice.

more information for Grosse Abfahrt

Positive Knowledge has recorded & performed together for the past two decades, composing and sharing their joyful Creative World Music Systems with lovers of music and poetry around the world. Ijeoma Thomas - Wordsmith, spoken word artist, poet vocalist and teacher believes "all art is a gift of the Holy Spirit." Composer, teacher & multi-reed musician (bass clarinet, saxophones) Oluyemi Thomas brings elements of life and work to the flow & he believes: "The musician's art is among those arts worthy of the highest praise..." As a great enhancement to their compositional approaches, Positive Knowledge continues to perform throughout the United States, Africa, Asia, Europe, South America, Israel, Canada, and the Caribbean Islands which has resulted in a rich multifaceted vocabulary to date. They have recorded or performed with such artists as Cecil Taylor, Wadada Leo Smith, Roscoe Mitchell, Alan Silva, Peter Kowald, Henry Kaiser,William Parker, Miya Masaoka & Gino Robair, "Kidd" Edward Jordan. Thomas, was quoted in the British magazine 'The Wire' as being "one of North America's preeminent bass clarinetists"
more information for Positive Knowledge

Tri-Cornered Tent Show
Philip Everett autoharp, electronics, percussion; Ray Schaeffer electric basses; Anthony Flores drumset, percussion
Guest: Dina Emerson voice
In the early 20th century "tent shows" created multiple stages of interest vying simultaneously for attention. They could be selling you medicine, salvation, entertainment or war. While Drawing on combined influences in R&B/dance, classical, multi cultural folk, progressive rock, 20th century avant garde, free jazz and heavy metal, Tri-Cornered Tent Show pushes the envelope of melodic groove and arrhythmic improvisation, sometimes evoking images of 70's Italian horror pictures. and other outr`e forms of cinema. Around the turn of the 21st century the Tri-Cornered Tent Show driven by two intrepid tavelers Philip Everett and Ray Schaeffer, came out from their exile held up in a well-insulated dank studio in the depths of Richmond California for almost three decades. The musical journey began with initial tracks of their first three releases being recorded using the ancient anti-deluvian technology of electronics from the 70’s. Though methodical deciphering of the Lovcraft short story “The music of Eric Zann”, other related stories expanded upon Lovecraft’s Greater Cthulu Mythos they began recording free improvisation and orchestrated sound sculpture over those many years. In 2003 their fourth creation Legion of Dagon features added guest members saxophonist Rent Romus and guest mulit-instrumentalist Jeff Hobbs based on the 28 sonnet by Lovecraft, The Fungi of Yuggoth. In 2005 they released The Foolkiller, an operatic improviational song cycle based loosely on Philip Everett's prose inspired by southern murder ballads and political commentary and satire featuring the voice work of Dina Emerson.

more information for Tri-Cornered Tent Show

Originally trained in theater,
Dina Emerson began her serious study and exploration of voice after graduating from Bennington College in 1988 and moving to Brooklyn. She subsequently became a fixture in the New Music and Interdisciplinary Performance world of New York, joining the Meredith Monk Vocal Ensemble in 1990 and remaining a member until the present. With Meredith Monk and others, Dina has toured The US, Europe and Asia and performed at the SF Symphony, Lincoln Center, Brooklyn Academy of Music, Theatre de l'Odeon in Paris and many other venues. In addition to Meredith Monk, other artists with whom Dina has worked include Tan Dun (2 world premieres), Gary Lucas, John Kelly, Nam Jun Paik, Ken Butler, David Soldier with Komar & Melamid, Jonathan Segel, Miya Masaoka, Nicholas Brooke, Lance Grabmiller and various New York theater companies including Tiny Mythic Theatre Company, Cucaracha Theatre and The Talking Band. In 2000, Dina was invited to replace the lead singer temporarily in the acclaimed Cirque du Soleil production, "O," at Bellagio in Las Vegas. This position was extended into a full-time contract when Dina moved to Cirque's other resident Las Vegas show, "Mystère". Dina stayed with Cirque du Soleil until January, 2002, continuing to return as a sub for them until permantly rejoining the company in 2007, currently performing in Mystère. Ken Butler & Dina Concurrent with her work with other artists, Dina Emerson has created a body of original pieces that spans from 1992-1999 (in 2000, performing with Cirque du Soleil eclipsed the possibility of creating new works for the time being; research and development has again commenced since moving back to California). Venues at which she was presented include PS 122, HERE, The Knitting Factory, Cucaracha Theatre, The Kitchen, and Thread Waxing Space. Combining voice, text, electronics, physical theater and specifically chosen physical objects/materials, these works defy categorization. They could be monologues with extended vocal techniques and songs, or collages of images, sounds and movement, or an installation that is built as a function of the performance. There has been a definite progression from exploring more electronic techniques (digital delay & looping, for example) to ultimately letting those technical aspects fall away in favor of a much more "handmade" emphasis on the voice itself and the materials that make up the performance/installation.
more information for Dina Emerson

