Past Shows - "The Noise of Art"

An Evening of Mechanical and Kinetic Sound Installations

Feb 23rd 8 PM – Midnight $15


A shipping container evening of art and performance not to be missed.

ART ART ART: Interactive Sound/Art and Noise Installations pounding out of Big Red Shipping Containers with: flapping wings, contact mics, water pumps and pinball machines, the AMF, the NBC, jackhammers, piano, ship and airplane parts and no one will ever forget the melting can. You will marvel at the sonic ice sculptures, but bring ear protection, wear gloves and be prepared for a surprise guest and much much more.

"The Noise of Art" a combination of interactive art installations and live performance and often a combination of both. There were several self-contained interactive mechanical, kinetic or electronic sound sculptures; each installed in individual iron oxide red shipping container, all of which will require audience participation. There were three multi-piece "bands" and many other interesting and unusual works of art.

The evening will started at 8:00 pm with 45min. of roaming the installations, then we proceed installation by installation highlighting each artist and performer in the show.

  • Instalations

    Artists' Name: Kenneth Atchley

    Email address:

    Web site:

    Name of performance-installation: sealed and open fountains


    Description of performance-installation: fountains composed of trashcans, water pumps, contact mics, geophone, polyethylene, and sealant. Through amplification and signal processing the fountains' sound isscaled and styled to fit urban listening space.

    Duration of performance-installation: 15-20 minutes

    Artist Biography: Kenneth Atchley presents amplified, harmonically rich [i.e. noise saturated] fountains in concert-installation settings. His CD 'fountains' will be released on Auscultare Research label in February 2002.Atchley has performed as a featured artist at venues, concert series and festivals including: Intermedia Arts Foundation, Roulette, Pauline Oliveros Foundation, CalArts/CEAIT Festival, The LAB, Beyond Baroque, New Langton Arts, the Northern California Noise Festival, and Z Festival.

    Artists' Statement: A few years ago I began to compose electronic noise with the intention of creating a highly embellished music. In pursuit of this work I studied the music of Couperin and other 17th and 18th French composers, Antonio Maravall's works on the Spanish Baroque, the surface and sound of water in vessels and fashion magazines. All this and the contemplation of architectural space resulted in my creating fountains of amplified, noise-saturated sound.


    Artists' Name: Larnie Fox

    Email address:

    Web site: Name of installation (2 possible). The Crow (Wartime Studio Interior) Sub

    Description of installation: Both are kinetic/sound sculptures. Materials: Bamboo, Contact Microphones, Electric Motors, Found Objects and/or Name of Performance


    Artist Biography: Larnie Fox, ( ) is known for paintings, bamboo sculpture, and "low-tech" machine sculpture and noise performances. He is a founding member of 23five Incorporated, a non-profit to promote sound art. He is also a founding member of Art Bias and Art Club, two Utah Fluxus-influenced groups, and has performed and shown at numerous venues in Utah. He was commissioned to create and burn a 20-ft. bamboo and muslin windmill at Burning Man 1997, and there he made and flew a 23-ft. bamboo and muslin kite in 1996, and an airplane in 1998. His work has been shown in the Bay area at The San Francisco Art Institute, The Lab, SOMAR, Pond, Second Space Gallery, and at a one-person shows at the Richmond Art Center and the Randall Museum in San Francisco. He has performed at CELL, Komotion, Noisegate, Splunge, The Werepad, The Lab and Anti-Matter Gallery, and has also shown and performed on a guerrilla basis regularly. Larnie Fox is the Director of the Children's Art Program for the City of Palo Alto at the Palo Alto Cultural Center. He has directed the Art Kids Children's Art Program the Community School of Music and Art in Mountain View, where he also taught. Co-founder of, and past instructor for Utah's Youth Arts Academy, and Project Coordinator for the Utah Arts Festival Children's Art Yard, he also taught at Weber State College, the University of Utah, and the Community University in Bozeman, Montana. He holds a M.F.A. in Painting and Drawing from the University of Utah and a BA in Painting and Drawing from Slippery Rock University, Pennsylvania.

