This unconventional presentation by the recently formed wind performance ensemble Cube and their guests, perhaps the last word in multimedia events, can best be summed up as a series of adventures in sight, sound, and movement. In Naked Men Music by New Yorker William Doerrfeld, for example, the male body is used as a percussion instrument, and the strangely familiar sounds are juxtaposed with nonverbal utterances by a male voice. Plants are the stars of John Cage’s aleatoric collage Child of Tree (1975): arboreal sound bites (accompanied by percussion) such as the crushing of a dried leaf and cactus needles touching a microphone are connected in typical Cage fashion–a sequence determined by consulting the I Ching. Morris Knight’s Del Camino (1990) also harks back to a decade when electronic music was still in vogue: the prerecorded sound of a lute in performance is amplified and played back slightly out of sync on two tape recorders. Knight’s sound assemblage, I’m told, was inspired by Antonio Machado’s verse “What, poet, do you seek in the sunset?” Another poem, Blake’s “Mad Song” provided the basis for Janice Misurell Mitchell’s aural exploration in which the reciter’s slow mental disintegration is exacerbated by a gaggle of increasingly insistent voices she hears. The prize for sheer novelty, however, goes to C-Factory, a collaboration between Tampa sculptor Richard Santiago, choreographer Susan Bradford, and composer Misurell Mitchell that will be unveiled here for the first time. In a darkened space Bradford and her dancers, wearing neon “sculptures” designed by Santiago, will move about to create a kaleidoscope of shadows and neon-lit swirls. Featured performers include soprano Susan Charles, percussionist Dane Richeson, and the Cubist Chorus. Saturday, 8 PM, Fine Arts Building, 410 S. Michigan; 536-4181.