 

Gino Robair’s Aguascalientes Ensemble, Andrew Raffo Dewer’s Interactions Quartet, Kanoko Nishi featuring bassist Tony Dryer, Krys Bobrowski  Ensemble Aguascalientes
Polly Moller flutes/ocarina; John Shiurba guitar; Loren Mach marimba;
Jim Kassis percussion; Scott Walton bass; Gino Robair
Conductor Aguascalientes is a musical suite based on scenes captured by Jose Guadalupe Posada in his politically charged engravings of late19th -and early 20th-century life in Mexico. The artist is widely known for his use of skeletons and skulls, or calaveras, in his work, which informs these compositions. Using an acoustic ensemble based around the instruments popular in Mexican culture -- marimba, ocarina (clay flute), acoustic guitar, acoustic bass, and a variety of percussion – the Aguascalientes tone poems reflect the busy, often violent world of our southern neighbor by juxtaposing rural and urban life, festivals and battles, love and loss.
Specific instrumental combinations function as motivic elements. From the dark and mysterious sound of bass flute and marimba, to the active clatter of percussion and acoustic guitar, specific scenic elements from Posada¹s most famous works are suggested, such as an electric streetcar filed with skulls or a roomful of folk dancing skeletons.
The piece’s structure is designed to offer maximum variability with each realization.
Each performance unfolds like a musical version of a Calder mobile; the order of each section is determined in real time during the performance, in response to the changing mood of the musicians and audience. Some movements might return, or sections may get looped and repeated before changing suddenly into another movement. Each instrumental part includes variations and alternate notes and rhythms, so that the performers can subtly shade each movement differently with each performance. The idea is to duplicate the regional variations that you might hear within a musical part of a given folk song. In order to further facilitate this mobile structure, short improvisational sections are inserted between the movements. The number of improvisers are chosen in situ, again to keep each performance fresh and vital. Consequently, Aguascalientes will never be played the same way twice.