    Artists Statement: Artist's notes: "Sub", in this case, is not followed by "marine". As you know, sub means "under", and "marine" means water. What do you think its "under-neathness" refers to? I'll tell you what I think, but you have to tell me what you think first. That is the job of the viewer. (Maybe it IS water...)  The lovely and talented Bodil Volmer asked me a question as we were lying together in bed the other night. She asked me if submarines were always associated with the military. "Airplanes", she explained, " were originally invented and used by civilians, but subs...?". There are four motors, four contact microphones, four colored lights and four motion sensors, which face the four directions. There are five "birds" following it. I think it suggests a "mother-ship". The "bird" that has a propeller really flies if a rubber band is properly inserted, and it is wound and released. Please do not touch, or attempt to adjust the sound levels. If you are reading this at the opening reception ~ you should know that you will not properly be able to experience "Sub" tonight. With a crowd of people, the motion sensors will be constantly tripped, and everyone will be talking. The piece's quiet parts and silences are an important part of the work.

    Artists Name: Nick Cain


    Web site:

    Name of installation: Clint Eastwood Vs. King Tubby


    Description of installation: An audience-controlled feedback chamber that approximates the experience of a gunfighter trapped in a dub-delay.

    Artist Biography: Nick Cain is a Bay Area-based electronic musician and conceptual artist. As part of the drum-and-bass collective deepfatfried, he has recently released a new 12" on dietstrcyhnine records. At last summer's Burning Man festival he create the Art Fortune installation.

    Artists' Statement: I created the Clint Eastwood Vs. King Tubby sound-space in an effort to move past the stale, binary oppositions of Western narrative. Because I wanted to freak people out with feedback.


    Artists' Name: La Cesari

    Group Name: (resident/affiliate of the Creamery Art Studios in Oakland, but it's an independent project...)

    Email address:

    Web site:

    Name of installation: The Visible Woman: Orgasmic Pinball


    Description of installation: The Visible Woman: Orgasmic Pinball is a Subverted Pinball Machine with the theme of the female sexual pleasure system.

    Once upon a time, this pinball machine had a somewhat violent, male-oriented theme based on a Hollywood action movie. The machine's original graphics have been replaced with collages of anatomical drawings, giving the machine an educational slant. Meanwhile, the machine's original sound has been replaced with orgasmic-sounding vocal noises, which increase in intensity as the pinball's internal switches are hit, and decrease in intensity when the player fails to stimulate the machine properly.

    The pinball machine is a beautiful anomaly in arcade culture. When stripped of its usual themes, the pinball machine itself is, in structure and function, a non-violent, ungendered, non-competitive game. There is no killing, no destruction, no opponent or enemy. It's about motion, physics, light, sound, stimulus and response. Success at pinball is based on the player's ability to stimulate the machine. By eliminating the scoring system completely, this particular pinball machine gives no pleasure to the player other than the type of pleasure that is gained by stimulating another being and thereby eliciting an excited response.

    Description of Performance: Anyone who plays this pinball machine has a unique personal experience, and as a result, gives a performance to anyone watching. As a sort of secondary object, this performance produces an interesting sociology experiment - How do people behave when they are faced with this particular cultural taboo? The machine "plays" the player as much as the player "plays" it, creating a performance of unique gestures and attitude from each different person who plays.

    Artist Biography: As a rebellious, angst-filled Silicon Valley youth, I despised all things technological. I hated television and the inane pop culture that poured out of it. I resented computers, with their poor communicative skills, error messages and tendencies towards eating my most important research papers. I saw my surrounding culture's fascination with technology as a threat to the "human" practice of Art, which I revered voraciously, and studied in its most "organic," "human" forms, such as sculpture with clay, drawing from live models, and hand-drawn animated films.

    However, during my studies at the University of California at San Diego, my angry technophobia matured into a healthy, fascinated ambivalence. Within the Computing Arts major I had the opportunity to explore my former enemy (technology) in a friendly (conceptual art) context.

    I've been invited to study at the MIT Media Lab's new "Computing Culture" program, and I hope to start school there in September 2002.

    Artist's Statement:

    "There are two kinds of truths. There are the superficial truths, the opposite of which is obviously wrong. But there are also the profound truths, whose opposites are equally right."

