Against the rightmost "wall", which was a curtain covering up some sort of very large storage area, Mark started off the night with, as the flier described, "feedback using a clutch of microphones and his voice". Mark described his set as an Animal Law piece that he was still learning the melody to, but his performance was nothing short of striking. I can't honestly quite say I've ever really experienced anything quite like his set. The way Mark choreographed his every move to effect the shape of the feedback in the space was both sonically engaging and made me think more about the sound, making me take it for more than just its surface value. Every motion as small as creating a wall between two of the upright microphones with his hand created huge changes in the song that were somewhat surprising. I think the nicest part about the set was that from the description I was expecting more power-electronics-esque feedback-punching and screaming as frequently used in the other sets. It was much more enjoyable and interesting than I had thought it would be, and was definitely the most surprising of the night. Mark had the most tremendous presence of the performers that evening, performing with an ease that betrayed hours of practice, and years of performing.