Tune in to WGXC 90.7-FM on Saturday, April 16 for a special day spent with guest artists Zach Layton with Bradford Reed. Zach Layton is a guitarist, composer, curator, improviser, teacher and new media artist based in Brooklyn with an interest in biofeedback, generative algorithms, free improvisation and the unconscious. He has performed and exhibited at The Kitchen, ISSUE Project Room, PS1, Sculpture Center, Transmediale Berlin, Roulette and many other venues internationally and around NYC. He has collaborated with Vito Acconci, the Joshua Light Show, Andrew Lampert, Bradley Eros, Alex Waterman, Luke Dubois & Matthew Ostrowski (Fair Use Trio), Tristan Perich, MV Carbon, Jessie Stead and many other artists, musicians, filmmakers and friends. His duo with Bradford Reed "Minerals" explores polyrhythmic layers of improvised tonalities.

Bradford Reed is an American multi-instrumentalist, experimental luthier, and member of avant-garde band King Missile III. He is proficient at such instruments as drums, guitar, melodica, piano, and synthesizer. In the 1980s he invented the pencilina, a custom-made string instrument.

Radius Sketchpad premieres on free103point9's WGXC 90.7-FM. Sketchpad is an ongoing monthly program presented by the Chicago-based platform, Radius. This month features Michael Woody's Numbers Stations 1 and 2, originally produced for Radius, and is followed by a playlist of works selected by the artist.

Tune in for a live broadcast, on WGXC 90.7-FM, from artist Phillip Stearns. This 90 minute live broadcast will feature an interview, live performance, and conversation around the Bent festival, for which Stearns serves as Curator.

Writes Stearns, "My work lies at the intersection of art, philosophy, and science, spanning a variety of disciplines, drawing upon a multiplicity of mediums. Through installation, audio, video, circuit sculpture, writing, photography, performance art, music composition, and agriculture, my work explores the dynamic relationship that exists between technology and society. A technological practice---its tools, bodies of knowledge, systems of meaning, and methods of thought---entail a complex of supporting economic structures, political machines, power relations, and social implications.

Identifying modes of cultural production and ideology recorded on the surface of technology and embedded within its tools; fostering creativity as opposed to productivity; and exploiting the limitations imposed on a system to expose alternate possibilities are integral to my artistic practice. I view electronics as complex artificial living systems, organisms existing within interconnected economies and ecosystems. Accepting the alien language of electronics as familiar and natural, and in essence human, lifts the veil of mythology surrounding modern technological tools---their origins and applications---allowing a glimpse at the economic and political dynamics restructuring society according to specific ideologies. The driving force within my work comes from an oscillation between an intense fascination with technological objects and a deep skepticism towards modern applications of technology, especially in the creation of closed circuits of production/consumption. The dynamics of society and the environment emerge as central concerns. What are the implications of applying contemporary technological thinking to more primitive techniques and technologies as new starting points for re-conceptualizing the present and re-imagining the future?"

Tune in to WGXC 90.7-FM on Saturday, April 30 for a special day spent with guest artists Tony Martin and Margot Farrington.

Margot Farrington is a poet/storyteller/performer whose work encompasses both traditional and experimental modes. She is the author of two poetry collections, most recently Flares And Fathoms (Bright Hill Press). Her poems have been anthologized, and on-line archives featuring her work include the websites of the American Academy of Poets, and a 2010 reading and interview via Art On Air International Radio. She has performed independently at The West Kortight Centre, Huron Club at Soho Playhouse, and the Tenement Museum, among others. In tandem with visual artist Tony Martin, she has performed at such venues as RPI/EMPAC, Miller Theater at Columbia University, and the Optosonic Tea Series at the Experimental Intermedia Center.

A founder of art works using light, Tony Martin has, since the 1960's, created seminal new media works. As early as 1968, Howard Wise called his work "cybernetic" for the way he applied information processes. In his works Well and Interaction Room, the electronic systems were the interface between the viewer and the event and process of the sculpture or installed environment. He created the electronic and optical configurations for these in his own studio, and when necessary, commissioned help from the new generation of engineers and scientists forging new ways and methods.

