Society for the Activation of Social Space through Art and Sound
SASSAS is a Los Angeles nonprofit organization that promotes experimental art, architecture, music, and sound events in shared social spaces.
Last updated August 31, 2026
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Overview
The Society for the Activation of Social Space through Art and Sound, commonly known as SASSAS, is a nonprofit arts organization associated with the experimental music and interdisciplinary art communities of the greater Los Angeles area. Its work centers on the creation, presentation, and recognition of experimental art and sound, with particular attention to the relationships among music, architecture, visual art, and social space. The organization developed from “sound.”, a concert series initiated by Los Angeles artist Cindy Bernard in 1999. The series was designed as a forum in which musicians from different backgrounds could collaborate and present work in an intimate, exploratory setting. In 2000, “sound.” moved to the MAK Center for Art and Architecture at the Schindler House in West Hollywood. The use of the Schindler House gave the concerts a distinctive spatial and architectural context: audiences experienced experimental performances inside an important modernist building and within a relatively informal residential environment. This setting reflected the broader idea that sound and performance could activate architectural and social spaces rather than exist only in conventional concert venues. Following the success of the concert series, SASSAS was formally incorporated and established a board of directors in 2002. From 2004 onward, it developed relationships with larger Los Angeles venues, including REDCAT and the John Anson Ford Amphitheatre. These partnerships expanded the scale and visibility of its programming while retaining a focus on experimental practices. The organization’s presented artists have included Pauline Oliveros, James Tenney, Nels Cline, Petra Haden, Wadada Leo Smith, Phil Cohran, Roscoe Mitchell, Joseph Jarman, Harold Budd, Glenn Branca, and Tetuzi Akiyama. SASSAS’s activities have primarily taken the form of concerts, performance events, and related support for experimental sound and interdisciplinary artistic exchange. Its programming connects established and emerging approaches to composition, improvisation, electronic and acoustic sound, and site-responsive performance, although the available reference material does not provide a complete catalogue of genres or programs. The organization has also maintained an online audio archive of past concerts, extending access to documentation beyond the original event locations. Rather than operating as a commercial consumer brand, SASSAS functions as a cultural institution and presenting organization. Its identity is defined by curatorial focus, venue partnerships, artist presentation, and the creation of contexts in which experimental sound can interact with architecture and public social experience. Available sources do not establish its current leadership, funding model, headquarters address, website, or present operating status, so those details remain unspecified.
History
SASSAS originated in Los Angeles in 1999, when artist Cindy Bernard initiated the “sound.” concert series. The series provided a setting for musicians from varied backgrounds to work together and for audiences to encounter experimental sound in a social environment. Its emphasis was not limited to conventional concert presentation; the project also explored how music could interact with architecture, visual art, and the character of a particular place. In 2000, “sound.” relocated to the MAK Center for Art and Architecture at the Schindler House in West Hollywood. The move placed the performances in an intimate residential setting and connected the series to a significant example of modernist architecture. This environment reinforced the project’s interest in the relationship between experimental performance and social space, allowing the audience’s experience to be shaped by the building as well as by the music. As the series gained recognition, the organization formalized its structure. SASSAS was incorporated in 2002, and a board of directors was formed. The incorporation marked the transition from an informal concert initiative into an established nonprofit arts organization with a broader mission: promoting the creation, presentation, and recognition of experimental art and sound in the greater Los Angeles area. Beginning in 2004, SASSAS formed partnerships with larger venues, including REDCAT and the John Anson Ford Amphitheatre. These relationships enabled the organization to present work to larger audiences and increased the visibility of Los Angeles’s experimental music community. The organization’s concert history includes performances by Pauline Oliveros, James Tenney, Nels Cline, Petra Haden, Wadada Leo Smith, Phil Cohran, Roscoe Mitchell, Joseph Jarman, Harold Budd, Glenn Branca, and Tetuzi Akiyama, among others. The breadth of these artists reflects SASSAS’s interest in contemporary composition, improvisation, avant-garde practice, and collaborations that cross stylistic or disciplinary boundaries. In addition to producing live concerts, SASSAS has maintained an online audio archive documenting past events. The archive serves as a continuing record of performances that were originally presented in specific architectural and social settings. Through live presentation, venue collaboration, and archival documentation, SASSAS has operated as an infrastructure for experimental art and sound rather than as a commercial music label or conventional entertainment company. The available reference material does not provide a complete account of later programming, current officers, financial support, or present organizational status. Consequently, the documented history is strongest for the organization’s formation, early venue development, artist presentations, and archival role.
- 2004
Partnerships with larger Los Angeles venues begin
[1]SASSAS develops presenting relationships with REDCAT and the John Anson Ford Amphitheatre, broadening the reach of its experimental programming.
- 2002
SASSAS is incorporated
[1]The organization formalizes its nonprofit structure and establishes a board of directors.
- 2000
The “sound.” series moves to the Schindler House
[1]Programming relocates to the MAK Center for Art and Architecture at the Schindler House in West Hollywood, linking experimental sound with an architectural setting.
- 1999
Cindy Bernard initiates the “sound.” concert series
[1]The series begins in Los Angeles as a forum for musicians from diverse backgrounds to collaborate and present experimental work.
Products and positioning
A nonprofit Los Angeles presenting organization focused on experimental sound, interdisciplinary art, architecture, and socially engaged performance contexts.
Concert series · 1999
“sound.” concert series
The originating SASSAS program, begun by Cindy Bernard in 1999, presented experimental sound and music in settings designed to encourage collaboration and close audience engagement. Its programming brought together musicians from varied backgrounds and treated performance as a social and spatial experience rather than simply a staged concert.
Live performance
Experimental concert presentations
SASSAS has produced concerts featuring experimental composers, improvisers, and interdisciplinary performers. Documented presenters include Pauline Oliveros, James Tenney, Nels Cline, Petra Haden, Wadada Leo Smith, Phil Cohran, Roscoe Mitchell, Joseph Jarman, Harold Budd, Glenn Branca, and Tetuzi Akiyama.
Digital archive
Online audio archive
SASSAS maintains an online audio archive of past concerts, preserving documentation of performances and making selected records of its experimental programming available beyond the original event venues.
Brand decisions
2004
Expand through larger-venue partnershipsStrategyBackground
SASSAS sought to increase exposure for experimental artists and the Los Angeles experimental community.
Action taken
The organization developed partnerships with REDCAT and the John Anson Ford Amphitheatre.
Aftermath
The partnerships enabled SASSAS to present its work in larger venues and reach broader audiences.
2002
Formalize the organization as a nonprofitStrategyBackground
The success of the “sound.” series created a basis for a continuing organization devoted to experimental art and sound.
Action taken
SASSAS was incorporated and a board of directors was formed.
Aftermath
The initiative became an established nonprofit presenting organization rather than remaining an informal concert series.
2000
Move the “sound.” series to the Schindler HouseStrategyBackground
The initial concert series was seeking a setting that could support an intimate relationship between experimental music, architecture, and audience experience.
Action taken
SASSAS moved the “sound.” program to the MAK Center for Art and Architecture at the Schindler House in West Hollywood.
Aftermath
The relocation established the architectural and social-space emphasis that became central to the organization’s identity.
Sources1 sources
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