more information for Gino Robair

Interactions Quartet
Kyle Bruckmann oboe, english horn, analog electronics; Andrew Raffo Dewar soprano saxophone, composer; Gino Robair percussion and analog electronics; John Shiurba guitar
Strata (2011), Dedicated to Eduardo Serón This composition explores a formal structure inspired by Argentine artist Eduardo Serón's 2008 series of paintings, "La Libertad Es Redonda" ("Freedom is Round"). Through a combination of improvisation and notation, performers negotiate several "layers" of written material, mixing and matching components that are eventually assembled into nested counterpoint.
Andrew Raffo Dewar (b.1975 Rosario, Argentina) is a composer, improviser, soprano saxophonist and ethnomusicologist. Since 1995 he has been active in the music communities of Minneapolis, New Orleans, the San Francisco Bay Area and New York City, and performing his work internationally. Dewar has studied and/or performed with Steve Lacy, Anthony Braxton, Bill Dixon, Alvin Lucier, and Milo Fine. He has also had a long involvement with Indonesian traditional and experimental music. His work has been performed by the Flux Quartet, the Koto Phase ensemble and Sekar Anu. As an improviser and performer he has shared the stage with a plethora of musicians worldwide, both the celebrated and the little-known. Recordings of his work are available on Striking Mechanism and Porter Records. He also appears on albums by the Anthony Braxton 12+1tet and the Bill Dixon Orchestra. Andrew Raffo Dewar is an Assistant Professor in New College at the University of Alabama.
more information for Andrew Raffo Dewar
Krystyna Bobrowski
& Gino Robair percussion, objects, glass, water, balloons, kelp
Krystyna Bobrowski’s Lift, Loft and Lull is a series of short pieces exploring the sonic properties of metal pipes and plates and the use of balloons as resonators, performed by the composer and Gino Robair. The compositions have their origins in Bobrowski’s recent instrument prototyping work for the Exploratorium.
Krystyna Bobrowski is a sound artist, composer and musician living in Oakland, California. In addition to French horn she plays acoustic and electronic instruments of her own design. Her collection of original instruments includes prepared amplified rocking chairs, bull kelp horns, Leaf Speakers, Gliss Glass and the Harmonic Slide. Bobrowski received her M.F.A. in Electronic Music and Recording Media from Mills College and her B.A. in Computers and Music from Dartmouth College. She has presented her work in a number of music festivals throughout the US, Europe and Mexico. In addition to performing her own work, Bobrowski plays with the Bay Area-based, improvisation ensemble, Vorticella.

Kanoko Nishi
Tony Dryer - contrabass &
IOIOI (IT) - electric guitar
Composer/performer Kanoko Nishi presents her original graphic scores featuring Tony Dyer on contrabass and Italian guitarist and visual artist IOIOI from Italy. A classically trained pianist, Nishi’s interests include performing 20th Century and contemporary music on piano and koto, and free improvisation. She has performed a number of compositions by living composers including Hyo-shin Na, Young Ja Lee, and Zachary Watkins. She has also collaborated with dancers Paige Sorvillo, Yuko Kaseki, Sherwood Chen, and Isak Immanuel; poets Ito Hiromi and Dennis Somera; and musicians Jacob Felix Heule, Theresa Wong, Maryclare Brzytwa, Shayna Dunkelman, and Aram Shelton. Contrabassist Tony Dryer and IOIOI from Italy will perform Nishi’s works as soloists. Nishi says, “The idea of graphic scores, as opposed to standard stave notation, has always interested me, for it seemed to allow the composers to focus not on the compositions of sounds, but more on the manipulations of the performer's inner psychological drive by means of visual cues and simulations, of which the sound is only a byproduct. This is very close to the way in which I personally approach a free-improvisation, and here so, I have attempted to visually recreate some sorts of simulations I might experience during an improvisational performance. These pieces of images are dedicated to my dear friend in Italy, Critiana Fraticelli, who, living so far, is unable to experience the performances live but might be able to get a sense of them through these representations.”
more information for Kanoko Nishi

Funded in part through Meet The Composer's MetLife Creative Connections program
 

Tom Nunn, Steven Baker, Bob Marsh, Dan Ake, Sung Kim, Brenda Hutchinson, Sasha Leitman, Bart Hopkins, Terry Berlier, Walter FunkTerry Berlier | Bart Hopkin
David Michalak
(performing for Terry)
Percussion Ball/Pan Lid Gamelan II | Branching Corrugahorn & Other Inventions

Bart Hopkin has been hailed as "the granddaddy of the modern experimental acoustic instrument movement." He earned that title as editor of the "Experimental Musical Instruments Quarterly," a journal he worked on for 14 years, beginning in the mid-1980s. "During this time he compiled descriptions of some of the most amazing and beautiful acoustic and electro-acoustic instruments being invented," said Erik Nugent of Invent Music, an experimental musical instrument workshop at the Massachusetts Institute of Technology. Mr. Hopkin received a B.A. magna cum laude from Harvard University in 1974, and later received a B.A. in music education from San Francisco State University. A professional guitarist, he has taught, written, composed, performed and recorded in many places, including Kingston, Jamaica, where for several years he researched and wrote on Jamaican children's songs and revival church music. His numerous inventions includes what he calls his Savart's Wheel, a tuned, motor-driven scraper with a range of more than two chromatic octaves that has been jokingly listed as "one of the most irritating musical instruments ever devised," and wind instruments capable of playing all notes, including those between the tone holes on a traditional clarinet.


