Cash bar for 21+
Doors Open 7PM
Doors Close 12AM
In addition, the evening features a powerhouse showcase of audio visual performances, including Bay Area stalwarts Infrasound and Michael Gendreau, female:pressure founder Electric Indigo performing 5 1 1 5 9 3, and French duo Chronostatis.
Cash bar for 21+
Doors Open 7PM
Doors Close 12AM
Closing the festival is a vigorous low end fury elation of deep diving bass & image submersions , including Bay Area stalwarts Infrasound and Michael Gendreau, female:pressure founder Electric Indigo performing 5 1 1 5 9 3, and French duo Franck Vigroux and Antoine Schmitt screening their live Cinema engagement of Chronostasis capped by a legendary Drew McDowall presenting COIL’s Time Machines final live North American version for the foreseeable future.
The legendary Drew McDowall, who was an active full time member of COIL in the nineties, having produced albums that marked a generation such as Time Machines and Musick to Play in the Dark will present “Time Machine 2018 Live A/V” show. Patterns of fibrous metallic waveforms and reverberated percussions that are pulled and spun around the spectrum defined by Drew’s musical hardware.
Electric Indigo, DJ, composer, musician, has performed in 38 countries across Europe, Asia, and the Americas. She represents an intelligent and distinguished interpretation of techno and electronic music. As a composer and musician, she creates music for concert spaces, clubs, sound installations and occasionally for stage plays and short films. In her compositions and live performances, she emphasizes the spatial-temporal placement of subtly elaborated sounds and structures, often generated from speech recordings. Electric Indigo shuttles between Vienna and Berlin.
Franck Vigroux live electronics, composition & Antoine Schmitt generative video. Chronostasis is Franck Vigroux and Antoine Schmitt fifth collaboration, it succeed to their worlwide acclaimed duo Tempest. Chronostasis state is a cerebral illusion involving the neurons dealing with the immediate prediction of the future and to the listening of music, during which time seems to stop. But time is elastic and a stretched elastic always returns to its initial length. The audiovisual performance Chronostasis takes this logic to its limits by dilating to the extreme a catastrophic moment, through the stretching and inversions of time over the whole duration of the performance. The present moment freezes and diffracts endlessly, past and future cease to exist. Chronostasis has been developed with the support of Ircam and LeCube.
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
Hear with your body. This is not about music. This is not about performance or the performer. The goal is sound and the expicit translation of sound into physical force. The goal is internal and external realization. It is about provoking new modes of perceiving and experiencing one’s own body – triggering variable and autonomous psycho-physiological response. It is about the total acoustic sense of space – observing sound to measure the capacity of architecture. It is about the phenomenon of resonance or sympathetic vibration – all things in one continuum.
RECOMBINANT MEDIA LABS (RML) was founded in 1991 by Naut Humon, to research and deploy the cultural qualities and artistic potential of Spatial Cinema and music mediated electro-acoustic surround sound. RML acts as producer, propagator, and presenter of substantive intermodal artworks for its panoramic performance platform the CineChamber. The Recombinant Festival is an annual autumn event series in SF that showcases international immersive residencies from RML’s nomadic network ; Co-presenters have been Gray Area and Obscura Digital.
Obscura is an alliance of artists and technologists who are pioneering the future of multidimensional sensory experiences. From our beginning, we set convention aside to create entirely new encounters with light, image, sound, and motion. Our team shares a passion for inventing the uninvented, for exploring ways that technology can enable awe-inspiring moments. Our creativity is inseparable from our ingenuity. We were among the first to develop technologies that deliver unprecedented interactivity. Our exploration has led to multitouch screens, complex architectural mapping, 360-degree surround projections, and beyond.