"David Shrigley: To Be Of Use" showcases practical objects, each with a twist that undermines its anticipated function. Among the objects are selections from a series called Problem Guitars, each of which can be played, but in an altered capacity. An oversized telephone allows viewers to make phone calls—so long as the intended number doesn't contain a zero. Throughout the duration of the exhibition, The Artist—a Roomba outfitted with markers protruding from its nostrils—will produce a new weekly drawing to be displayed amongst the other artworks.

At 3 p.m. on May 25, Problem Guitars will be featured in a performance by musicians Melissa Auf der Maur, Kid Millions, Arone Dyer, Rebecca Ruth Borrer, and Matt Norman. The performance will be broadcast live on Wave Farm's WGXC 90.7-FM.

Stephen Bradley and Edward Ruchalski’s SpiderCricket (Sp+Cr) is a multi-phonic ecological radio installation informed by Wave Farm’s biophonic and radiophonic soundscape. The core of Sp+Cr uses a “spider web” wind-harp structure, which also functions as an antenna for low-power FM transmitters that broadcast on the property. Using DIY micro-mixers, numerous solar-powered FM radio receivers are tuned to one of the broadcast channels. Each wire’s unique length is tuned to a particular frequency that mixes with other sonic algorithms. Field recordings made during the dawn and dusk cycles are incorporated into Sp+Cr sculpture and into the final, live WGXC radio broadcast.

Bradley and Ruchalski’s (B&R) practice is informed by their close relationship to place realized through radio, deep listening, acoustic intervention, and compositions based on environmental field recording. Their artistic practice is grounded and based on studies of acoustic spaces, engaging site-specific improvised sound actions and installations that raise the audience’s awareness of the hidden, often subtle and difficult to hear sounds found amidst bioacoustics and noisy landscapes.

"David Shrigley: To Be Of Use" showcases practical objects, each with a twist that undermines its anticipated function. Among the objects are selections from a series called Problem Guitars, each of which can be played, but in an altered capacity. An oversized telephone allows viewers to make phone calls—so long as the intended number doesn't contain a zero. Throughout the duration of the exhibition, The Artist—a Roomba outfitted with markers protruding from its nostrils—will produce a new weekly drawing to be displayed amongst the other artworks.

At 3 p.m. on May 25, Problem Guitars will be featured in a performance by musicians Melissa Auf der Maur, Kid Millions, Arone Dyer, Rebecca Ruth Borrer, and Matt Norman. The performance will be broadcast live on Wave Farm's WGXC 90.7-FM.

Stephen Bradley and Edward Ruchalski’s SpiderCricket (Sp+Cr) is a multi-phonic ecological radio installation informed by Wave Farm’s biophonic and radiophonic soundscape. The core of Sp+Cr uses a “spider web” wind-harp structure, which also functions as an antenna for low-power FM transmitters that broadcast on the property. Using DIY micro-mixers, numerous solar-powered FM radio receivers are tuned to one of the broadcast channels. Each wire’s unique length is tuned to a particular frequency that mixes with other sonic algorithms. Field recordings made during the dawn and dusk cycles are incorporated into Sp+Cr sculpture and into the final, live WGXC radio broadcast.

Bradley and Ruchalski’s (B&R) practice is informed by their close relationship to place realized through radio, deep listening, acoustic intervention, and compositions based on environmental field recording. Their artistic practice is grounded and based on studies of acoustic spaces, engaging site-specific improvised sound actions and installations that raise the audience’s awareness of the hidden, often subtle and difficult to hear sounds found amidst bioacoustics and noisy landscapes.

"David Shrigley: To Be Of Use" showcases practical objects, each with a twist that undermines its anticipated function. Among the objects are selections from a series called Problem Guitars, each of which can be played, but in an altered capacity. An oversized telephone allows viewers to make phone calls—so long as the intended number doesn't contain a zero. Throughout the duration of the exhibition, The Artist—a Roomba outfitted with markers protruding from its nostrils—will produce a new weekly drawing to be displayed amongst the other artworks.

At 3 p.m. on May 25, Problem Guitars will be featured in a performance by musicians Melissa Auf der Maur, Kid Millions, Arone Dyer, Rebecca Ruth Borrer, and Matt Norman. The performance will be broadcast live on Wave Farm's WGXC 90.7-FM.

Stephen Bradley and Edward Ruchalski’s SpiderCricket (Sp+Cr) is a multi-phonic ecological radio installation informed by Wave Farm’s biophonic and radiophonic soundscape. The core of Sp+Cr uses a “spider web” wind-harp structure, which also functions as an antenna for low-power FM transmitters that broadcast on the property. Using DIY micro-mixers, numerous solar-powered FM radio receivers are tuned to one of the broadcast channels. Each wire’s unique length is tuned to a particular frequency that mixes with other sonic algorithms. Field recordings made during the dawn and dusk cycles are incorporated into Sp+Cr sculpture and into the final, live WGXC radio broadcast.

Bradley and Ruchalski’s (B&R) practice is informed by their close relationship to place realized through radio, deep listening, acoustic intervention, and compositions based on environmental field recording. Their artistic practice is grounded and based on studies of acoustic spaces, engaging site-specific improvised sound actions and installations that raise the audience’s awareness of the hidden, often subtle and difficult to hear sounds found amidst bioacoustics and noisy landscapes.

"David Shrigley: To Be Of Use" showcases practical objects, each with a twist that undermines its anticipated function. Among the objects are selections from a series called Problem Guitars, each of which can be played, but in an altered capacity. An oversized telephone allows viewers to make phone calls—so long as the intended number doesn't contain a zero. Throughout the duration of the exhibition, The Artist—a Roomba outfitted with markers protruding from its nostrils—will produce a new weekly drawing to be displayed amongst the other artworks.

At 3 p.m. on May 25, Problem Guitars will be featured in a performance by musicians Melissa Auf der Maur, Kid Millions, Arone Dyer, Rebecca Ruth Borrer, and Matt Norman. The performance will be broadcast live on Wave Farm's WGXC 90.7-FM.

Stephen Bradley and Edward Ruchalski’s SpiderCricket (Sp+Cr) is a multi-phonic ecological radio installation informed by Wave Farm’s biophonic and radiophonic soundscape. The core of Sp+Cr uses a “spider web” wind-harp structure, which also functions as an antenna for low-power FM transmitters that broadcast on the property. Using DIY micro-mixers, numerous solar-powered FM radio receivers are tuned to one of the broadcast channels. Each wire’s unique length is tuned to a particular frequency that mixes with other sonic algorithms. Field recordings made during the dawn and dusk cycles are incorporated into Sp+Cr sculpture and into the final, live WGXC radio broadcast.

Bradley and Ruchalski’s (B&R) practice is informed by their close relationship to place realized through radio, deep listening, acoustic intervention, and compositions based on environmental field recording. Their artistic practice is grounded and based on studies of acoustic spaces, engaging site-specific improvised sound actions and installations that raise the audience’s awareness of the hidden, often subtle and difficult to hear sounds found amidst bioacoustics and noisy landscapes.