Terry Berlier is an interdisciplinary artist who works primarily with sculpture, installation, and video. Her work is often kinetic, interactive and/or sound based and often focuses around everyday objects, the environment, ideas of nonplace/place and queer practice. Her work has been exhibited in solo and group shows both nationally and internationally (Europe, Australia, Middle East) including Barcelona, Venice, Girona, Meinz, Tel Aviv, New York, San Francisco, Los Angeles and Sacramento. She recently received the Kala Art Institute fellowship and residency for 2009-10 in Berkeley, CA. In 2008-9 she received the Visions from the New California Residency at the Exploratorium: Museum of Science, Art and Human Perception in San Francisco through the Alliance of Artists Communities. She has received grants from California Council for Humanities California Stories Fund, City of Cincinnati Individual Artist Grant, and the City of Davis Art Contract. She was a fellowship recipient for a residency at the Millay Colony for Artists in New York in 2004. In 2003 she received an MFA in Studio Art from University of California, Davis and a BFA from Miami University in Oxford, Ohio in 1994. Berlier has taught at UC Davis, UC Santa Cruz, and California College of the Arts. She currently teaches in the Department of Art and Art History at Stanford University.
The Percussion Ball began in an effort to make a more performative sculpture for a percussionist to play. I initially conceived it as an unpredictable and chaotic object that would roll around as it was being played. I wanted musicians to be more physical in their interaction with the object. The tubes coiled inside resonated when the outside face is slapped. Each sound hole, or hexagon face, outlets at its’ opposite side, allowing for variations in pitch.
more information for Terry Berlier


Brenda Hutchinson | Bob Marsh
Long Tube (with Gestural Interface) | Sonic Suit #1
Brenda Hutchinson is a musician and sound artist whose work is based on the cultivation and encouragement of openness in her own life and in those she works with. Through her work with large-scale experiments in socially based improvisations and interventions, Hutchinson encourages participants to experiment with sound, share stories, and make music. Brenda also improvises on a 9 1/2 foot tube with a gestural interface she designed. She has been an artist in residence at San Quentin Prison, Headlands Center for the Arts, Harvestworks, Exploratorium, Ucross and Djerassi. She is the recipient of the Gracie Allen Award from American Women in Radio and Television and has received support from the NEA, Lila Wallace, McKnight Foundation, and NYSCA and Meet the Composer among others. Recordings of her work are available through TELLUS, Deep Listening, O.O. DISCS, Frog Peak Music and Leonardo Music Magazine.
The Long Tube is bionic. The Long Tube acoustically modulates the vocal cords. This interaction creates physical interference with the vocal cords, and the results produced by this interaction are unpredictable. The gestural interface is designed to work with this uncertainty and reflects and augments the intrinsically unstable of nature of pitch production through a long tube. It is flexible and virtually transparent. The switches, buttons and pot utilize intuitive finger and wrist movements and translate the impulses to react into reflexive gestures used to produce sonic responses. Instability is also one of the fundamental principles used to create a basic environment for improvisation using MAX/MSP. When integrated with programs written by the author in MAX/MSP, the interface records, plays back and modifies sounds produced into the tube in real time during performance. The interface also triggers pre-recorded sounds and mixes them with the live sounds to create improvised sonic environments and music.
more information for Brenda Hutchinson

