P E R S O N N E L

⚀ Dominique Matelson: voice

⚁ Corey Fogel: drums

⚂ Nicki Chen: viola

⚃ Vinny Golia: clarinet/bass clarinet

⚄ Jeonghyeon Joo: hageum

⚅ Archie Carey: bassoon

⚂ ⚃ Michael Matsuno: flute

⚃ ⚃ Judith Berkson: piano

⚃ ⚄ Ethan Marks: trumpet

⚄ ⚄ Melissa Achten: harp

Empty Fields Yield Familiar Faces// Who know me, who I know too, is an interdisciplinary performance installation unfolding at the will of a shapeshifting, Western landscape. Movement artists explore facets of the self by interacting with physical tethers to their environment and its fantastical inhabitants. I use tethers, as an extension of the self, to further my recent fascination with pulling and stretching bodily appendages to extreme, impossible, and unrecognizable lengths in an attempt to view the body as simultaneously possessed and observed. A collection of stories guides performers and audience through the malleable relationship between girl and horse.

F E A T U R I N G

Performers: Eliza Loran, Linsey Dunbar, Scount Nankin, & Jayde Spiegel

Music: Kelby Clark

Set and Costume Design: Sonnet Garza

THE FLUTES! is a project by Rachel Beetz to explore the many ways flutes exist and sound throughout our world. This concert features 4 premieres for a quartet of various flutes. You will hear a work composed by Sarah Davachi for four bass flutes adapted with distortion, a premiere composition by Michael Matsuno for four alto flutes, a new improvisatory work by Teresa Díaz de Cossio for various flutes, a consort of flutes constructed out of electrical conduit designed by Rachel Beetz, and a classical piccolo ensemble piece by Wilfrido Terrazas.  

Their performance brings together flutist composers, all who have their own in-depth idiosyncratic relationships to our instruments. After this show, you will hear flutes everywhere: the eyes of the eyes are open.

Combining traditions of clown, Fitzmaurice voice technique, and noise improvisation, the piece explores the embodiment of disembodied voice; the translation of invisible, feminine, and slipperily gendered dimensions; and the collision of a jester with the fraught world of media broadcasting. 

This piece is an exploration of the body/human being as a divine channel, in an encounter with the fracturing of political and consensus reality, as it takes place over media channels. Pinke has previously explored themes of patriarchal collapse, heartbreak, and quantum physics through the mythical proxy of Eurydice (from the Greek myth, Orpheus and Eurydice). During this residency Pinke will revive her experiment of embodying Eurydice and explore the development of an improvisational language in live interaction with shortwave radio signals. Playing with pre-written, collaged, and improvised text, the embodied voice, and feedback and radio signals, live with her collaborator Corey Fogel she will let the audience into the development of that language.

*Shortwave radio is both a historical relic of media broadcasting in the USA and a living proxy for the story of its past and present evolution. Located between 1700 kHz and 30 MHz (30 000 kHz), it can reach longer distances than any other range of frequencies, and is known as the "internet before the Internet." In the USA it was initially hailed as a revolutionary tool for instantaneous, international communication. It was later utilized for war propaganda. Then it became a home for fringe, far-right, and extremist groups after the Cold War. It is now being privatized by Wall Street. It also still serves as a tool for news and information in areas without reliable internet access. Shortwave listening, or SWLing, is the hobby of listening to shortwave radio broadcasts.

'Chromebook studies’ is a series of networked installation and performance pieces centered around the orchestration and novel use of 24 chromebooks. I love working with nothing but a laptop, but I can't configure it to take the shape of a space, because it's one object. My solution to this was to buy 24 of them, and create a system where I can control them remotely via LLM or bespoke live coding software. Now I can throw them around the room and explore speaker and projector configurations, compose for them and spread the notes across the room, make them yell at each other from a distance, and a host of other fun things. They're a great canvas for work. For a week I'll paint that canvas across the Oracle Egg space.

-Will Rinkoff

Drawing from the mythological narratives of empire and the intimacy of personal memory, the work becomes a sensorial excavation of how love, power, and resistance shape both the individual the collective body. Amor & Psyche asks what it means to love fiercely, vulnerably in a world structured by monumental power.