"David Shrigley: To Be Of Use" showcases practical objects, each with a twist that undermines its anticipated function. Among the objects are selections from a series called Problem Guitars, each of which can be played, but in an altered capacity. An oversized telephone allows viewers to make phone calls—so long as the intended number doesn't contain a zero. Throughout the duration of the exhibition, The Artist—a Roomba outfitted with markers protruding from its nostrils—will produce a new weekly drawing to be displayed amongst the other artworks.

At 3 p.m. on May 25, Problem Guitars will be featured in a performance by musicians Melissa Auf der Maur, Kid Millions, Arone Dyer, Rebecca Ruth Borrer, and Matt Norman. The performance will be broadcast live on Wave Farm's WGXC 90.7-FM.

Stephen Bradley and Edward Ruchalski’s SpiderCricket (Sp+Cr) is a multi-phonic ecological radio installation informed by Wave Farm’s biophonic and radiophonic soundscape. The core of Sp+Cr uses a “spider web” wind-harp structure, which also functions as an antenna for low-power FM transmitters that broadcast on the property. Using DIY micro-mixers, numerous solar-powered FM radio receivers are tuned to one of the broadcast channels. Each wire’s unique length is tuned to a particular frequency that mixes with other sonic algorithms. Field recordings made during the dawn and dusk cycles are incorporated into Sp+Cr sculpture and into the final, live WGXC radio broadcast.

Bradley and Ruchalski’s (B&R) practice is informed by their close relationship to place realized through radio, deep listening, acoustic intervention, and compositions based on environmental field recording. Their artistic practice is grounded and based on studies of acoustic spaces, engaging site-specific improvised sound actions and installations that raise the audience’s awareness of the hidden, often subtle and difficult to hear sounds found amidst bioacoustics and noisy landscapes.

"David Shrigley: To Be Of Use" showcases practical objects, each with a twist that undermines its anticipated function. Among the objects are selections from a series called Problem Guitars, each of which can be played, but in an altered capacity. An oversized telephone allows viewers to make phone calls—so long as the intended number doesn't contain a zero. Throughout the duration of the exhibition, The Artist—a Roomba outfitted with markers protruding from its nostrils—will produce a new weekly drawing to be displayed amongst the other artworks.

At 3 p.m. on May 25, Problem Guitars will be featured in a performance by musicians Melissa Auf der Maur, Kid Millions, Arone Dyer, Rebecca Ruth Borrer, and Matt Norman. The performance will be broadcast live on Wave Farm's WGXC 90.7-FM.

Stephen Bradley and Edward Ruchalski’s SpiderCricket (Sp+Cr) is a multi-phonic ecological radio installation informed by Wave Farm’s biophonic and radiophonic soundscape. The core of Sp+Cr uses a “spider web” wind-harp structure, which also functions as an antenna for low-power FM transmitters that broadcast on the property. Using DIY micro-mixers, numerous solar-powered FM radio receivers are tuned to one of the broadcast channels. Each wire’s unique length is tuned to a particular frequency that mixes with other sonic algorithms. Field recordings made during the dawn and dusk cycles are incorporated into Sp+Cr sculpture and into the final, live WGXC radio broadcast.

Bradley and Ruchalski’s (B&R) practice is informed by their close relationship to place realized through radio, deep listening, acoustic intervention, and compositions based on environmental field recording. Their artistic practice is grounded and based on studies of acoustic spaces, engaging site-specific improvised sound actions and installations that raise the audience’s awareness of the hidden, often subtle and difficult to hear sounds found amidst bioacoustics and noisy landscapes.

"David Shrigley: To Be Of Use" showcases practical objects, each with a twist that undermines its anticipated function. Among the objects are selections from a series called Problem Guitars, each of which can be played, but in an altered capacity. An oversized telephone allows viewers to make phone calls—so long as the intended number doesn't contain a zero. Throughout the duration of the exhibition, The Artist—a Roomba outfitted with markers protruding from its nostrils—will produce a new weekly drawing to be displayed amongst the other artworks.

At 3 p.m. on May 25, Problem Guitars will be featured in a performance by musicians Melissa Auf der Maur, Kid Millions, Arone Dyer, Rebecca Ruth Borrer, and Matt Norman. The performance will be broadcast live on Wave Farm's WGXC 90.7-FM.

Stephen Bradley and Edward Ruchalski’s SpiderCricket (Sp+Cr) is a multi-phonic ecological radio installation informed by Wave Farm’s biophonic and radiophonic soundscape. The core of Sp+Cr uses a “spider web” wind-harp structure, which also functions as an antenna for low-power FM transmitters that broadcast on the property. Using DIY micro-mixers, numerous solar-powered FM radio receivers are tuned to one of the broadcast channels. Each wire’s unique length is tuned to a particular frequency that mixes with other sonic algorithms. Field recordings made during the dawn and dusk cycles are incorporated into Sp+Cr sculpture and into the final, live WGXC radio broadcast.

Bradley and Ruchalski’s (B&R) practice is informed by their close relationship to place realized through radio, deep listening, acoustic intervention, and compositions based on environmental field recording. Their artistic practice is grounded and based on studies of acoustic spaces, engaging site-specific improvised sound actions and installations that raise the audience’s awareness of the hidden, often subtle and difficult to hear sounds found amidst bioacoustics and noisy landscapes.

"David Shrigley: To Be Of Use" showcases practical objects, each with a twist that undermines its anticipated function. Among the objects are selections from a series called Problem Guitars, each of which can be played, but in an altered capacity. An oversized telephone allows viewers to make phone calls—so long as the intended number doesn't contain a zero. Throughout the duration of the exhibition, The Artist—a Roomba outfitted with markers protruding from its nostrils—will produce a new weekly drawing to be displayed amongst the other artworks.

At 3 p.m. on May 25, Problem Guitars will be featured in a performance by musicians Melissa Auf der Maur, Kid Millions, Arone Dyer, Rebecca Ruth Borrer, and Matt Norman. The performance will be broadcast live on Wave Farm's WGXC 90.7-FM.

Stephen Bradley and Edward Ruchalski’s SpiderCricket (Sp+Cr) is a multi-phonic ecological radio installation informed by Wave Farm’s biophonic and radiophonic soundscape. The core of Sp+Cr uses a “spider web” wind-harp structure, which also functions as an antenna for low-power FM transmitters that broadcast on the property. Using DIY micro-mixers, numerous solar-powered FM radio receivers are tuned to one of the broadcast channels. Each wire’s unique length is tuned to a particular frequency that mixes with other sonic algorithms. Field recordings made during the dawn and dusk cycles are incorporated into Sp+Cr sculpture and into the final, live WGXC radio broadcast.

