Aaron Nicholas West
My piece investigates preservation and decay, using sound to map temporal and spatial transitions. The Sonic Palimpsest: Durational Audio and Public Kinetic Noise materializes structural erosion by treating magnetic tape as a living archive for LBsoundbrowse 2026.By disabling a tape recorder’s erase head, I transform the apparatus into an infinite sound-on-sound accumulator. Live, ambient violin textures print onto the loop, stacking exponentially without erasure. As the medium approaches physical saturation, historic layers dissolve into warm, distorted memories while sharp, new harmonics pierce the dense sonic mass.This slow stratification is disrupted by public intervention. Passersby strike nearby resonant objects, triggering a variety of found sounds local to the area. The resulting soundscape is an unpredictable dialogue between the weight of accumulated history and the immediate, kinetic energy of the street
Amy Bauer Designs & Dr. DethRyde
A roaming sound performance that transforms discarded materials into instruments and costumes. Moving through the environment, the performers create an evolving sonic landscape. What happens when the materials we discard refuse to become silent?
Rhythms emerge and disappear as the performers encounter different surfaces, spaces, sounds, and creatures. The performers intentionally work with texture, resonance, rhythm, silence, environmental noise, movement, and chance.
As the performers move, sound appears, travels, recedes, and re-emerges, encouraging audiences to follow, encounter, participate or simply notice. Scrap Resistance continues the larger artistic world by using reuse as both a creative practice and a form of resistance. Materials associated with waste, and abandonment are given new agency. They are no longer passive remnants of a system.This is a rebellion made from what remains:performers, discarded materials, and space transformed into an instrument.
Bo/Brandon Bollinger
Ceramisoundmakers is an interactive experimentation in ceramic sound art comprised of several large ceramic sculptures and hand held ceramic instruments. The goal is to engage with the audience to embrace the playfulness of making sounds free from the expectations of music.
Clare Marie Nemanich
heartstrings is a wearable instrument: whispering-screaming-humming strings ripped from a chest-flesh-nest.
David Kendall
In recent years, David Kendall has been developing a series of pieces for solo improvisor that use machine learning and audio analysis to reframe the space and parameters of musical performance. Human Dissolution, for computer, voice, field recordings and electric guitar, dissects the sound of the street environment and the typical (or atypical) sounds of common street performance–busking–to create a cloud of movement, a post-auditory hallucination presented as extended meditation, a ritualized representation of the actions of a performer in front of one passing spectator after anothe
Deniz Tafaghodi
Scores for Dragging is a participatory sound work in which simple found objects become temporary extensions of the body. Participants select an object from the table at the entrance (Found objects such as dried brunch, dried leaves, string, tube, paper, pipe, bells, etc) and attach it to their ankle. Each object carries its own score: a set of instructions for movement, listening, and interaction with the space.
The work does not prescribe rhythms, melodies, or a fixed musical structure. Instead, the scores establish conditions through which sound can emerge. Each participant becomes a moving sound source. As more bodies enter the space, individual actions begin to overlap, forming an unpredictable succession of solos, duets, trios, and ensembles.
The composition is not contained in the objects themselves, but in the relationships they create between bodies, materials, movement, and space. In this sense, Scores for Dragging is sound art: it composes conditions for listening.
Division of Labor
“Audio Aquatics” is an interactive performance artwork in which the performers, all wearing swim fins, roam locations throughout the event. As the performers walk, the collective flapping of the fins will create an unexpected rhythmic pattern. Additionally, each performer is equipped with an electronically modified conch shell. The shells will range in function from walkie-talkies to audio sound devices allowing live and prerecorded sound to be transmitted. Audience members and the public will be invited to put their ear up to the shells and listen. The audio emitting from the shells will at first appear as natural ocean sounds but shift as the performers vocally interpret their surroundings and interactions with the people they encounter. This cycle of the collective walking fin sounds and audio interactions with the shells will run for the duration of the even
Essvus
A feedback system involving a speaker, a microphone, and a sound design setup incorporates the outside world into a loop of warped noise sonics. Space and sound merge as the outside environment becomes part of a cyclical, aural process.
