Tickets: $8 Presale / $13 Day of Show / $15 Door.
Cash bar available to those 21 years and older.
Schedule: 8:00 Doors / 9:00 Show
Artists: Ainsley Wagoner, Jordan Presnick, Danny Clay, Jon Fischer & Jim Haynes
Gray Areaâ€™s quarterly Unseen Series presents site-specific, collaborative performances by Bay Area artists and explores current practices in immersive media, including expanded cinema, video and sound art, experimental music and technology. The UNSEEN series is curated by Oakland artist Matt Fisher, and presented in 8 channel surround sound with audio engineering and equipment by Recombinant Media Labs.
Ainsley Wagoner + Jordan Presnick, "Immersion"
Jordan and Ainsley are interested in the intersection of music and visuals, most recently with their projects Call & Response (an interactive audio/visual installation on view at the Lexington Art League as a part of the CURRENTS: Expanding Fields exhibition starting February 24 in Lexington, Kentucky) and Babetable, a browser-based wavetable synthesizer currently in development. Their work contrasts organic soundsâ€“vocals and field recordings from open spaces in Northern Californiaâ€“with modified analog synths and interactive video projection. The video projection responds to changes in timbre, velocity, and harmonics, layering a rich visual landscape that responds to the soundtrack. They explore color, nature, expanse, pulse, atmospheres, accumulation and erosion.
Danny Clay and Jon Fischer, "Turntable Drawing No. 13"
Composer Danny Clay and printmaker/engineer Jon Fischer will present an immersive sound installation consisting of a set of interactive turntable stations alongside live instrumental musicians. Visitors are invited to manipulate the record players or simply explore the space as the sounds unfold. Adapting a central inquiry of printmaking, the project invites the public to investigate the properties of sound as a physical imprint using custom-made records.
Jim Haynes, "18 Films About Ted Serios, Chapters 8 & 9"
As Ted Serios manifest his pictures in a disruptive wink between the physical and the psychic, 18 Films erupts as an effluvia of debris -- the aftermath of corroded photography, malfunctioning surveillance camera, torn / destroyed negatives, electro-acoustic crucibles, etc. The obsessive suturing of these components -- both sound and moving image -- evoke ghosts in the machine, the conditions of psychological trauma, and the erratic slippages between states of being. Thoughtographic dislocation. Sound is constructed in situ through electro-acoustic means -- shortwave radio, transducers, rough-hewn guitar pickups, wiretapping microphones, motors, controlled feedback etc. -- and is choreographed into the video feed collected from three surveillance camera sources and DVD in various states of precision. The images, while mostly fixed, do have the capacity for malleability through the disruption and interruption of the surveillance cameras. Chapter Eight manifests image and sound through a cross-section of closed circuit claustrophobia of electrical disruption and the fetid exuberance of jungle rot. Chapter Nine ruminates on oblique, occluded, and overlapped geometries.