Bradley and Ruchalski’s (B&R) practice is informed by their close relationship to place realized through radio, deep listening, acoustic intervention, and compositions based on environmental field recording. Their artistic practice is grounded and based on studies of acoustic spaces, engaging site-specific improvised sound actions and installations that raise the audience’s awareness of the hidden, often subtle and difficult to hear sounds found amidst bioacoustics and noisy landscapes.

"David Shrigley: To Be Of Use" showcases practical objects, each with a twist that undermines its anticipated function. Among the objects are selections from a series called Problem Guitars, each of which can be played, but in an altered capacity. An oversized telephone allows viewers to make phone calls—so long as the intended number doesn't contain a zero. Throughout the duration of the exhibition, The Artist—a Roomba outfitted with markers protruding from its nostrils—will produce a new weekly drawing to be displayed amongst the other artworks.

At 3 p.m. on May 25, Problem Guitars will be featured in a performance by musicians Melissa Auf der Maur, Kid Millions, Arone Dyer, Rebecca Ruth Borrer, and Matt Norman. The performance will be broadcast live on Wave Farm's WGXC 90.7-FM.

Stephen Bradley and Edward Ruchalski’s SpiderCricket (Sp+Cr) is a multi-phonic ecological radio installation informed by Wave Farm’s biophonic and radiophonic soundscape. The core of Sp+Cr uses a “spider web” wind-harp structure, which also functions as an antenna for low-power FM transmitters that broadcast on the property. Using DIY micro-mixers, numerous solar-powered FM radio receivers are tuned to one of the broadcast channels. Each wire’s unique length is tuned to a particular frequency that mixes with other sonic algorithms. Field recordings made during the dawn and dusk cycles are incorporated into Sp+Cr sculpture and into the final, live WGXC radio broadcast.

Bradley and Ruchalski’s (B&R) practice is informed by their close relationship to place realized through radio, deep listening, acoustic intervention, and compositions based on environmental field recording. Their artistic practice is grounded and based on studies of acoustic spaces, engaging site-specific improvised sound actions and installations that raise the audience’s awareness of the hidden, often subtle and difficult to hear sounds found amidst bioacoustics and noisy landscapes.

RC (Radio Control) is a collaborative performance system for multiple movement artists and software defined radios (SDRs). The system enables performers to adjust the tuning and other parameters of the SDRs based on their location within the performance space and position. Video cameras aimed at the performance area feed images to a motion tracking patch in Max (software), generating location information which will be scaled and sent to the SDRs via OSC messages, controlling their tuning. Performers will have individual choreography instructions for the piece; some will be attempting to control the sounds of the radio in a specified sequence, others will have movement instructions based on the sounds they hear.

Bob Drake is an improvising musician, composer, and electro-acoustic luthier from Cleveland Ohio. He designs, builds, and plays electronic instruments in the tradition of Don Buchla and David Tudor, performing on these electroniums plus original electro-acoustic and extended-technique traditional instruments. His performances span free and structured improvisation, new music composition, noise, and minimalist “lowercase” musics. He teaches sound art, media installation, and electronics at Cleveland Institute of Art.

RC (Radio Control) is a collaborative performance system for multiple movement artists and software defined radios (SDRs). The system enables performers to adjust the tuning and other parameters of the SDRs based on their location within the performance space and position. Video cameras aimed at the performance area feed images to a motion tracking patch in Max (software), generating location information which will be scaled and sent to the SDRs via OSC messages, controlling their tuning. Performers will have individual choreography instructions for the piece; some will be attempting to control the sounds of the radio in a specified sequence, others will have movement instructions based on the sounds they hear.

Bob Drake is an improvising musician, composer, and electro-acoustic luthier from Cleveland Ohio. He designs, builds, and plays electronic instruments in the tradition of Don Buchla and David Tudor, performing on these electroniums plus original electro-acoustic and extended-technique traditional instruments. His performances span free and structured improvisation, new music composition, noise, and minimalist “lowercase” musics. He teaches sound art, media installation, and electronics at Cleveland Institute of Art.

RC (Radio Control) is a collaborative performance system for multiple movement artists and software defined radios (SDRs). The system enables performers to adjust the tuning and other parameters of the SDRs based on their location within the performance space and position. Video cameras aimed at the performance area feed images to a motion tracking patch in Max (software), generating location information which will be scaled and sent to the SDRs via OSC messages, controlling their tuning. Performers will have individual choreography instructions for the piece; some will be attempting to control the sounds of the radio in a specified sequence, others will have movement instructions based on the sounds they hear.

Bob Drake is an improvising musician, composer, and electro-acoustic luthier from Cleveland Ohio. He designs, builds, and plays electronic instruments in the tradition of Don Buchla and David Tudor, performing on these electroniums plus original electro-acoustic and extended-technique traditional instruments. His performances span free and structured improvisation, new music composition, noise, and minimalist “lowercase” musics. He teaches sound art, media installation, and electronics at Cleveland Institute of Art.

RC (Radio Control) is a collaborative performance system for multiple movement artists and software defined radios (SDRs). The system enables performers to adjust the tuning and other parameters of the SDRs based on their location within the performance space and position. Video cameras aimed at the performance area feed images to a motion tracking patch in Max (software), generating location information which will be scaled and sent to the SDRs via OSC messages, controlling their tuning. Performers will have individual choreography instructions for the piece; some will be attempting to control the sounds of the radio in a specified sequence, others will have movement instructions based on the sounds they hear.

Bob Drake is an improvising musician, composer, and electro-acoustic luthier from Cleveland Ohio. He designs, builds, and plays electronic instruments in the tradition of Don Buchla and David Tudor, performing on these electroniums plus original electro-acoustic and extended-technique traditional instruments. His performances span free and structured improvisation, new music composition, noise, and minimalist “lowercase” musics. He teaches sound art, media installation, and electronics at Cleveland Institute of Art.

RC (Radio Control) is a collaborative performance system for multiple movement artists and software defined radios (SDRs). The system enables performers to adjust the tuning and other parameters of the SDRs based on their location within the performance space and position. Video cameras aimed at the performance area feed images to a motion tracking patch in Max (software), generating location information which will be scaled and sent to the SDRs via OSC messages, controlling their tuning. Performers will have individual choreography instructions for the piece; some will be attempting to control the sounds of the radio in a specified sequence, others will have movement instructions based on the sounds they hear.

Bob Drake is an improvising musician, composer, and electro-acoustic luthier from Cleveland Ohio. He designs, builds, and plays electronic instruments in the tradition of Don Buchla and David Tudor, performing on these electroniums plus original electro-acoustic and extended-technique traditional instruments. His performances span free and structured improvisation, new music composition, noise, and minimalist “lowercase” musics. He teaches sound art, media installation, and electronics at Cleveland Institute of Art.