Using pitch-shifters, dub delays, and more, the input of the external world through the microphone gets transformed into something otherworldly, then is spit back into the world through the speaker (a portable amplifier). As the transformed sound enters and interacts with the outside world, it goes back into the microphone, creating a complete cycle. The physical space around the performance and nearby people themselves become part of the performance, physical existence transmuted into sound. Rhythmic structures and synthesized tones added into the loop constitute the reverse transformation: unembodied sound becoming embodied space. This breaks down the borders between sound and space itself, turning them into one.
Franco Castilla
This installation explores the symbiotic and fraught relationship between the natural world and humanity. In March of 2026, rattlesnakes in the Los Angeles area came out of brumation and left their burrows earlier than usual resulting in several incidents of human-rattlesnake interactions with six people being bitten and three of those bites being fatal. These changes in rattlesnake behavior were caused by higher temperatures due to an increase in greenhouse gases emitted into the atmosphere through the burning of oil, natural gas, and coal. The video begins with footage of firefighters extinguishing a wildfire and proceeds to the oil derricks at the Inglewood Oil Field. It continues through mountain trails in the chaparral ecosystem where encounters occur with indigenous plants and wildlife, natural water sources, rattlesnakes, and rattlesnake wranglers. The tapestry references coyotes which are indigenous to the southwest U.S. and survivors of government policies of eradication.
Ian Power
GİZLEMEK means to obscure, and this project operates on barely legible globes of meaning peeking through noise that attempts to obstruct it. A looping exploration of Turkish and Greek folk songs played on distorted electric oud. It is sound art because the songs are barely recognizable at best, first built from first principles with stark, bell-like, toggling notes and noise, and only at the very end articulated, where even then they blinker in and out as the power cuts on and off. A folk song is a simple but powerful thing evoking emotion with clarity and brevity. This piece removes the brevity and layers over it obfuscation, meditation, and angst, delivering the original emotion in a disfigured way.
Ian White
Real Love is an audiovisual installation presented via short throw projection and stereo speakers. The words ‘REAL LOVE’ scroll across the surface with flight simulator footage masked into the moving text. Two speakers flank the projection, both playing the din of an airplane cabin and a heartbeat; however, the right speaker plays a synthesized version of the sound, while the left speaker plays a real recording of a cabin layered onto a recording of the artist’s heartbeat. This creates an eerie contrast, with the heartbeats going in and out of sync. The two sounds are alike, but not quite similar. The piece uses flight simulators as a device to explore the ways in which human desires (to fly, to love) are mediated by digital technologies. If one thinks of ‘Love’ as a desire to transcend the material body and experience deep connection, be it with a person or the world, how do computer simulations and digital worlds present a version of its fulfillment?
Jackson Goode
At any given moment, we are surrounded and engulfed by messages that pass invisibly through the air. They sometimes arrive in our phones, our computers, TV’s, speakers, camera, lightbubs, and any number of the dozens of IoT devices embedded in modern human living spaces.
This installation attempts to ask what does that movement look like if it were akin to an audible rush of wind in the moment we receive a message or perhaps torrent, as we stream a video.
The audience is encouraged to connect their phones to an open router and hear the network activity that results from the active and in-active engagement with their device. The shape and quality of the sonification take inspiration from the natural environment, inviting an unusually organic perspective on what we otherwise consider cold and digital. With more activity passing through the router, participants and listeners will hear wind, chimes, leaves, the creak of branches bellowing across a multi-channel array.
James Allen
For this roaming presentation, live PA performer James will create a minimal, sporadic sound happening using circuit-bent devices. Dressed as a technician or journeyman, he will wear most of the equipment with guitar straps and belt clips, carrying only a small amount of additional gear. Moving throughout Long Beach Soundbrowse, James will introduce drones, modulated vocal fragments, looped glitches, and cassette material into the surrounding environment
James will react to other participants, sampling the collisions between performances. He will also promote experimental music and art events with the exaggerated manner of a street solicitor selling snake oil. Tapes may be recorded, presented, and sold during the performance.
The project explores moving live PA away from heavy systems toward busking and “sound bombing,” extending James’s earlier experiments with architecture, portable sound systems, and his 2004–2006 kiosk sculptures into a completely mobile format.
