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Saturday, September 9th, Byron Westbrook continues his ISSUE residency with “Threshold Variations,” an immersive environment expanding on the techniques of “Interval/Habitat” presented at Westbrook’s previous residency commission in April, 2017. “Threshold Variations” revisits the experimental staging of “Interval/Habitat,” but focuses more directly on the synaesthetic play between light amplitude and sound volume in relation to the audience’s thresholds of perception.

Brooklyn-based, Moroccan-born Selwa Abd uses the fictional character Bergsonist (derived from Gilles Deleuze’s Bergsonism) as her musical guise. For this performance, she has written a sonic ode to the decaying Internet.

ISSUE Project Room's 2017 Fall season opens at the First Unitarian Congregational Society in Brooklyn Heights with celebrated composer and process-musician William Basinski. His most recent work A Shadow In Time is a eulogy to David Bowie that explores the two artists’ shared concern with how to make time, change, and death their own.

YATTA, the performative guise of Sierra Leonean-American musician Yatta Zoker, performs at ISSUE's 2017 fall season opening. Her recently released debut EP Spirit Said Yes!, reissued on NYC imprint PTP, mixes sounds inspired by shamanism, jazz, and drone toward meditative and unsettling ends.

Stephan Moore, Scott Smallwood and Suzanne Thorpe present new work as a part of World Listening Day, which pays homage to the experimental legacy of Pauline Oliveros. Together, these artists “sound out” the sonic qualities of ISSUE’s historic McKim, Mead and White Theater at 22 Boerum Place using Paul Geluso’s 3D Sound Object invention.

Sadaf H Nava draws on global influences such as traditional middle eastern instrumentation and vocal technique, free jazz noise violin, deconstructed Dembow and Reggaeton beats, and digital hardcore tendencies, to develop and unconventional palette unraveling within a "post-dj era soap opera."

New York artist Evan Caminiti and San-Francisco-based filmmaker Paul Clipson present an audiovisual collaboration drawing from Caminiti’s most recent album Toxic City Music (Dust Editions 2017) as well as Clipson’s recent 16mm impressions of the “charged metabolism” of city life.

ISSUE presents Peter Brötzmann and Heather Leigh -- two fearless musicians capable of extreme dynamics and subtleties. Together they bring countless decades of experience at the cutting edge of speed-of-thought improvisation and deep lyrical soul, furthering their work into an "unrelenting, caterwauling hate-bomb."

ISSUE presents jazz leaders Ken Vandermark & Nate Wooley in duo performance, returning together to 22 Boerum for the first time since ISSUE’s 10 Years Alive On The Infinite Plane in 2013.

For her ISSUE debut, multi-instrumentalist and vocalist Ka Baird presents Espylacopa (A Reversal In Three Acts), an interdisciplinary collaborative work that incorporates organic and processed sounds, human voice, projected and ambient lighting with performance art, sculpture and movement.

Artist, designer and composer Jeremy Toussaint-Baptiste opens his ISSUE residency with a collaboration with LaMont Hamilton on Saturday, May 6, 2017. The performance is the collaborative duo’s fourth performance around Julius Eastman’s 1979 composition, “Evil Nigger."

On Friday, April 7th, 2017 ISSUE gathered a group of artists who all shared a friendship with Tony Conrad, and a deep devotion to his music and art. In honor of Tony, who passed away on April 9th, 2016, Lary 7 stages a performance of Tony’s Three Loops for Performers and Tape Recorders (1961).

On Friday, April 7th, 2017 ISSUE gathered a group of artists who all shared a friendship with Tony Conrad, and a deep devotion to his music and art. In honor of Tony, who passed away on April 9th, 2016, Dan Conrad performs "Keening Tony" alongside his visual work "Edge."

Kabir Carter opens his 2017 Residency with a solo performance introducing his practice to the historic architecture of ISSUE’s 22 Boerum Theater. Recently, Carter has reduced his performances to include little to no external signal processing and effects. Instead, he uses his own physical movements and gestures to produce and modulate sound in space.