A painter from the outset, Martin has also devoted himself to using pure processes of light and simultaneous projected imagery in motion. The legendary visual compositions produced at the San Francisco Tape Music Center and Bill Graham's Fillmore West, stand as early testament to his love of "painting in time," and to his involvement with music from an early age. Exhibitions of his paintings at the Batman and Boreas Galleries coincided with the multi-media work. While many artists have focused on narrative video Martin has been steadfast in pursuing a life-time goal of providing an active role for the individual viewer within specific light environment situations. Martin has worked intensively with such composers as Pauline Oliveros, Morton Subotnick, and David Tudor.

Nick Yulman live on WGXC 90.7-FM.

Stay tuned for more information about this special live radio production by artist Kristin Lucas and her students from Bard College....

Chris Kubick and Anne Walsh's Room Tone (2007) is the first of a three-part broadcast, presented as part of the research exhibition and experiment, Dear Pratella, which investigates the critical potential of sound-based art in various social, spatial, temporal, and discursive contexts. For more information, visit www.dearpratella.org.

A room tone is a recorded element of sound design, often employed in the movie industry, to impress the sonic ambience of a depicted environment. It is the sound of “silence” in a room, though never quite silent as each room tone is inflected by different characteristics such as sonic reflections bouncing off physical architecture, the absorptive presence of bodies, and other kinds of technology present (i.e., the subtle hum of air-handling systems and lights). Room Tone is run by a computer program that generates sounds drawn from a database of approximately 1,000 room tones through four separate channels. The program may layer, cut up, and combine these room tones, varying in duration and volume, to create a new, dynamic, and visceral room tone for any particular space. Constantly changing and evolving, the aural experience of Room Tone humorously plays with the oft-cited adage of John Cage: “There is no such thing as an empty space or an empty time. There is always something to see, something to hear. In fact, try as we may to make a silence, we cannot.”

Chris Kubick and Anne Walsh, both Oakland-based artists, produce sculpture, works on paper, video, video games, audio CDs and sound installations. From 2001 to 2005, their project Art After Death centered on the overlaps of metaphysics and art history. From 2004-2007, they produced works from a massive commercial sound effects library, exploring the rhetorical and sculptural dimensions of these complex cultural archives. In recent video projects, they continue to work with specialist performers and craftspeople to focus on the residue of fantasy left behind at “historical” sites and monuments.

Chris Kubick is a sound designer and lecturer in new media and sound art at U.C. Berkeley. He is also the founder and director of Language Removal Services. Anne Walsh is a contributing editor of X-Tra Art and Culture Quarterly, a blogger for San Francisco MoMA, and is an associate professor of art at U.C. Berkeley.

Maria Papadomanolaki has produced this weeks episode of Radia in conjunction with Radia network member free103point9 and their newly launched full-power FM station WGXC-90.7-FM in upstate New York.

Gowanus Over and Out follows the aural traces of the narrowcast audio exhibit Sib Radio Gowanus curated last year for the exhibition Postcards from Gowanus (Cabinet Magazine Gallery, March 17-20 2010, Gowanus, Brooklyn). The conceptual backbone of the project was to create a sonic wallpaper that would reflect the aural undertones, both real and imagined, of the area surrounding the gallery. It also served as an organic sonotopia that inhabited the audiovisual exhibits in a process of associative interaction. Responding to a call for works, a total of 44 US and international artists from diverse creative backgrounds contributed works ranging from drones and field recordings to spoken word pieces and experimental sonic artworks. Gowanus Over and Out attempts to offer a 27 minute glimpse into some of the different facets of the exhibit while at the same time being its own self-expanding universe of sounds.

Tracklist
The piece features samples of the following works:

Myke Dodge Weiskopf - Helicopter
http://www.myke.me/wordpress/

Sogar – Tapete
http://www.monohr.com/Sogar.html

Knut Aufermann - avi5
http://knut.klingt.org/

Sterling Basement - Drowned in the Canal
http://www.johnroach.net/pages/2002_sterling_basement.html

Solo Andata - Ablation
http://solo-andata.com/
http://soundcloud.com/soloandata

verdi_spirali - on_earth@in_space
http://www.myspace.com/verdispirali

Jonny Farrow - Gowanus Walk
http://jonnyfarrow.net/

Radio Ruido - all artifacts
http://radioruidotriangulation.blogspot.com/

Maria Papadomanolaki - Cabinet
http://www.voicesoundtext.com

Lina Lapelyte - MATB1
http://www.myspace.com/lapelyte

Maria Papadomanolaki – Playground (Radia edit)
http://www.voicesoundtext.com

Todd Merrell - As March Times On
http://www.toddmerrell.com/

Mark Templeton - Safely into March
http://www.fieldsawake.com/

Bryan Zimmerman - Blobs Of Yellow-Green Sun
http://www.free103point9.org/artists/998