    - Niels Bohr, (nuclear physicist) 1885-1962

    The relationship between humans and technology is constantly developing and fluctuating between disparate truths: sometimes the two converge, uniting in playful bursts of invention, communication, convenience and stimulation, and at other times they confront one another violently, coldly quantifying, categorizing, dissecting and dismantling... and each truth is equally right. This ambivalent and pervasive relationship is one of the most interesting phenomena that our culture has yet to define, and it has become the conceptual root of my artistic practice and the cohesive factor behind all of my projects.

    Many people (male and female) are uncomfortable with, afraid of, or confused by the subject of female anatomy. It seems as though our culture has alienated us from our own bodies, as our imperfect flesh pales in comparison to the empirical simplicity of machines. Likewise and furthermore, due to its lack of visible empirical signals, the female sexual response system is seen as a mysterious freakish entity that many are unwilling to understand.

    The goal of The Visible Woman: Orgasmic Pinball is to create an example of how one might visualize the "invisible," unempirical female sexual response system in a way that is unintimidating, mechanical, and affirming, implying that skill is involved, but that one can learn and acquire such skill, and enjoy the learning process, etc.

    The Visible Woman: Orgasmic Pinball is an exploration of the relationships between human and machine, and biology and technology, as it represents the phenomenon of female sexual excitement by applying it to a familiar mechanical model.


    Artists' Name: Christopher Benfield

    Email address:

    Name of installation: Frequency Communion


    Description of installation: Images of strange beings appear/dissappear in a strobe lit room, combined with a white noise sound track scattered with real-time emergency broadcasts,immersing

    the viewers in a trance-inducing environment.

    the trance state has been a feature of almost all previous and non-westernized cultures and has an obvious abscence in our own. It is hoped that the piece will allow viewers to experience something of the trance state within a technologically manipulated space, that is cohesive with our society.

    Artist Biography: Born '70 I grew up on the other side of the world and went to Art School in London to learn "how to be an artist"! And since then have re-educated myself...moved to N.Y.C early 90'sand then San Francisco in '98', where I live and work, and make mainly paintings as far as art goes, and have been showing around town. I support myself in the capitalist system making people's dwellings look good in the color and wall surface department and once in a while painting murals. I also have been doing some street art and performances.

    Artists' Statement: This piece is intended to provide an environment in which participants experience a trance like state of another worldly nature. It is inhabited by strange, ephemeral beings that appear and disappear rapidly, around and superimposed over, those in the installation. This visual layering, in conjunction with the sound aspect of the piece, is designed to nurture a loss of boundaries/identity, and allow for an inward reflection on how we perceive others and our selves within the shared experience. The trance like state will be induced by the use of strobe light and a sound track of radio interference and white noise, with audio accidents encouraged to occur. Sound and especially transmissions have the transient quality of being time based, i.e. of the moment, as well as the paradox of carrying the listener to other locations and time frames. It is hoped to imply the metaphor of the participant as receiver of messages too. By using technology in this way I hope to approach the communal spiritual, inner life so prevalent in previous and non westernized cultures, which seems so obviously absent from our culture, in a way that is accessible and using techniques more cohesive with our present needs.


    Artists' Name: Justin

    Name of performance: trash can on fire

    Mail address:

    Length of performance: 15 minutes


    Description of performance: a trash can filled with kerosene soaked wood, lit on fire and then force fed air from a leaf blower until the metal trash can falls a part in a great white hot fire. Radiating heat and the rushing roar of a blast furnace fills the air, and the sound of steel failing under high heat.

    Artist statement: I like to burn shit and blow things up, call it art, hell, just don't call the cops.

    Previous showings: this performance has not been done publicly yet, but more will always be better. A little about artist: 27 years old, filmmaker, and sculptor, not currently on any anti-depressants or lithium. Also life insurance salesman, owner


    Artists' name: Max Bunshaft

    Group Name:

    Email address:

    Web site:

    Name of Performance: The Irritron 9000

    Duration of Performance: 10 minutes to 10 hours - audience decides when they can't take it anymore (It went most of the evening)

    Artists' Statement:     I dunno...