The performance is staged within an installation of an infinity-shaped labyrinth, a continuous figure that folds time and myth back onto themselves. This spatial loop becomes a site where political and ancestral narratives converge. We present architectural references: the Capitol dome as contemporary Pantheon, the White House as a palace-temple, the ruins of Rome as both blueprint and echo. Appearing through projected fragments, light, costume, and sonic vibration. These monumental forms, typically associated with governance, order, and control, dissolve into dream-images. Within the labyrinth, they become unstable symbols, exposing their mythic foundations and their susceptibility to reinterpretation. The labyrinth functions simultaneously as stage and memory chamber, where Psyche’s journey becomes collective and a descent into unknowing, a negotiation with the unseen, and a reclamation of desire as a form of knowledge.

The soundscape, composed and performed by dama and Amy Zimmitti, moves between primal resonance and contemporary sonic experimentation. Field recordings, breath, body percussion, handmade instruments, voice, strings, and electronic processing form an evolving sensorial score. Sound spirals through the space in looping cycles, at times intimate, at times monumental and mirroring Psyche’s oscillation between fear and wonder, tenderness and power. Drone textures expand and contract like a lung; fragmented speech and spoken word unfold ritualistically. The work is not narrative but experiential. Rather than retelling the myth, it invites the body to encounter myth not as story but as condition, and an atmosphere through which the audience moves. The installation becomes a mythological agora, collapsing boundaries between empire and eros, governance and dream, past and present. Within this, the audience is invited into a state of porousness: to listen with the skin, to inhabit the instability of archetypes, and to follow sound into the uncertainties where transformation begins.

Caught between an ancient and future self in the endless process of “coming of age,” Elliot looks to the 20 BCE poems of Sulpicia (the only ancient Roman female poet whose work survives) to explore her own 2026 CE growing pains and power struggles in love, work, and family. The music blends experimental opera with confessional pop, weaving Sulpicia’s Latin elegies (voice and electronics) together with Elliot’s songs (voice and keyboard) through personal stories. Projections by director-designer Rosie Tabachnick are both supertitles (text & translation) and glimpses into the inner worlds of each song.

♢ＰΞＮ ░ ＬΛＢ is a free, drop-in time to co-work, share ideas, or work through something you’ve been stuck on. Bring a project (something you’ve been putting off?), start something new, or just spend a few hours in a focused, creative environment with your friends.

We’ll have work tables, internet, tea, and a fridge/microwave if you want to bring your own food

As this develops, we’ll also use Open Lab to host occasional hands-on workshops

We’ll be there too if you want to ask questions about our programming, get feedback on a project, or just say hi :)

I learned to play the tuba by hiding my body - literally behind 30 pounds of brass machine, and figuratively under beautiful tone. In this residency, I pursue threads of expression that have been working their way through my recent practice: an emphasis on internal process and difficulty, the pursuit of duration and endurance, and a conceptual approach to the instrument as a mechanism to be taken apart and modified. The performance will incorporate electronics and extensions, as well as some (hopefully) beautiful tone, as it navigates the boundaries between organs and machines.

The loom is a technology that’s easy to overlook—an innovation too ancient and quotidian to be appreciated—but that doesn’t mean we should. As artist Anni Albers puts it, “Threads were among the earliest transmitters of meaning.” Within the parameters of the performance space, the loom becomes a rhythmic instrument, storyteller, companion, historian, and community focal point; the tactile score created in performance forms a sensory experience that alchemizes the clacking of the loom, the vibrancy of the threads, the movement of the shuttle, the echoes of the ancestors through song, and the trance induced by the weaving of story.

P E R S O N N E L

⚀ Doomi Soomi: accordion

⚁ Georgia E. Bell: bass

⚂ Ivan Cunningham: saxophone

⚃ Kathryn Schumann: voice

⚄ Kelby Clark: banjo

⚅ M. A. Harms: vibraphone

⚂ ⚃ Mark Kimbrell: drums

⚃ ⚃ Mason Moy: tuba & trombone

⚃ ⚄ Shelley Burgon: harp

⚄ ⚄ Violet Hannesena: violin

How good does it feel to pull back from time to time? To really shed excess, more-ness, and follow a single path with intention? The exploration of one thing can illuminate corners of the world overlooked by minds pushed in increasingly omnidirectional cycles of want. Tone Keepers is a collection of four compositions by flutist, composer, and sound artist Rachel Beetz that follow a straight line into unexpected territory. Each piece revolves around a simple but inventive technique for generating acoustic sound coupled with a discrete mode of electronic processing, spinning out variations on the unique effect it produces. Beetz encourages sounds to crystalize rather than expand, uncovering new permutations and emotional dimensions as curiosity leads her forward. The ear of the listener becomes a magnifying glass as the mind affixes itself to the music, its focus sharpening with each cyclical return.

