23five presents Re:Sound Migration

Doors at 3:30pm, sound at 4:00
Tickets: $10-15 sliding scale
We recommend you bring something to sit on and dress in layers, it can get cold.
A percentage of donations go to the Mare Island Shoreline Preserve
More info can be found at re-sound.net

Re:Sound resumes in the resonant Mare Island munitions magazine known as A168 with a February performance featuring two composers affiliated with the international Wandelweiser collective, Manfred Werder and Michael Pisaro, alongside Bay Area electroacoustic duo OMMO.

Michael Pisaro is a guitarist, composer and a member of the Wandelweiser collective. His work is not easily defined as his long form compositions result in complex forms which might combine field recordings from urban or rural locations, pure sine waves or fragmented samples of other music with notation for various instruments in solo or orchestral arrangements.
Many of his recent works are published on his own imprint Gravity Wave and he teaches composition and experimental music at the California Institute of the Arts.

OMMO is Oakland based duo Adria Otte and Julie Moon who combine electronics and voice in performances ranging from abstract atmospheres to personal narratives woven together in their singular style so that even as each performance embodies its own identity the project remains recognizably the voice that is OMMO. Moon and Otte’s duo began in 2014 as a platform to investigate the complexities and histories of the Korean diaspora and their places within it. The duo’s unique compositions may be experienced as evocative, atmospheric soundscapes which create an abstract yet fertile space for these investigations. Configurations of voice, analog and digital electronics, free and structured improvisations, as well as theater, ritual and song, may all be employed in the process. OMMO recently presented their piece Innae 인내 (忍耐) at the SF Electronic Music Festival in September 2018.

Manfred Werder, composer and performer, is wandering through the abundance. His scores feature words and sentences found in poetry, philosophy and the world. Earlier works include stück 1998, a 4,000 page score whose nonrecurring and intermittent performative realization has been ongoing since December 1997.
Werder’s work may place more emphasis on the act of listening than on inserting sound into an environment, seeking a condition in which “there is no outside the work” and dissolving boundaries between listener and performer. While he “lives in situ,” his joining us for Re:Sound is thanks in part to the generosity of the Swiss Arts Council Pro Helvetia.

Thank you for your continued support and we look forward to seeing you at A-168 as Re:Sound enters its fourth year of sounding out in that resonant room.