    Description of Performance: Kinetic Sound Sculpture


  • Performers

    Artists' name: Doctor Friendly

    Email address:

    web site:

    Name of Performance/Installation: Live Genetic Engineering by Doctor Friendly


    Description of Performance/Installation: Doctor Friendly uses motion capture gloves to control 14 parameters of a self-organizing stereo feedback loop 200 times a second, growing and evolving a bucking, singing sonic beast in realtime. Is he controlling this new lifeform, or is it controlling him? You decide.

    Artist Biography: Aaron Wolf Baum, A.K.A. Doctor Friendly, National Science Foundation Fellow, studied physics at Harvard and Stanford University, where he received a Ph.D. in 1997. His work with fractal and living system-inspired electronic music began the same year. His first major project was a system that used fractals to continuously process and layer samples obtained from popular culture and the local environment via microphones. This system formed the voice of the Nebulous Entity, a giant, roving "alien information scavenger" that serenaded thousands of people at the 1998 Burning Man art festival. His next project was to develop an audio texture generator using biologically-inspired approaches to make weeks of environmental organic electronic music without human intervention. This project was exhibited in numerous galleries, audio/video shows and multimedia conferences in the San Francisco Bay area. His current project is an extension of these ideas to the creation of interactive, "living software" audio and video instruments capable of significant creativity of novel sorts, enabling collaboration and play between humans and new, alien life forms. The use of walkthrough video feedback loops and motion capture gloves creates an intimate, intuitive experience. This system was shown at SIGGRAPH 99, The Exploratorium Science Museum, Ground Zero, Artificial Life 7, Generative Art 3, The Lab, Crucible Steel Gallery, Burning Man 2000 & 2001, New Langton Arts, the Asilomar Microcomputer conference, and many other venues.

    Artists' Statement: The value of control, especially of complex systems such as living things and information technology, is a bedrock assumption of most technology DEVELOPMENT. As this technology penetrates our lives more and more deeply, we find the consequences of this approach -- that control is often the enemy of creativity, especially the creativity of the natural world, which is being threatened on a planetary level by humankind's quest for control. The field of artificial life has demonstrated at a technical level the fact that surrendering control -- creating systems which, by design, one cannot understand -- can lead to unique forms of organization; i.e., creativity. As this interplay between creator and created becomes more fluid, the possibility of a collaboration between two complex systems -- a human and a created life form -- emerges. My systems are an attempt to demonstrate this in the most intuitive, direct way possible -- by placing a person into an environment which responds to the details of their movement in interesting, but often surprising ways. The interactor may see images or hear sounds that they wish to experience more of, and in attempting to influence the system they discover the rewards of conscious listening and experimentation; simultaneously one finds that total control is not possible, and in this way a collaboration develops. The metaphor of learning to appreciate the natural responses of a system, and learning how to interact productively, extends into all of our relationships -- personal, social, governmental, and environmental. Its demonstration in technology shows its universality, and extends hope that our technology need not be a sterile, deadening presence in our lives.


    Artists' Name: Erich Filthmilk, Dan Hernandez, Nick Peterson, and Scott Rot

    Group Nam: FiLTHMiLK

    Email address:

    Web site: http://

    Name of installation: Applications of past unlawful deeds


    Description of installation: midi controlled power tools attached to a piano body, sheet metal, and ship and airplane parts.

    Name of Performance: applications of past unlawful deeds

    Description of Performance: Steel accompanied by electronic noise devices, sub harmonics & cello

    Duration of Performance:

    Technical support requirement electricity, perhaps more just, if a larger compressor is available we might be able to use our jackhammer as well.

    Artist Biography: FiLTHMiLK began 3 years ago. Prior to the existence of FiLTHMiLK mankind did not exists. Human kind's collective history and very memories was fabricated during a session at the FiLTHMiLK studio. All technologies, food stuffs, children's toys, cold remedies, toast-r-ovens and so forth were designed and fabricated by this illustrious group. Your history is their history. Artists Statement" FiLTHMiLK is now attempting to right the wrongs of the past 3 years. During these years the band has spent too much time performing recording and occasionally practicing. This waste of mind control time has left the world to its own devices, which has allowed the planet to spiral downward in counter spinning vortex of crappiness.