RC (Radio Control) is a collaborative performance system for multiple movement artists and software defined radios (SDRs). The system enables performers to adjust the tuning and other parameters of the SDRs based on their location within the performance space and position. Video cameras aimed at the performance area feed images to a motion tracking patch in Max (software), generating location information which will be scaled and sent to the SDRs via OSC messages, controlling their tuning. Performers will have individual choreography instructions for the piece; some will be attempting to control the sounds of the radio in a specified sequence, others will have movement instructions based on the sounds they hear.

Bob Drake is an improvising musician, composer, and electro-acoustic luthier from Cleveland Ohio. He designs, builds, and plays electronic instruments in the tradition of Don Buchla and David Tudor, performing on these electroniums plus original electro-acoustic and extended-technique traditional instruments. His performances span free and structured improvisation, new music composition, noise, and minimalist “lowercase” musics. He teaches sound art, media installation, and electronics at Cleveland Institute of Art.

RC (Radio Control) is a collaborative performance system for multiple movement artists and software defined radios (SDRs). The system enables performers to adjust the tuning and other parameters of the SDRs based on their location within the performance space and position. Video cameras aimed at the performance area feed images to a motion tracking patch in Max (software), generating location information which will be scaled and sent to the SDRs via OSC messages, controlling their tuning. Performers will have individual choreography instructions for the piece; some will be attempting to control the sounds of the radio in a specified sequence, others will have movement instructions based on the sounds they hear.

Bob Drake is an improvising musician, composer, and electro-acoustic luthier from Cleveland Ohio. He designs, builds, and plays electronic instruments in the tradition of Don Buchla and David Tudor, performing on these electroniums plus original electro-acoustic and extended-technique traditional instruments. His performances span free and structured improvisation, new music composition, noise, and minimalist “lowercase” musics. He teaches sound art, media installation, and electronics at Cleveland Institute of Art.

RC (Radio Control) is a collaborative performance system for multiple movement artists and software defined radios (SDRs). The system enables performers to adjust the tuning and other parameters of the SDRs based on their location within the performance space and position. Video cameras aimed at the performance area feed images to a motion tracking patch in Max (software), generating location information which will be scaled and sent to the SDRs via OSC messages, controlling their tuning. Performers will have individual choreography instructions for the piece; some will be attempting to control the sounds of the radio in a specified sequence, others will have movement instructions based on the sounds they hear.

Bob Drake is an improvising musician, composer, and electro-acoustic luthier from Cleveland Ohio. He designs, builds, and plays electronic instruments in the tradition of Don Buchla and David Tudor, performing on these electroniums plus original electro-acoustic and extended-technique traditional instruments. His performances span free and structured improvisation, new music composition, noise, and minimalist “lowercase” musics. He teaches sound art, media installation, and electronics at Cleveland Institute of Art.

RC (Radio Control) is a collaborative performance system for multiple movement artists and software defined radios (SDRs). The system enables performers to adjust the tuning and other parameters of the SDRs based on their location within the performance space and position. Video cameras aimed at the performance area feed images to a motion tracking patch in Max (software), generating location information which will be scaled and sent to the SDRs via OSC messages, controlling their tuning. Performers will have individual choreography instructions for the piece; some will be attempting to control the sounds of the radio in a specified sequence, others will have movement instructions based on the sounds they hear.

Bob Drake is an improvising musician, composer, and electro-acoustic luthier from Cleveland Ohio. He designs, builds, and plays electronic instruments in the tradition of Don Buchla and David Tudor, performing on these electroniums plus original electro-acoustic and extended-technique traditional instruments. His performances span free and structured improvisation, new music composition, noise, and minimalist “lowercase” musics. He teaches sound art, media installation, and electronics at Cleveland Institute of Art.

Learn to walk on professional peg-leg stilts with Bindlestiff Family Cirkus and participate in Black Arts and Cultural Festival Parade Saturday, August 10 and in Summer Cirkus show on August 11. Walk tall and let your community see you. Participation in all five days of workshop and parade is the priority for participants. Info: Stephanie@bindlestiff.org call/ text 917-744-6844 for info

Learn to walk on professional peg-leg stilts with Bindlestiff Family Cirkus and participate in Black Arts and Cultural Festival Parade Saturday, August 10 and in Summer Cirkus show on August 11. Walk tall and let your community see you. Participation in all five days of workshop and parade is the priority for participants. Info: Stephanie@bindlestiff.org call/ text 917-744-6844 for info

Learn to walk on professional peg-leg stilts with Bindlestiff Family Cirkus and participate in Black Arts and Cultural Festival Parade Saturday, August 10 and in Summer Cirkus show on August 11. Walk tall and let your community see you. Participation in all five days of workshop and parade is the priority for participants. Info: Stephanie@bindlestiff.org call/ text 917-744-6844 for info

Learn to walk on professional peg-leg stilts with Bindlestiff Family Cirkus and participate in Black Arts and Cultural Festival Parade Saturday, August 10 and in Summer Cirkus show on August 11. Walk tall and let your community see you. Participation in all five days of workshop and parade is the priority for participants. Info: Stephanie@bindlestiff.org call/ text 917-744-6844 for info

Samuel Hertz and Carmelo Pampillonio’s Librations is a performance/composition using a radio communications relay, which transmits signals to the moon, that are then reflected back to Earth—a moonbounce. Librations is realized in cooperation with broadcast engineers at the Pisgah Astronomical Research Institute (PARI) in Rosman, North Carolina. Culminating in a composition, radio broadcast, and multi-media essay, the artists’ collaboration throughout the residency period stands as an open field of negotiations between the Earth, the moon, and the sonic/energetic traces reflected between them.

Samuel Hertz and Carmelo Pampillonio are sound artists and researchers who synthesize documentary practices of geophysical and atmospheric forces with the artistic practices of composition, transmission, and installation. Approaching ways in which we can develop notions of affect and ecological entanglement, their work explores complex interactions between non/human timescales, geophysical phenomenology, and sonic materialities.

Parsons Dance is a New York City-based modern dance company, internationally renowned for creating and performing contemporary American dance of extraordinary artistry that is accessible and enriching to diverse audiences. Parsons continues to pursue its mission to deliver positive, affirming, life enriching experiences to audiences worldwide.

Samuel Hertz and Carmelo Pampillonio’s Librations is a performance/composition using a radio communications relay, which transmits signals to the moon, that are then reflected back to Earth—a moonbounce. Librations is realized in cooperation with broadcast engineers at the Pisgah Astronomical Research Institute (PARI) in Rosman, North Carolina. Culminating in a composition, radio broadcast, and multi-media essay, the artists’ collaboration throughout the residency period stands as an open field of negotiations between the Earth, the moon, and the sonic/energetic traces reflected between them.

Samuel Hertz and Carmelo Pampillonio are sound artists and researchers who synthesize documentary practices of geophysical and atmospheric forces with the artistic practices of composition, transmission, and installation. Approaching ways in which we can develop notions of affect and ecological entanglement, their work explores complex interactions between non/human timescales, geophysical phenomenology, and sonic materialities.