Ten repetitive sonic interventions within the eroded landscapes of the Burren, County Clare, Ireland.

These occur at sites of local “anti-monuments:” a kilometers-long, natural limestone pavement high above Galway Bay; stone farm walls and remnants of circular structures on hillsides; cairns near a shoreline; a field of glacial boulders interrupted by a road smashed from the surrounding stone formations, in forced public work by the starving during the Great Hunger of 1845 to 1852. These structures speak to both the passage of geologic time, and the care and efforts of human survival beginning in the Neolithic period and tended through the present, though local history at each site may be lost, or unrecorded.

These are introduced in title cards in English, italicized as a term in a language foreign to the observer, and in Irish in plain font, as in an observer’s native language.

From one perspective, a sonic divining or physical research into the properties of land, space, light, and time in these locations; from another, an attempt as an “Irish-American” to reckon with language, archaeology, and history felt as formative but inarticulable without lived context.

After a point, you can only ask the stone so many questions, and sometimes you can only hear your own voice in response.

𝕥𝕠𝕟𝕖 𝕒𝕣𝕞 is a free, monthly listening gathering at Oracle Egg. Each session features a carefully curated selection of physical media, played in full as intended by the artist. We listen together, without phones and without the pressure to consume quickly. In a culture shaped by streaming slop and endless access, these gatherings foregrounds human touch and curation. Records are chosen by people, physically handled, and offered up with vulnerability and care.

((Listening as an active practice and shared with others))

Brass quartet Diapason will perform And Now This Creature in anticipation of their upcoming album release of the work. And Now This Creature is a long form work for brass ensemble. This hour-long work features sustained tones in microtonal just intonation, with harmonies that morph from the beautiful to strange, with melodic gestures that emerge from the mass. Trevor Treglia is a composer and sound artist based in New York City. His practice centers on timbre, tuning, and pitch perception, exploring how specific harmonic relationships shape auditory and emotional experience. Diapason is a Los Angeles based quartet focused on perceptual phenomenon in long form drone music for brass instruments. The ensemble is Nev Wendell (trumpet), Nicholas Ginsburg (french horn), Mattie Barbier (trombone), and Mason Moy (tuba).

Improviser Wilfrido Terrazas and poet Ronnie Yates met for the first time in 2011, during an artistic residency in Florida, where they worked with the legendary Roscoe Mitchell. They have collaborated in various ways ever since, but this is their first live collaboration, exploring the liminal terrain where language becomes sound and sound becomes narrative. Terrazas’s music, deeply shaped by the poetry scene of Mexico City, intersects with Yates’s verse, which has been equally influenced by Houston’s experimental music community. Together, they create an adventurous dialogue of words and sound, improvising across traditions and geographies in real time.

Eli Klausner has always fostered a close connection between his improvisational compositional practices, seeking to constantly renew his relationship with everyday materials, objects and gestures. He will be playing a new set up he has developed of strings and wires of different materials, stretched across a frame, activated by spinning dc motors.

three sets of improvised music presented by Kelly Bray (solo electroacoustic trumpet), Mitch Dion (solo electronics), and a new trio by Grace Dashnaw, M. A. Harms, and Jakob Heinemann (cello, percussion, upright bass)

An ensemble of 13 players create a collective work born from a spontaneous moment. One large group united, distinct voices building one multi-dimensional shape as they mobilize themselves through space. The individual voice is encouraged (not suppressed) because it feeds a fleshed out, more powerful whole.

FUCK ICE. Oracle Egg is located in the historic Fashion District of downtown Los Angeles where the very first ICE raids hit this city back in June of 2025. We have witnessed the dramatic change to this neighborhood since their guerrilla style warfare began. Vendors who are afraid to sell, and shops that have closed up for good. This is the long term damage done to the communities that remain in the wake of raids. All proceeds raised this evening will be split evenly between three vendors working here in the Fashion District. Our neighbors are struggling financially but they also need to know that there is still hope and that we are here for them.

