| Start | Duration | Performer | Description |
| 12:00 | 0:20 | cypod | rhythmic electronica |
| 12:20 | 0:30 | Thea Farhadian/Nina Egert | samples+extended vocals+percussion |
| 12:50 | 0:10 | BREAK | |
| 1:00 | 0:30 | Lx Rudis | videogame synthpunk detritus |
| 1:30 | 0:20 | Phillip Greenlief | solo saxophone |
| 1:50 | 0:10 | BREAK | |
| 2:00 | 0:30 | Ernesto Diaz-Infante | solo acoustic guitar |
| 2:30 | 0:20 | RYAN AND WILSHUSEN'S TAKLIMBA | electronified kalimba+tabla |
| 2:50 | 0:10 | BREAK | |
| 3:00 | 0:25 | Moe! Staiano/Vicky Grossi | percussion+guitar/bass+viola |
| 3:25 | 0:25 | thollem | piano |
| 3:50 | 0:10 | BREAK | |
| 4:00 | 0:25 | Out of the blue Quartet | Chicago quartet relocates to Bay Area |
| 4:25 | 0:25 | Devil Lovers | George Cremaschi, John Shiurba, Scott Rosenberg |
| 4:50 | 0:10 | BREAK | |
| 5:00 | 0:25 | Josh Allen/Damon Smith | sax/bass free jazz |
| 5:25 | 0:25 | Davignon/Djll | trumpet/drum machine, uc/lc noise |
| 5:50 | 0:10 | BREAK | |
| 6:00 | 0:25 | Joe Zitt/Katherine Setar | folk songs w. improvised accompaniment |
| 6:25 | 0:25 | Grey Otter / Will Grant | art songs, sort of |
| 6:50 | 0:10 | BREAK | |
| 7:00 | 0:25 | People | Middle-eastern "jazz" |
| 7:25 | 0:25 | Scot Gresham-Lancaster | electronics/guitar |
| 7:50 | 0:10 | BREAK | |
| 8:00 | 0:25 | Ghost In The House | Oboe/Percussion/Lap Steel/Gongs |
| 8:25 | 0:25 | Amar Chaudhary | laptop/acoustic+toy instruments |
| 8:50 | 0:10 | BREAK | |
| 9:00 | 0:25 | Alexander Kort & Olivier Hamant | electric cello/bass clarinet |
| 9:30 | 0:40 | Skronktet West | Electric with Live Dancers |
Thea Farhadian (electronics) has performed Arabic, Sephardic, and North African music in addition to contemporary classical music and free improvisation. She has performed in New York City, Berlin and Armenia. Thea has composed music for film and has sound art pieces played in the U.S. and abroad. Most recently, she curated for the first Armenian Film Festival in New York City and in San Francisco.
Some information about the piece: "MRI.5" considers the topic of the locations of consciousness in the brain. Structurally, the piece consists of a set, pre-recorded format using samples of synthesized sounds, recordings of MRI machines, and spoken citations from a variety of sources. Overlaid upon the recorded format is a live, extemporaneous performance using extended vocal techniques and percussion (two types of Tibetan ritual drums).