Samuel Hertz and Carmelo Pampillonio’s Librations is a performance/composition using a radio communications relay, which transmits signals to the moon, that are then reflected back to Earth—a moonbounce. Librations is realized in cooperation with broadcast engineers at the Pisgah Astronomical Research Institute (PARI) in Rosman, North Carolina. Culminating in a composition, radio broadcast, and multi-media essay, the artists’ collaboration throughout the residency period stands as an open field of negotiations between the Earth, the moon, and the sonic/energetic traces reflected between them.

Samuel Hertz and Carmelo Pampillonio are sound artists and researchers who synthesize documentary practices of geophysical and atmospheric forces with the artistic practices of composition, transmission, and installation. Approaching ways in which we can develop notions of affect and ecological entanglement, their work explores complex interactions between non/human timescales, geophysical phenomenology, and sonic materialities.

Samuel Hertz and Carmelo Pampillonio’s Librations is a performance/composition using a radio communications relay, which transmits signals to the moon, that are then reflected back to Earth—a moonbounce. Librations is realized in cooperation with broadcast engineers at the Pisgah Astronomical Research Institute (PARI) in Rosman, North Carolina. Culminating in a composition, radio broadcast, and multi-media essay, the artists’ collaboration throughout the residency period stands as an open field of negotiations between the Earth, the moon, and the sonic/energetic traces reflected between them.

Samuel Hertz and Carmelo Pampillonio are sound artists and researchers who synthesize documentary practices of geophysical and atmospheric forces with the artistic practices of composition, transmission, and installation. Approaching ways in which we can develop notions of affect and ecological entanglement, their work explores complex interactions between non/human timescales, geophysical phenomenology, and sonic materialities.

Samuel Hertz and Carmelo Pampillonio’s Librations is a performance/composition using a radio communications relay, which transmits signals to the moon, that are then reflected back to Earth—a moonbounce. Librations is realized in cooperation with broadcast engineers at the Pisgah Astronomical Research Institute (PARI) in Rosman, North Carolina. Culminating in a composition, radio broadcast, and multi-media essay, the artists’ collaboration throughout the residency period stands as an open field of negotiations between the Earth, the moon, and the sonic/energetic traces reflected between them.

Samuel Hertz and Carmelo Pampillonio are sound artists and researchers who synthesize documentary practices of geophysical and atmospheric forces with the artistic practices of composition, transmission, and installation. Approaching ways in which we can develop notions of affect and ecological entanglement, their work explores complex interactions between non/human timescales, geophysical phenomenology, and sonic materialities.

Samuel Hertz and Carmelo Pampillonio’s Librations is a performance/composition using a radio communications relay, which transmits signals to the moon, that are then reflected back to Earth—a moonbounce. Librations is realized in cooperation with broadcast engineers at the Pisgah Astronomical Research Institute (PARI) in Rosman, North Carolina. Culminating in a composition, radio broadcast, and multi-media essay, the artists’ collaboration throughout the residency period stands as an open field of negotiations between the Earth, the moon, and the sonic/energetic traces reflected between them.

Samuel Hertz and Carmelo Pampillonio are sound artists and researchers who synthesize documentary practices of geophysical and atmospheric forces with the artistic practices of composition, transmission, and installation. Approaching ways in which we can develop notions of affect and ecological entanglement, their work explores complex interactions between non/human timescales, geophysical phenomenology, and sonic materialities.

Samuel Hertz and Carmelo Pampillonio’s Librations is a performance/composition using a radio communications relay, which transmits signals to the moon, that are then reflected back to Earth—a moonbounce. Librations is realized in cooperation with broadcast engineers at the Pisgah Astronomical Research Institute (PARI) in Rosman, North Carolina. Culminating in a composition, radio broadcast, and multi-media essay, the artists’ collaboration throughout the residency period stands as an open field of negotiations between the Earth, the moon, and the sonic/energetic traces reflected between them.

Samuel Hertz and Carmelo Pampillonio are sound artists and researchers who synthesize documentary practices of geophysical and atmospheric forces with the artistic practices of composition, transmission, and installation. Approaching ways in which we can develop notions of affect and ecological entanglement, their work explores complex interactions between non/human timescales, geophysical phenomenology, and sonic materialities.

Samuel Hertz and Carmelo Pampillonio’s Librations is a performance/composition using a radio communications relay, which transmits signals to the moon, that are then reflected back to Earth—a moonbounce. Librations is realized in cooperation with broadcast engineers at the Pisgah Astronomical Research Institute (PARI) in Rosman, North Carolina. Culminating in a composition, radio broadcast, and multi-media essay, the artists’ collaboration throughout the residency period stands as an open field of negotiations between the Earth, the moon, and the sonic/energetic traces reflected between them.

Samuel Hertz and Carmelo Pampillonio are sound artists and researchers who synthesize documentary practices of geophysical and atmospheric forces with the artistic practices of composition, transmission, and installation. Approaching ways in which we can develop notions of affect and ecological entanglement, their work explores complex interactions between non/human timescales, geophysical phenomenology, and sonic materialities.

Samuel Hertz and Carmelo Pampillonio’s Librations is a performance/composition using a radio communications relay, which transmits signals to the moon, that are then reflected back to Earth—a moonbounce. Librations is realized in cooperation with broadcast engineers at the Pisgah Astronomical Research Institute (PARI) in Rosman, North Carolina. Culminating in a composition, radio broadcast, and multi-media essay, the artists’ collaboration throughout the residency period stands as an open field of negotiations between the Earth, the moon, and the sonic/energetic traces reflected between them.

Samuel Hertz and Carmelo Pampillonio are sound artists and researchers who synthesize documentary practices of geophysical and atmospheric forces with the artistic practices of composition, transmission, and installation. Approaching ways in which we can develop notions of affect and ecological entanglement, their work explores complex interactions between non/human timescales, geophysical phenomenology, and sonic materialities.

Wave Farm is delighted to announce our first Radio Artist Fellow selected from a competitive national open call.

Karen Werner is a radio artist and sociologist. Her audio pieces have been broadcast on community and public radio stations across Europe, North America, Australia and Israel and have been part of numerous live events and art exhibitions. In 2017-2018, Werner created a series of public sound installations at Vienna’s MuseumsQuartier, including “Covenant of the Tongue” and “Zirkus,” which are sonic autoethnographies about Holocaust postmemory in Vienna. Her recent work is in live performance: sound installation meets documentary storytelling meets narrowcast radio transmission. Werner was a 2019 invited artist at the Kone Foundation’s Saari Residence in Finland and a 2017-2018 Fellow of the Memorial Foundation for Jewish Culture. She received a Tending Space Fellowship from the Hemera Foundation from 2014-2016 for artists with a Buddhist practice. Werner produces the creative radio sonic zine Sketchpad, broadcast weekly on WMCB 107.9lpfm in Greenfield, Massachusetts, and she teaches workshops on radio art, radio autoethnography and politics of storytelling. She is on the faculty of the BFA in Socially Engaged Art Program at Goddard College in Vermont. karenwerner.net

Beginning September 2019, the Wave Farm Radio Artist Fellowship is nine-month, part-time engagement for an American radio artist with strong interests in the history of radio art and related practices. The Fellow will work closely with Wave Farm’s Executive Director, Galen Joseph-Hunter, and Artistic Director, Tom Roe, and will communicate regularly with Fellowship Mentors: Anna Friz, Joan Schuman, and Gregory Whitehead.