Bob Marsh is a well seasoned improviser whose work has involved shaping sounds words images ideas and instruments. Originally from Detroit, Marsh arrived in the Bay Area in 2000 after ten years in Chicago where he played with most of the avant improvisers in that rich and varied scene. Since his arrival on the west coast, multi-instrumentalist and composer Marsh has been busy with several projects. He currently leads or directs String Theory, a string ensemble focusing on textures and microtonics; the Che Guevarra Memorial Marching (and Stationary) Accordion Band, structured and free improv for six to fifteen accordions; Robot Martians, electronics and processed voice; the Out of the Blue Chamber Ensemble, a mixture of reeds and strings; Opera Viva, voiced physical theater; the Quintessentials, a quintet specializing in interpreting graphic compositions based on alterations to the Michelin Road Guide to France; and the Illuminated Orchestra, structured improves for large ensemble. Additionally Marsh is a member of Romus/Diaz-Infante's Abstractions, Jim Ryan's Left Coast Improv Group, Moe! Staiano's Moe!chestra and Tom Bickley's Cornelius Cardew Choir. Bob Marsh tours frequently with his long term partner saxophonist Jack Wright. Bob has recently been presenting a solo work involving violin, voice and tap shoes. Marsh's educational background includes a BFA in sculpture and an MA in humanistic clinical psychology. He has studied classical piano, classical guitar and vibraphone and has taught himself various other instruments. He currently is active with cello, accordion, violin, voice, vibraphone and electronics, and inventions such as the sonic suit to be performed with Brenda Hutchinson.
more information for Bob Marsh

Tom Nunn | Steven Baker | David Michalak
lukie tubes, resonace plates, skatchboxes & bridgerod mothic| berimbau, bells, & springs
Tom Nunn has designed, built and performed with original musical instruments since 1976, having received a B.Mus. and M.A. in music composition from the University of Texas at Austin and S.U.N.Y. Stony Brook, and post-graduate work at U.C. San Diego. His instruments typically utilize commonly available materials, are sculptural in appearance, utilize contact microphones for amplification, and are designed specifically for improvisation with elements of ambiguity, unpredictability and nonlinearity. Tom's instruments are of three basic types: space plates, electroacoustic percussion boards, and skatchboxes. Space plates are metal sheets with bronze rods that are bowed; the plate is supported by inflated balloons, allowing the plate to resonate. Electroacoustic percussion boards are plywood sheets with various hardware devices attached such as nails, threaded steel rods, bronze rods, combs, etc., played with a variety of small percussion implements. Skatchboxes are cardboard boxes with objects such as washers, combs, toothpicks, bronze rod, dowel, etc. taped or glued to the exterior that are played with various modified combs. All of Tom’s instruments are amplified using contact microphones and have sculptural qualities. In addition to the nearly 200 instruments he has made, Tom has performed extensively throughout the San Francisco Bay Area for over 30 years, as well as in other parts of the U.S., Canada, Europe, and New Zealand, both as soloist and with other musicians. Tom has performed with various groups over the years and currently works with T.D. SKATCHIT, RTD3 and GHOST IN THE HOUSE. He has appeared on a number of recordings, including his solo CD, "Identity." (2007), “T.D. Skatchit & Company” (2009) and “Skatch Migration” (2010) (all on Edgetone Records). In 1998, he completed writing and self-published WISDOM OF THE IMPULSE: ON THE NATURE OF MUSICAL FREE IMPROVISATION, a book that examines various aspects of this illusive art and presents a theoretical foundation for creative listening, analysis and discussion. Tom has also written a number of articles about the use of experimental instruments and improvisation in publications such as EXPERIMENTAL MUSICAL INSTRUMENTS, MUSICWORKS and LEONARDO. In 2007, he participated in the City of Auckland’s biannual cultural festival, AK07 as an instrument designer/builder and improviser. In 2009, he participated with RTD3 in the Improvisers Festival in Birmingham, Alabama.
more information for Tom Nunn

David Michalak plays a Fender lap steel guitar and an assortment of odd percussion instruments. While he is more commonly known as a filmmaker (50 films with original soundtracks since 1971), the visual art side of him seeps inherently into his solo performances and group compositions which are characterized by shimmering passages, abstract snapshots and haunting representations of natural elements. Besides Ghost In The House, David plays in his instrumental ensemble Reel Change as well as the duo, Dr. Bob and T.D. Skatchit with Tom Nunn. Some musicians that he is currently performing with are: Tom Nunn, Andrew Voigt, Bob Marsh, Carla Kihlstedt, Karen Stackpole and Kyle Bruckmann.