Kai-Luen Liang & Primož Sukič
Kai and I are working with notions of voice, sustained percussive and drone guitar sounds, filtered through custom-made instruments and machine learning processing. Our project moves between a live performance, and an immersive sound experience that gets created between the audience, performers, and the machine learning computing algorithm.
The voice material is generated through a live camera capturing the performance surroundings, translating the captured image to voice via a machine learning algorithm. This provides a core material of the performance that acts as a theme, which gets deconstructed and reappears varied, and altered between different episodes.
The guitar material consists of long, drony pulsating textures, where a feedback loop is established between the guitar and transducer speakers placed around the performance space. The transducers speaker at the same time act as amplifying devices as well as instruments on their own.
Kayla McIntyre + David Kelley
Portmanteau explores the relationship between sound, color, and visual memory through the lens of the Port of Long Beach and Los Angeles. Inspired by synesthesia, which is the experience of one sensory stimulus triggering another, Portmanteau translates the textures and timbres of the shipyard into music. The conjunction of the world and the Pacific Ocean meeting the land. Sounds of machinery, metal, water, engines, tools, and industry becomes a musical vocabulary, informing the choice of instruments, rhythms, harmonies, and durations. Sounds pair with colors, keening and bouncing off film images of the port, creating an audiovisual poem where the timbre of an instrument evokes the texture or color of the shipyard. The goal is to blur the boundaries between environmental sound, instrumental music, and image, allowing the audience to experience the shipyard not just as a place, but as a palette of sound, color, and sensation.
*Per Websters dictionary, Portmanteau is a word or part of a word made by combining the spellings and meanings of two or more other words or word parts (such as smog from smoke and fog).
Kevin Chan
glitches: in the water, explores the connection between visual and sound. A sample of Reflets dans l’eau by Claude Debussy is used on the modular synthesizer to create generative drones. The modular synthesizer is integrated with a computer to make projected visual images audio reactive
Know Más Generation
We will be live mixing sound from contact mics placed on objects and ourselves. Melding the melodies of objects and our bodies. We will also have video projections which will be playing sounds of field recordings and mix-sound
Los Angeles Synth Club
The LA Synth Club will feature 4-6 sound artists selected carefully from our collective that offer a spectrum of sound art made using purely hardware equipment with no laptops. While focused on electronic sound generation, members often incorporate acoustic sound sources that interface with electronics to create sounds nevery heard before.
The performers are all experienced sound designers and performers, some of which work professionally in sound, music, and musical instrument industries. With eye-catching, unconventional electronics, and an accompanying video projection that synchronizes with the sounds in real time, the LA Synth Club promises a stimulating experience for the eyes, ears and minds.
The LA Synth Club is a welcoming community, with new members joining every day. Our numerous monthly events allow veterans and newcomers alike the opportunity to meet and interact with fellow artists, perform at curated events (like this one!), and share and learn tips and techniques.
Marisa Ramey
Cloudwatchers is an ambient soundscape shaped by time lapse video of clouds
Matt McBane and Ian Dicke
This project is an improvisational live synthesis and violin textures sound art duo of composer, electronic musician and violinist Matt McBane, and composer, software designer and UC Riverside Professor Ian Dicke. This project is in a way a more improvisation continuation of Matt’s 2025 album ‘Buoy’ called “a stunning blend of neoclassical instrumentation and minimalist modular synth music” by Bandcamp
Matthew Mallinger
An audiovisual performance, drawing from his previous installation ‘Allostate,’ Matthew will perform a longform original composition – consisting of drums, electronics, field recordings & percussion. Textural soundscapes accompanied by visuals in motion // an immersive soundscape intended to send one’s thoughts Upstream.