The fellow will develop an audio archive of noteworthy historic and contemporary radio artworks including brief introductory and contextual information for publication on the Wave Farm website. Drawing from the archive, produce approximately five hours of radio art programming weekly on Wave Farm’s WGXC 90.7-FM. The fellow will also create original radio artworks for broadcast and lead three workshops and/or listening sessions with WGXC’s volunteer programmers.

The Wave Farm Radio Artist Fellowship is made possible, in part, by the National Endowment for the Arts.

Wave Farm is delighted to announce our first Radio Artist Fellow selected from a competitive national open call.

Karen Werner is a radio artist and sociologist. Her audio pieces have been broadcast on community and public radio stations across Europe, North America, Australia and Israel and have been part of numerous live events and art exhibitions. In 2017-2018, Werner created a series of public sound installations at Vienna’s MuseumsQuartier, including “Covenant of the Tongue” and “Zirkus,” which are sonic autoethnographies about Holocaust postmemory in Vienna. Her recent work is in live performance: sound installation meets documentary storytelling meets narrowcast radio transmission. Werner was a 2019 invited artist at the Kone Foundation’s Saari Residence in Finland and a 2017-2018 Fellow of the Memorial Foundation for Jewish Culture. She received a Tending Space Fellowship from the Hemera Foundation from 2014-2016 for artists with a Buddhist practice. Werner produces the creative radio sonic zine Sketchpad, broadcast weekly on WMCB 107.9lpfm in Greenfield, Massachusetts, and she teaches workshops on radio art, radio autoethnography and politics of storytelling. She is on the faculty of the BFA in Socially Engaged Art Program at Goddard College in Vermont. karenwerner.net

Beginning September 2019, the Wave Farm Radio Artist Fellowship is nine-month, part-time engagement for an American radio artist with strong interests in the history of radio art and related practices. The Fellow will work closely with Wave Farm’s Executive Director, Galen Joseph-Hunter, and Artistic Director, Tom Roe, and will communicate regularly with Fellowship Mentors: Anna Friz, Joan Schuman, and Gregory Whitehead.

The fellow will develop an audio archive of noteworthy historic and contemporary radio artworks including brief introductory and contextual information for publication on the Wave Farm website. Drawing from the archive, produce approximately five hours of radio art programming weekly on Wave Farm’s WGXC 90.7-FM. The fellow will also create original radio artworks for broadcast and lead three workshops and/or listening sessions with WGXC’s volunteer programmers.

The Wave Farm Radio Artist Fellowship is made possible, in part, by the National Endowment for the Arts.

Wave Farm is delighted to announce our first Radio Artist Fellow selected from a competitive national open call.

Karen Werner is a radio artist and sociologist. Her audio pieces have been broadcast on community and public radio stations across Europe, North America, Australia and Israel and have been part of numerous live events and art exhibitions. In 2017-2018, Werner created a series of public sound installations at Vienna’s MuseumsQuartier, including “Covenant of the Tongue” and “Zirkus,” which are sonic autoethnographies about Holocaust postmemory in Vienna. Her recent work is in live performance: sound installation meets documentary storytelling meets narrowcast radio transmission. Werner was a 2019 invited artist at the Kone Foundation’s Saari Residence in Finland and a 2017-2018 Fellow of the Memorial Foundation for Jewish Culture. She received a Tending Space Fellowship from the Hemera Foundation from 2014-2016 for artists with a Buddhist practice. Werner produces the creative radio sonic zine Sketchpad, broadcast weekly on WMCB 107.9lpfm in Greenfield, Massachusetts, and she teaches workshops on radio art, radio autoethnography and politics of storytelling. She is on the faculty of the BFA in Socially Engaged Art Program at Goddard College in Vermont. karenwerner.net

Beginning September 2019, the Wave Farm Radio Artist Fellowship is nine-month, part-time engagement for an American radio artist with strong interests in the history of radio art and related practices. The Fellow will work closely with Wave Farm’s Executive Director, Galen Joseph-Hunter, and Artistic Director, Tom Roe, and will communicate regularly with Fellowship Mentors: Anna Friz, Joan Schuman, and Gregory Whitehead.

The fellow will develop an audio archive of noteworthy historic and contemporary radio artworks including brief introductory and contextual information for publication on the Wave Farm website. Drawing from the archive, produce approximately five hours of radio art programming weekly on Wave Farm’s WGXC 90.7-FM. The fellow will also create original radio artworks for broadcast and lead three workshops and/or listening sessions with WGXC’s volunteer programmers.

The Wave Farm Radio Artist Fellowship is made possible, in part, by the National Endowment for the Arts.

Wave Farm is delighted to announce our first Radio Artist Fellow selected from a competitive national open call.

Karen Werner is a radio artist and sociologist. Her audio pieces have been broadcast on community and public radio stations across Europe, North America, Australia and Israel and have been part of numerous live events and art exhibitions. In 2017-2018, Werner created a series of public sound installations at Vienna’s MuseumsQuartier, including “Covenant of the Tongue” and “Zirkus,” which are sonic autoethnographies about Holocaust postmemory in Vienna. Her recent work is in live performance: sound installation meets documentary storytelling meets narrowcast radio transmission. Werner was a 2019 invited artist at the Kone Foundation’s Saari Residence in Finland and a 2017-2018 Fellow of the Memorial Foundation for Jewish Culture. She received a Tending Space Fellowship from the Hemera Foundation from 2014-2016 for artists with a Buddhist practice. Werner produces the creative radio sonic zine Sketchpad, broadcast weekly on WMCB 107.9lpfm in Greenfield, Massachusetts, and she teaches workshops on radio art, radio autoethnography and politics of storytelling. She is on the faculty of the BFA in Socially Engaged Art Program at Goddard College in Vermont. karenwerner.net

Beginning September 2019, the Wave Farm Radio Artist Fellowship is nine-month, part-time engagement for an American radio artist with strong interests in the history of radio art and related practices. The Fellow will work closely with Wave Farm’s Executive Director, Galen Joseph-Hunter, and Artistic Director, Tom Roe, and will communicate regularly with Fellowship Mentors: Anna Friz, Joan Schuman, and Gregory Whitehead.

