Scott Arford is one of the leading figures of new media arts in the San Francisco Bay Area. His work constantly strives to create an undeniable ecstatic moment, where sound, image and environment merge into a singular experience. His Static Room and TV-IV projects create intense flickering static environments using images to create sound and sounds to create images. Works created for Naut Humon's CineChamber expand these projects into multi-channel video and sound installations. His Infrasound collaboration with Randy Yau, activates architectural space with sound, literally causing buildings to shake and vibrate. He was awarded an Honorable Mention in the 2005 Prix Ars Electronica. Arford has appeared at venues worldwide including SFMOMA; Dissonanze 7, Rome; LUFF Festival, Lausanne; Observatori Festival, Valencia; the Sounding Festivals in Guangzhou and Taipei; LEM, Barcelona; Liquid Architecture, Melbourne; Festival de Video/Arte/Eolectronica, Lima; and Sonic Light, Amsterdam. Arford received a Bachelor of Architecture from the College of Architecture and Design at Kansas State University in 1991. He is currently an instructor at the California College of Arts. In 1995 Arford founded 7hz, a warehouse/performance space. From 1995 to 2002, 7hz was San Francisco's leading venue for noise and experimental music.

Michael A. Morris is an artist and educator based in Dallas, Texas. He works primarily with film, video and expanded cinematic forms. Much of his recent work responds to the rapid changes in how moving images are created and experienced in the 21st century. He has performed and screened his films and videos at museums, galleries, microcinemas and film festivals internationally, including recent events at Boulder Museum of Contemporary Art, The International Symposium of Electronic Art in Vancouver, Oak Cliff Film Festival, Chicago Underground Film Festival, San Francisco Cinematheque, and the Texas Biennial. He is a Visiting Lecturer of Hybrid Media at Southern Methodist University and curates film/video/new media programs around the region regularly, most recently as part of the first Dallas Medianale and a founding member of roaming microcinema collective Spectacle Society.

Inspired by the performative tradition that combines electronic sound and video art, Le Révélateur's live performance is the result of an intermedial dialogue between video artist Sabrina Ratté and electronic musician Roger Tellier-Craig. For the past six years, they have investigated the complex relationship that exists between individuals and various states of synthetic realities. By sculpting electronic signals into audio and visual architectures, they create environments that recall the existing one while expressing a personal perspective through formal choices. Le Révélateur examine the real and the illusory, and the hierarchy that exists between them by creating immersive virtual spaces steeped in synthetic audio phenomena. Together they explore a common fascination for the combination of electronic image and sound, using a varying array of digital and analogue technologies. They have performed performed extensively in Europe and North America, presenting their work at Museu Serralves, Porto; RIXC Festival, Riga; the Lampo series in Chicago; Resonate Festival, Belgrade; the Ann Arbor Film Festival; Digital Quebec (Mutek/Elektra), London; Sonic Acts, Amsterdam, Send+Receive, Winnipeg; Micro Mutek, Barcelona, Mutek.Mx. Le Révélateur has released recordings on Gneiss Things, NNA Tapes and Root Strata. 

Founded in 1961, San Francisco Cinematheque cultivates the international field of non-commercial artist-made cinema through curated exhibitions, through the creation of publications and by maintaining a publicly accessible research archive. Cinematheque’s work inspires aesthetic dialog between artists, stimulates critical discourse, and encourages appreciation of artist-made cinema across the broader cultural landscape. With a grounding in non-commercial, non-narrative and non-documentary filmmaking traditions, Cinematheque’s programs broaden the public’s understanding of non-mainstream artistic filmmaking practice while expanding and challenging established art- and film historical traditions.