Working with a selection of appropriated short films from the New York art scene in the 1960's and 70's, John Davis performs an improvised set of music that offers relationships between recognizable landscapes, portraits and scenery found within these seldom seen but familiar films. Filmmaker Anna Geyer & sound artist Kevin Corcoran open.

John Davis works primarily with moving images and sound. Through live performance, studio-based projects, workshops and residencies, his work encourages sensory responses through unexpected uses of traditional media. His performance work gives priority to collaboration and chance, and often situates him as both musician and filmmaker. Incorporating archival, found and original footage, his films celebrate the interplay of personal, nostalgic, cultural and ecstatic themes, while as a musician, John's work has been released on the Root Strata, Digitalis, Students of Decay, Bimodal Press Peasant Magik and the obs label.

Anna Geyer is an award winning experimental filmmaker and writer. Her films have screened in many festivals internationally. A fascination with non-traditional methods of both production and presentation is apparent in her work. Cameraless, non-representational work has been the emphasis of much her recent effort, although she frequently describes her work as, "experimental with a narrative bent". Live three or four projector loop sets, often performed in collaboration with local musicians, combine the technology of the past and present and include abstract imagery, live action work and degraded digital imagery of the digital age.

Kevin Corcoran works with percussion, field recordings and electronics with an open interest in sound as medium as it moves through contexts of music, art, communication and place.

As a percussionist he is focused on techniques which extend the sonic possibilities of the instrument by emphasizing textural sound, friction, sympathetic vibration, sustained tones and the use of found objects with an interest in freely arranging events in duration rather than marking time by rhythm. Whether working in sparse sound with a single drum and cymbal or frenetic contexts on the drum kit, improvisation is crucial to his practice as generative method and non-hierarchical exchange of ideas.

Through field recordings he observes and interacts with sites and objects with specific interests in abandoned architecture, urban excess, toxicity, decay, and intersections of infrastructure and open space which entangle intentional and incidental changes. Electronic sound features in his work through the use of cassette tapes, computer software, feedback systems and various means of amplification.