    Artists Name: Louis Fleischauer, Serina Lilly, Jenner Sharp, Robert Sin

    Group Name: Aesthetic Meat Front

    Email address:

    Web site

    Name of installation: Public Deprogramming Ritual Name of Performance: Pure Kaos Against Total Kontrol


    Description of Performance: The ritual includes: Musik made of bones, blood, meat, metal combined wit dark electronics, body modifications, which are also used as sound source, collective art and audience participation. The idea behind this Ritual is to help the participants (performers and audience alike) de-program themselves from a reality that we've been taught to believe. By releasing out inner powers and the primal instinct we become aware of side in us, that has been suppressed far to long. We ask you to use these moments to realize that there is more to life than what we have been programmed to believe. You are invited to participate! Duration of Performance 30+ minutes

    Artist Biography Artists Statement: We stand at the end of western civilization. Mankind's mind has been crippled by broad casted pseudo morals and religious dogmas, which stand for stagnation, mediocrity and self- annihilation. Instead of using our communication systems as a tool to help mankind grow and evolve, we let the mass media abuse it as a mind tranquilizer, numbing our instincts, dulling our senses and spreading fear and paranoia towards creativity, individuality and self indulgence. The equality that the "civilized" man strives for condemns the strong and reduces everything to the level of the weak. Outrageous safety laws and useless disclaimers (caution coffee is hot! Never use a condom twice) eliminate the need for self-responsibility and the use of common sense. Has thinking become a crime against humanity? Is it our destiny to become soulless meat machines? ...Or is there more to LIFEA-M-F is not an organization to be joined, it is an Idea, an experience, a philosophy. It is a thought manifesting itself. We promote Self-evolution. If you want to evolve and re-manifest your Self, you have to rise above a mass media invented reality, which is designed to breed submissive consumer slaves. You have to dissociate from cultural and social boundaries. As more individuals and ideas put into action are capable of taking this path, we create a rupture in standards of reality, and in doing so, create gateways towards new spheres of evolution. Our ideas are to be seen as an inspiration, not as a guideline. Feed your Deep Desire on A-M-F, mutate the thought, and inflame your creative mind! Invent your own line of attack. Proceed with the Left Hand Path.


    Artists' Name: Bruce Cartier aka 'manboy'

    Group Name: TEchnomania Circus

    Email address:

    Web site:

    Name of installation: Technomaniacal Noise by a Circus

    Description of installation: Loud, interactive integration of music & Circus


    Name of Performance: Technomaniacal Noise Production

    Description of Performance: Interactive Noise Creation

    Duration of Performance: 5 minute performances perhaps 4-6 times every 30 min or so as a between.

    Artist Biography: Circus Ringleader, Ringmaster, and Performer the past 3 years.

    Artists Statement: HA HA HA !! GOod freakin question. Perhaps the answer lies within our show and we don't want you in on it quite yet. Perhaps we have no reason or rhyme why we do the things that circus do. But be aware we find that the smile induction therapy may be transmitted to surrounding folks and they may actually go home and hug their wives and kids. OR even a STRANGER !! Perhaps even give someone a break in traffic and let him or her in line. Perhaps. Perhaps not. You see...... We are of the creative spirit and you will see things you will never see before and things you will never see again. Guaranteed, like all our shows. Those attending will enjoy the show or I will personally clean their house. More hyperbole to come.


    Group Name: Neighborhood BassCoalition

    Email address:

    Web site:

    Name of Performance: Sound of Steel 02-23-02

    Description of Performance: Collaborative sound performance using found metal as primary audio source; processing and pure synthesis

    Duration of Performance: 25 minutes

    Artists' Statement: The NBC will dispatch its agents to the Shipyard to teach some unruly but malleable molecules to sing in unison.'

    Group Name: Shipyard Artists

    Web site:

    Name of Performance: Other Random Act of ART.

548 Precita Avenue   Q     San Francisco, CA 94110   Q     415.642.7273   Q