If you come to the show, we encourage you to come early, get some food and do some shopping around Santee Alley.  It is a cultural institution which supports a version of commerce that operates outside of mainstream, corporate channels. Community support is the only way places like it will survive.

Curated with Nelle J. Anderson

Dis-order, choreographed and directed by Mamie Green / VOLTA, is an interdisciplinary performance that tests the societal line between order and chaos with dark levity. Staged à la Judy Chicago’s The Dinner Party, the piece references Jewish symbolism, Greek tragedy, and Pina Bausch’s Rite of Spring via large-scale puppetry by Freak Nature Puppets. The piece, jointly imagined by Mamie Green and writer Rebecca Schultz, is directed and choreographed by Green and written by Schultz. It features a collaborative team including puppets by Freak Nature Puppets, production design and paintings by artist Ari Salka, with an original score composed and performed by Patrick Shiroishi and Dylan Fujioka. The work is performed by Roxanne Steinberg, Anaya Cierra, Ryley Polak, Sophie Becker, Tim Allen, and Nico Fife.

Dis-order will premiere at Skirball Cultural Center March 19th & 20th, 2026.

Seven Cups Echo is a participatory performance that explores the interaction of senses in the context of an intimate tea ceremony. Utilizing an augmented tea set embedded with sensors, the gestures and movements of a gongfu style tea tasting will trigger and modulate quadrophonic sound and visual elements in real time. As participants are invited to drink tea, their movements will contribute to the co-creation of an evolving audiovisual environment, turning the ceremony into a collaborative composition scored by the ritual of both making and drinking tea. By drawing tangible connections between movement, taste, smell, sight, and sound, Seven Cups Echo creates a multi-sensory experience that reimagines a classic gongfu tea ceremony. Conceptualized and composed by Marc Merza and Emma Palm with creative technologist Álvaro Cáceres and live projections by Cuìxī Lín. Custom ceramic tea set made by Gerin del Carmen and snacks from Gu Grocery.

Jennifer Bewerse presents Double Spaces, a multimedia performance reflecting on friendship, how we support and find support in each other, and what we gain when we refuse to avoid the hardest moments of our relationships. Through film, recordings, and intimate ephemera from a decade-long friendship and artistic collaboration with Heather Barnes, the piece becomes a posthumous duet of memory, presence, and enduring connection. The residency allows Jennifer to refine the performance’s structure and experiment with new combinations of text, film, and ephemera to deepen the work’s reflection on how we remember each other and our imagined futures that are never promised. Over the course of its 60-minute continuous performance, audiences sit together in quiet community, witnessing moments of grief, care, and enduring friendship unfold and holding space for private reflection within shared presence. The performance invites audiences to consider how embracing the reality of death can deepen our capacity for connection and intimacy. What happens when we refuse to look away?

Ghost Ensemble presents an evening of recent commissions incorporating just intonation, elemental forces, and Renaissance/Baroque practices, featuring the world premiere of the ensemble’s newest commission from KCM Walker and the Los Angeles premieres of Sarah Davachi’s Ghost Ensemble commission and the latest percussion work from Akari Komura. Developed through close collaboration with the ensemble, Sarah Davachi’s Basso Continuo stretches the Baroque practice of harmonic accompaniment to an extreme duration in a glacial just-intonation counterpoint. Like much of Davachi’s music, the real action happens in the phenomenological experience beyond the notation; her work invites a harmonic listening in between stasis and motion, where the physical bodies of the instruments and resonance of the room are constantly in play with one another. K.C.M. Walker’s Low Dance and Winding Wind, inspired by the Basse Danse and Tourdion dance forms popular at the turn of the sixteenth century, is composed around a just intonation scale that moves from a focus on harmonic consonance to the polyphonic texture of overlapping melodic contours. Drawing on the translation of Tourdion in reference to a twisting or winding motion, Winding Wind is a prolation canon featuring the harp which maintains an ostinato while simultaneously doubling the bass flute, accordion, and contrabass as they play versions of the same melody at different rates. Akari Komura’s voices on the surface invites the performer and listeners into dialogue with the voicelessness of natural elements, imagining sonic landscapes on the surfaces of trees, fire, earth, ore, and water.