The fellow will develop an audio archive of noteworthy historic and contemporary radio artworks including brief introductory and contextual information for publication on the Wave Farm website. Drawing from the archive, produce approximately five hours of radio art programming weekly on Wave Farm’s WGXC 90.7-FM. The fellow will also create original radio artworks for broadcast and lead three workshops and/or listening sessions with WGXC’s volunteer programmers.

The Wave Farm Radio Artist Fellowship is made possible, in part, by the National Endowment for the Arts.

Wave Farm is delighted to announce our first Radio Artist Fellow selected from a competitive national open call.

Karen Werner is a radio artist and sociologist. Her audio pieces have been broadcast on community and public radio stations across Europe, North America, Australia and Israel and have been part of numerous live events and art exhibitions. In 2017-2018, Werner created a series of public sound installations at Vienna’s MuseumsQuartier, including “Covenant of the Tongue” and “Zirkus,” which are sonic autoethnographies about Holocaust postmemory in Vienna. Her recent work is in live performance: sound installation meets documentary storytelling meets narrowcast radio transmission. Werner was a 2019 invited artist at the Kone Foundation’s Saari Residence in Finland and a 2017-2018 Fellow of the Memorial Foundation for Jewish Culture. She received a Tending Space Fellowship from the Hemera Foundation from 2014-2016 for artists with a Buddhist practice. Werner produces the creative radio sonic zine Sketchpad, broadcast weekly on WMCB 107.9lpfm in Greenfield, Massachusetts, and she teaches workshops on radio art, radio autoethnography and politics of storytelling. She is on the faculty of the BFA in Socially Engaged Art Program at Goddard College in Vermont. karenwerner.net

Beginning September 2019, the Wave Farm Radio Artist Fellowship is nine-month, part-time engagement for an American radio artist with strong interests in the history of radio art and related practices. The Fellow will work closely with Wave Farm’s Executive Director, Galen Joseph-Hunter, and Artistic Director, Tom Roe, and will communicate regularly with Fellowship Mentors: Anna Friz, Joan Schuman, and Gregory Whitehead.

The fellow will develop an audio archive of noteworthy historic and contemporary radio artworks including brief introductory and contextual information for publication on the Wave Farm website. Drawing from the archive, produce approximately five hours of radio art programming weekly on Wave Farm’s WGXC 90.7-FM. The fellow will also create original radio artworks for broadcast and lead three workshops and/or listening sessions with WGXC’s volunteer programmers.

The Wave Farm Radio Artist Fellowship is made possible, in part, by the National Endowment for the Arts.

The Fifth Annual Oldtone Roots Music Festival has three stages offering traditional music performances, dances, workshops, contests, and children’s activities. The festival seeks to preserve American Roots music and dance with an intimate and interactive festival that includes opportunities to engage with main stage artists in workshop settings. Jamming in the campground late into the night is encouraged. In the evenings attendees and artists dance under a tent that perches over the hills of upstate New York Farm country. The festival features local craft beer and food vendors as well as handmade and vintage clothing vendors. The performing artists play Cajun, Bluegrass, Stringband, Ragtime, Swing Jazz, New Orleans Jazz, and more.

Wave Farm is delighted to announce our first Radio Artist Fellow selected from a competitive national open call.

Karen Werner is a radio artist and sociologist. Her audio pieces have been broadcast on community and public radio stations across Europe, North America, Australia and Israel and have been part of numerous live events and art exhibitions. In 2017-2018, Werner created a series of public sound installations at Vienna’s MuseumsQuartier, including “Covenant of the Tongue” and “Zirkus,” which are sonic autoethnographies about Holocaust postmemory in Vienna. Her recent work is in live performance: sound installation meets documentary storytelling meets narrowcast radio transmission. Werner was a 2019 invited artist at the Kone Foundation’s Saari Residence in Finland and a 2017-2018 Fellow of the Memorial Foundation for Jewish Culture. She received a Tending Space Fellowship from the Hemera Foundation from 2014-2016 for artists with a Buddhist practice. Werner produces the creative radio sonic zine Sketchpad, broadcast weekly on WMCB 107.9lpfm in Greenfield, Massachusetts, and she teaches workshops on radio art, radio autoethnography and politics of storytelling. She is on the faculty of the BFA in Socially Engaged Art Program at Goddard College in Vermont. karenwerner.net

Beginning September 2019, the Wave Farm Radio Artist Fellowship is nine-month, part-time engagement for an American radio artist with strong interests in the history of radio art and related practices. The Fellow will work closely with Wave Farm’s Executive Director, Galen Joseph-Hunter, and Artistic Director, Tom Roe, and will communicate regularly with Fellowship Mentors: Anna Friz, Joan Schuman, and Gregory Whitehead.

The fellow will develop an audio archive of noteworthy historic and contemporary radio artworks including brief introductory and contextual information for publication on the Wave Farm website. Drawing from the archive, produce approximately five hours of radio art programming weekly on Wave Farm’s WGXC 90.7-FM. The fellow will also create original radio artworks for broadcast and lead three workshops and/or listening sessions with WGXC’s volunteer programmers.

The Wave Farm Radio Artist Fellowship is made possible, in part, by the National Endowment for the Arts.

The Fifth Annual Oldtone Roots Music Festival has three stages offering traditional music performances, dances, workshops, contests, and children’s activities. The festival seeks to preserve American Roots music and dance with an intimate and interactive festival that includes opportunities to engage with main stage artists in workshop settings. Jamming in the campground late into the night is encouraged. In the evenings attendees and artists dance under a tent that perches over the hills of upstate New York Farm country. The festival features local craft beer and food vendors as well as handmade and vintage clothing vendors. The performing artists play Cajun, Bluegrass, Stringband, Ragtime, Swing Jazz, New Orleans Jazz, and more.

Tedd Patterson is house music royalty. He has headlined with the top DJs in the world; he has released music on the most respected labels in the industry; and he has played a pivotal role in the spread of house music across the globe. Tune in to a live broadcast at wgxc.org and on 90.7-FM. To listen online go to wavefarm.org/listen and scroll down to find the live webstream.

Wave Farm is delighted to announce our first Radio Artist Fellow selected from a competitive national open call.

Karen Werner is a radio artist and sociologist. Her audio pieces have been broadcast on community and public radio stations across Europe, North America, Australia and Israel and have been part of numerous live events and art exhibitions. In 2017-2018, Werner created a series of public sound installations at Vienna’s MuseumsQuartier, including “Covenant of the Tongue” and “Zirkus,” which are sonic autoethnographies about Holocaust postmemory in Vienna. Her recent work is in live performance: sound installation meets documentary storytelling meets narrowcast radio transmission. Werner was a 2019 invited artist at the Kone Foundation’s Saari Residence in Finland and a 2017-2018 Fellow of the Memorial Foundation for Jewish Culture. She received a Tending Space Fellowship from the Hemera Foundation from 2014-2016 for artists with a Buddhist practice. Werner produces the creative radio sonic zine Sketchpad, broadcast weekly on WMCB 107.9lpfm in Greenfield, Massachusetts, and she teaches workshops on radio art, radio autoethnography and politics of storytelling. She is on the faculty of the BFA in Socially Engaged Art Program at Goddard College in Vermont. karenwerner.net

Beginning September 2019, the Wave Farm Radio Artist Fellowship is nine-month, part-time engagement for an American radio artist with strong interests in the history of radio art and related practices. The Fellow will work closely with Wave Farm’s Executive Director, Galen Joseph-Hunter, and Artistic Director, Tom Roe, and will communicate regularly with Fellowship Mentors: Anna Friz, Joan Schuman, and Gregory Whitehead.