MISER
datastream for steel (strings) is an exercise in dissonance and resonance, wringing out field recordings of natural and industrial sources through complex voltage controlled granularization and spatialization and specta-shaping tools and balancing those atop drones of stretched steel strings improvised by the performers inspired by the emergent state of the site. interference nodes in the space will present themselves and the latticework of sound layers will reveal consonance and conflict. inspect your sonic surroundings
Monica Ryan
A Case of Anxiety is an anxiety dream. It tells the story of moving through a large train depot while a fearful voice questions every move. It is a reminder that no matter where we go, we always take ourselves with us
Nicholas Dynice
Ten unique, vintage analog telephones are connected to a special, private phone network. Corporate office technology, now available as free software becomes both a toy and an audio encyclopedia. Pick up a receiver, dial a number and you might reach another caller or a speech, or story from another time. The catalog of recordings at various extensions carry the stories about the ways of old phone system, others replay historic voices and interviews with sound artists, music, while others read you your horoscope. Or you can call the party lines. Just page through the little black book of numbers, dial 411, or discover unlisted extension. The experience is both familiar and strange, a world once tethered to homes and offices in an outdoor setting. For some, a return to the weight and click of analog telephones; for others, nostalgia for a time they never lived through
Prof Plom
The chaos of random participants activating submerged microphones, metallic amplifications, and tangled spring patterns is tamed by Prof Plom with sampling techniques and audio processing as he composes moments in time. Digital projection responds to the audio, bouncing with the frequencies that emerge. This is a refined presentation of Corrosive from soundpedro 26
Pterosaur
We perform improvisational electronic music. We use circuit bent toys, small electronic devices, a device that detects plant activity and provides electronic greatness, theramins, loopers and hawaiian guitar with ebow. We have a visual element as well
Rob Seif
Seno
A shape.
A waveform.
Modulating, infinite.
We are the wave.
Stretching, compressing, rising and
falling,
faster than our
bodies can follow.
The body, left behind.
Our minds trace the curve.
Seno holds a note.
She reflects —
clearer as you clear,
distorted as you deviate.
Still.
Endless.
Returning.
Seno
The audience will enter the room or space and walk up to a table with a microphone emanating from it. A small glowing orb will sit behind it. A series of led light will originate from the orb and expand on the table or on a wall behind. Two speakers will be sounding. The lights will pulse and if possible be arranged as waves. A small monitor card will describe the project and potentially another monitor will interface with users to collect present information.
Simon Ray
Servo and solenoid-driven mallets strike drumheads at threshold velocities as amplifiers feed signals back into the membranes themselves, blurring the boundary between excitation and response, instrument and player. The resulting system of percussive strikes, feedback throbs and shrieks flutter, drift and settle into fluctuating and emergent standing waves
The semi-autonomous system explores duration, decay, and the physics of vibrating bodies. Straddling instability and synchronicity alike, the system pursues the disruption of rhythmic activity and exploration of acoustic phenomena.
Star Garden Arts
This installation is a multi-user interactive experience set semi-circularly about a curb-side tree. Vast harp-like sounds are played as the audience walks through or uses hand motion to trigger and modulate effects. Also considered is the use of untuned sounds or synthesis, tuned chromatic, chorded, or a specific musical or unusual scale, as well as illumination/glow effects/themed display.
The Johnsons
While some of our noises may sound musical itis sound art. Mostly improv with more attention given to achieving different sounds than actual notes. Using loops as a base will add texture and layers on top
They will see 2 performers – one playing an electric violin and the other with an electric cello. Amps pedal board. Maybe masks
wikiGong.com
Extending our recent meditations on American John L. Stephens’ antebellum “Adventures of Travel in Yucatan,” we contemplate evidence of the fall of civilizations in image and text–which often survive beyond generations of knowledgeable interpreters–and in sound–which dies away before the last performer leaves the stage
Zagla
Sound is generated through random positions using a handful of steel balls bouncing through a maze of bells. Pachinko is a mechanical gambling game originating in Japan and resembles a vertical pinball machine. Unlike traditional pachinko, the only prize to be won from this pachinko is sound
Zear
//1
Zculpture
VIEWER INTERACTION PIECE
▪︎ A web of tied metal strips that can be directly handled by the viewer.
By altering the aesthetic of the Zculpture, sounds are generated and manipulated.
//2
routECHO 121/131
▪︎ A microphone on a boom stand, echoing real-time street activity.
▪︎ Nothing is recorded….just simple analog reverberated.