Field Effects 4 - Friday, May 31 8:30 pm

["matt davignon" <mattdavignon@hotmail.com>]

---------[ Quiet American presents at 964 Natoma ]--------------------

Field Effects 4: a night of beauty made by the world

Friday, May 31st

Doors 8pm, performance 8:30pm

$6-10 sliding, no one turned away for lack of funds

----> Event Description <-----------------------------------------------

The world makes music, remember to listen.

Field Effects 4 offers a night of field recording sound art performance.

The fourth in an ongoing series of concerts showcasing sound artists
who work with found and quiet sounds, Field Effects 4 offers a unique
opportunity to hear delicate work performed in a comfortable environment.

Come out for a night of communal deep listening!

Field Effects 4 features work by artists:

   albert ortega & mitchell brown (LA)

    The focus of albert & mitchell's collaboration is exploring the
    acoustic effects of environmental sounds as they travel through
    different spaces and times. Chosen locations include a cave in
    the Mojave Desert, an abandoned watertower in Malibu, and a manmade
    tunnel in  Mt. Washington. Our chosen tools: a chime and a monitor
    device that uses contact mics. The result is a circular coelescence
    of natural occurances (distant birds, footsteps, speech, monitor
    feedback) interacting with the resonant qualities of each location.
    Each location yields a harmonically different recording; implicit
    fluctuating intervals and beat patterns are examined by the live use
    of a low frequency oscillator.

    Mitchell Brown creates intricate sound collages from pre-recorded
    materials integrated with real-time loop units, contact microphones,
    tone generators, etc. He hosts a weekly sound collage radio program.
    One of his current projects is AralinaPing, a trio showcasing the
    intuitive talents of two developmentally disabled children.

    Albert Ortega uses his surroundings as an instrument to capture the
    sounds of his handbuilt creations, or is it the other way around?
    His recent LA River installation coerced some bystanders to pick up
    and hang trash on an amplified wire.  He also performs in several
    experimental groups such as Consolidated Lint and Klaxon Hooves.


   coelacanth (SF)

    Loren Chasse and Jim Haynes actively pursue evocation, empathy, and
    transcendence through sound under the moniker Coelacanth. Initially,
    Coelacanth's quest may have been to engage the drone supreme; but
    the duo is distracted by the minutae of sound itself, the sudden
    revelation of the history of decay, the sublime beauty of nature...
    The drone goes on, but its course may be quite circuitous.
    Coelacanth has previously invoked creakingly creepy submariner
    ambience as if the oxidization process itself had been amplified
    within the realm of the audible. Spiked electrical surges and
    controlled feedback oscillations, a symphony of tiny whirring
    machines, gritty textual striations, blissful tone float of dense
    bell reverberations and oceanic washes of shortwave...
    Chasse and Haynes make concerted efforts to actively develop their
    performances into extrordinary visual displays, with elaborate sets
    of shattered Christmas bulbs, piles of rusted metal, surplus
    scientific gear, and massive piles of branches.

    Coelacanth has performed extensively in the Bay Area and released
    the acclaimed "The Chronograph" on Jef Cantu's Partition label.

    Loren Chasse is a veteran of the "lowercase" school of quiet
    minimalism with a handful of poetically created solo albums of
    processed field recording, and makes contributions to Id Battery
    with Brandon LaBelle, and the hazy psychedelics with Thuja,
    The Blithe Sons, The Knit Separates, and The Child Readers.

    Jim Haynes is an artist who describes his work through the phrase:
    "I rust things." He also writes for The Wire and happily toils
    at Aquarius Records in San Francisco.

    http://www.23five.org/lchasse/


   dajuin yao (Berkeley)

    "I have been seriously recording that place since 1997 - not its
    natural environments at all, but the sounds of its people, culture -
    the humanistic. Sounds were captured at various important sites, from
    the 1200-year-old, once private and forbidden seplucher of a young
    princess 50 feet underground, to a modern metropolitan subway station
    where a blind woman sings... all in different architectural and
    acoustic spaces. Presented out of context, and without pages of
    transcription & footnotes, they might be appreciated as no more than
    "objet sonore"; yet to this listener at least, they are full of the
    pungent smells of history and culture, of people's lives, of tears
    and laughters... These then are my "inner sites."

    For this program, I have no interests in any prescribed mode of
    listening (e.g., the "reduced listening" mode a la Pierre Schaeffer,
    or the much needed cultural mode of listening), or even the MAX/MSPing
    of the sound files into artwork; I believe in the power and magic
    inherent in them, as is. My interest here is experimenting with
    multiple modes of listening, the possibilities in listening ..."

    http://www.sinologic.com/yao/


   kaveh soofi (SF)

    Wayang Formations is a new piece based on recorded Balinese music and
    field recordings captured while honeymooning last year in Indonesia.
    Intended as an homage to Balinese visual and aural culture, this piece
    uses manipulated sound and video to expressing the sophistication of
    the Wayang Kulit, or shadow puppet performance.  Bouncing between
    interactive montage and audio-tourism, Wayang Formations attempts to
    re-mediate a fraction of the visual delight of this ancient,
    compelling art form.

    Kaveh Soofi is a visual artist working and studying in San Francisco.

    http://www.invisiblemindeater.net


The Field Effects series showcases artists who are interested in framing
the hidden beauty of the everyday world: beauty on the surface, awaiting
our attention. Beauty that must be delicately extracted. And beauty in
potential, awaiting juxtaposition, collage, repetition and mutilation.

Field recordings are made out in the world, not the studio. Fair game:
machines, animals, weather, vehicles, buskers, hawkers, hawks, preachers, 
telephones, taxis, and the mad. (Things have voices: do you hear?)

Seating mostly on futons to encourage comfortable deep listening.

Depending on weather, hot or cold drinks will be available.
Baked delights by Diane Peter.

----> Venue Info <------------------------------------------------------

964 Natoma
San Francisco, CA, USA

between Mission and Howard, 10th and 11th street, south of market.

A few blocks from Civic Center BART. One block from Market & Van Ness.

Bike parking inside.

----> Additional Info <-------------------------------------------------

ghede@well.com



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