The fellow will develop an audio archive of noteworthy historic and contemporary radio artworks including brief introductory and contextual information for publication on the Wave Farm website. Drawing from the archive, produce approximately five hours of radio art programming weekly on Wave Farm’s WGXC 90.7-FM. The fellow will also create original radio artworks for broadcast and lead three workshops and/or listening sessions with WGXC’s volunteer programmers.

The Wave Farm Radio Artist Fellowship is made possible, in part, by the National Endowment for the Arts.

The Fifth Annual Oldtone Roots Music Festival has three stages offering traditional music performances, dances, workshops, contests, and children’s activities. The festival seeks to preserve American Roots music and dance with an intimate and interactive festival that includes opportunities to engage with main stage artists in workshop settings. Jamming in the campground late into the night is encouraged. In the evenings attendees and artists dance under a tent that perches over the hills of upstate New York Farm country. The festival features local craft beer and food vendors as well as handmade and vintage clothing vendors. The performing artists play Cajun, Bluegrass, Stringband, Ragtime, Swing Jazz, New Orleans Jazz, and more.

Wave Farm is delighted to announce our first Radio Artist Fellow selected from a competitive national open call.

Karen Werner is a radio artist and sociologist. Her audio pieces have been broadcast on community and public radio stations across Europe, North America, Australia and Israel and have been part of numerous live events and art exhibitions. In 2017-2018, Werner created a series of public sound installations at Vienna’s MuseumsQuartier, including “Covenant of the Tongue” and “Zirkus,” which are sonic autoethnographies about Holocaust postmemory in Vienna. Her recent work is in live performance: sound installation meets documentary storytelling meets narrowcast radio transmission. Werner was a 2019 invited artist at the Kone Foundation’s Saari Residence in Finland and a 2017-2018 Fellow of the Memorial Foundation for Jewish Culture. She received a Tending Space Fellowship from the Hemera Foundation from 2014-2016 for artists with a Buddhist practice. Werner produces the creative radio sonic zine Sketchpad, broadcast weekly on WMCB 107.9lpfm in Greenfield, Massachusetts, and she teaches workshops on radio art, radio autoethnography and politics of storytelling. She is on the faculty of the BFA in Socially Engaged Art Program at Goddard College in Vermont. karenwerner.net

Beginning September 2019, the Wave Farm Radio Artist Fellowship is nine-month, part-time engagement for an American radio artist with strong interests in the history of radio art and related practices. The Fellow will work closely with Wave Farm’s Executive Director, Galen Joseph-Hunter, and Artistic Director, Tom Roe, and will communicate regularly with Fellowship Mentors: Anna Friz, Joan Schuman, and Gregory Whitehead.

The fellow will develop an audio archive of noteworthy historic and contemporary radio artworks including brief introductory and contextual information for publication on the Wave Farm website. Drawing from the archive, produce approximately five hours of radio art programming weekly on Wave Farm’s WGXC 90.7-FM. The fellow will also create original radio artworks for broadcast and lead three workshops and/or listening sessions with WGXC’s volunteer programmers.

The Wave Farm Radio Artist Fellowship is made possible, in part, by the National Endowment for the Arts.

Wave Farm is delighted to announce our first Radio Artist Fellow selected from a competitive national open call.

Karen Werner is a radio artist and sociologist. Her audio pieces have been broadcast on community and public radio stations across Europe, North America, Australia and Israel and have been part of numerous live events and art exhibitions. In 2017-2018, Werner created a series of public sound installations at Vienna’s MuseumsQuartier, including “Covenant of the Tongue” and “Zirkus,” which are sonic autoethnographies about Holocaust postmemory in Vienna. Her recent work is in live performance: sound installation meets documentary storytelling meets narrowcast radio transmission. Werner was a 2019 invited artist at the Kone Foundation’s Saari Residence in Finland and a 2017-2018 Fellow of the Memorial Foundation for Jewish Culture. She received a Tending Space Fellowship from the Hemera Foundation from 2014-2016 for artists with a Buddhist practice. Werner produces the creative radio sonic zine Sketchpad, broadcast weekly on WMCB 107.9lpfm in Greenfield, Massachusetts, and she teaches workshops on radio art, radio autoethnography and politics of storytelling. She is on the faculty of the BFA in Socially Engaged Art Program at Goddard College in Vermont. karenwerner.net

Beginning September 2019, the Wave Farm Radio Artist Fellowship is nine-month, part-time engagement for an American radio artist with strong interests in the history of radio art and related practices. The Fellow will work closely with Wave Farm’s Executive Director, Galen Joseph-Hunter, and Artistic Director, Tom Roe, and will communicate regularly with Fellowship Mentors: Anna Friz, Joan Schuman, and Gregory Whitehead.

The fellow will develop an audio archive of noteworthy historic and contemporary radio artworks including brief introductory and contextual information for publication on the Wave Farm website. Drawing from the archive, produce approximately five hours of radio art programming weekly on Wave Farm’s WGXC 90.7-FM. The fellow will also create original radio artworks for broadcast and lead three workshops and/or listening sessions with WGXC’s volunteer programmers.

The Wave Farm Radio Artist Fellowship is made possible, in part, by the National Endowment for the Arts.

The radio WEFAX is a receptive instrument that converts numerical weather data, transmitted from dedicated stations, into visual form. At Wave Farm, Helton will continue her practice with image transmission using low energy radio waves and extending her meditations on the future state of the environment. In our current period of great meteorological and climate disturbance, the weather forecast plays a major role in the prediction, detection, and mitigation of the negative effect of natural disasters. During her time at Wave Farm, Helton will transmit via radio frequency, images of accelerated environmental change to a radio weather fax, reconstructing its thermal printed output.

The fictitious and prophetic landscapes Lucy Helton creates subtly address contemporary environmental concerns, by offering a vision of the future that’s both frightening and beautiful. Her photographs contain a visual play between the real and the imagined, regularly referencing technological innovation, they incorporate a variety of imaging strategies, including panoramas and stitched frames. Meditations on the future state of the environment and if human colonies will exist outside planet earth, led to her discovery and fascination with basic image transmission using low energy radio waves. Her resulting artworks test the boundaries of art and technology, questioning our current path of planetary destruction.