Steven Baker was born in Albert Lea, Minnesota. He earned a BFA from the Minneapolis College of Art and Design in 1983. He moved to Los Angeles in 1988 and to the San Francsico Bay Area in 2002 where he currently lives and works in Pacifica California. Steven has worked on projects collaboratively and solo in Japan, Hong Kong, Singapore, Australia, Mexico, and across the United States. Steven's main instrument is known as The Ring. Recently Steven played his other instrument the bowed bellows on tracks of the Rent Romus and Thollem McDonas recording project “Bloom”, and will soon work with Thollem and Rent on other CD projects. In 2005 he lent his oil well head bell tree to CWRK Music Company to record samples to be used as part of a public interactive music installation in Hong Kong.
more information for Steven Baker

Sasha Leitman | Walter Funk
sculptural vibrating transducers in metal | Cigar Pianos and Transducer Array
Sasha Leitman is a musician, artist and inventor. She has been making musical instruments, new interfaces for musical expression and sound art installations for ten years. In addition to creating her own work, she is currently the projects manager at the Center for Computer Research in Music and Acoustics (CCRMA) at Stanford University where she teaches HCI Design and Performance Systems for Music.

Walter Funk performs with Kwisp, Fifty Foot Hose, and Mandible Chatter. His Hologlyphics are True 3D movies, combing elements of music, holography, video-synthesis, visionary film, electronic music, sculpture and improvisation to create a unique new artform. Walter and CWRK Musical Enviornments, created a Hong Kong sound installation and sculpture with motion sensors that trigger sounds that are random yet associated with time of the day. Walter studied music and psychoacoustics at the Center for New Music and Audio Technology, UC Berkeley (CNMAT) and holography at The Holography Institute and has recorded over twenty albums to date.
more information for Walter Funk

Dan Ake | Sung Kim
original percussion; The Lobro | homemade stringed instruments such as; Gigantar and Sympathetic Canon 6
Dan Ake has been a sculptor/sound artist since the seventies. He received his BA from SF State in 1975 where he studied with Jock Reynolds and his MFA from SFAI in 1978 in Sculpture under Robert Hudson and Howard Fried. He’s exhibited extensively and was part of the seminal exhibition “Artists Performers/Performance Artists” at the University Art Museum in Berkeley in 1975. Other exhibits include “Moose Sighs” at the Denver Center for the Performing Arts, “Sojourn in the Cirque” in Lander Wyoming, “Oblique Angles and Soft Steps” at MoMing Art Center in Chicago and “Make Soft Weight Quiet” at The Living Art Museum in Reykjavik Iceland. He is currently performing with the avant-guard band Eddie the Rat. His current sound work is published by Comfort Stand Records and has just released a new CD on Edgetone Records with Eddie the Rat performing “Once Around the Butterfly Bush”. This piece debuted at New Langton Arts in October 05’. He served on the SFAI Artists Committee for three years and on the Board of Directors at New Langton Arts for five years, four as the board President. He’s also served on the Board of Directors of San Francisco Little League for the last 10 years in the capacity of Umpire in Chief. He lives and works in San Francisco.
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Sung Kim is an architectural woodworker and experimental musical instrument builder living and working in the San Francisco Bay Area. His works are hybrids based loosely on historically obsolete and indigenous musical instruments. For this exhibit I will be presenting an instrument that combines an acoustic vessel and analog circuitry to create an infinite, controllable tone.
"[His instruments] include a bowed one made from wood with an animal-hide (deer, if I heard correctly) body with 24 strings, a plucked one that looked like a bass sitar merged with Wolverine's adamantium spine (16 strings), and a wooden box with oscillators that emitted a mix of pinging bleeps and droning, resonating strings. There was also an incredibly simple guitar, like bass banjo, with just three strings, its oversize tuning pegs like buckteeth.
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