Last Days - Walls
http://www.lastdaysmusic.co.uk/

A.G - Polygon:08|1
http://agpolygon08.blogspot.com/

Myke Dodge Weiskopf - VNG
http://www.myke.me/wordpress/

Tune in for a very special live performance, on WGXC 90.7-FM, from internationally renowned artist Gregory Whitehead. An award-winning writer, director and producer of more than one hundred radio plays, essays and acoustic adventures, Whitehead has created radio works for the BBC, Radio France, Australia's ABC, National Public Radio in the U.S., and other broadcasters. He is a frequent performer in literary cabarets and mixed media theatre events, as well as a featured guest speaker at conferences and audio festivals throughout the U.S. and Europe. Whitehead is the co-editor of the influential anthology of writings on the history of radio and audio art, Wireless Imagination: sound radio and the avant-garde, and the author of numerous essays that explore the politics and paradoxes of radiophonic space, as well as the diverse absurdities of the moment.

Gregory Whitehead website.

Gregory Whitehead wikipedia page.

Gregory Whitehead recordings.

Jacob Kirkegaard's Labyrinthitis (2007) is the second of a three-part broadcast, presented as part of the research exhibition and experiment, Dear Pratella, which investigates the critical potential of sound-based art in various social, spatial, temporal, and discursive contexts. For more information, visit www.dearpratella.org.

The recording and composition of Labyrinthitis relies on a principle and phenomenon employed and experienced in both medical science and musical practice: when two frequencies at a certain ratio are played into the human ear, additional vibrations in the inner ear produce a third frequency or tone – a phenomenon known as “distortion product otoacoustic emission” (DPOAE), also known as “Tartini tone”. Contrary to our common conception of the ear as a passive receiving organ, this phenomena points to our active ears that both receive and create sound. Labyrinthitis begins with two specific tones at a 1:1.2 ratio of frequencies, recorded by tiny sensitive microphones in the artist’s ears. This then stimulates listeners to hear the distorting third tone produced by their own ears. Once the two primary tones have faded, the third tone created by Kirkegaard’s ears can be heard. Another tone is then added, in the necessary ratio to the earlier third tone, which then creates another, lower “third tone” – both in Kirkegaard’s ears and the listeners’. This generative process of tones being played, produced, recorded, and then played back again, continues on, intensifying in complexity and creating a descending tonal structure that resembles the spiral form of the inner ear. Though Labyrinthitis may be experienced in different sites as an audio installation or broadcast, it is site-specific to the ears of the listeners – not only hearing the artist hearing, but also themselves.

Jacob Kirkegaard is a Danish artist based in Berlin, who focuses on the scientific and aesthetic aspects of resonance, time, sound and hearing. His installations, compositions and performances deal with acoustic spaces and phenomena that usually remain imperceptible. Using unorthodox recording tools, Kirkegaard captures and contextualizes hitherto unheard sounds from within a variety of environments. He has presented his works at exhibitions and at festivals and conferences throughout the world and has released five albums. Kirkegaard is also a member of the sound art collective freq_out.

Calling all sound-makers, radio-lovers and Neighborhood talent!! WGXC invites you to take part in the maiden voyage of the in-process studio at the Catskill Community Center. We'll be broadcasting live from the event including these performances and workshops:
•Leon Dewan will give an on air demonstration of the Swarm-a -tron
•Bradford Reed will play a set earlier on his 1st Pencilina.
•Harry Matthews - inventor of the Helmet-o-phone
•Dharma Dailey and Brian will play some folk/blue grass classics and old timee tunes
•Carmen Borgia- Baritone Ukulele Big book of Songs
•Rob Hervey- Didjereedoo drones
•Matt Bua- table top 2x4 prepared guitar
•Peter Krug- Americana Encyclopedic Gems


Come to:
• make a one of a kind musical Instrument
• perform on air with your new fabulous "made-up" band
• retire your favorite old t-shirt to the Studio wall of fame
• bring a toy to circuit bend and make it do what it never thought it could
• make a poster for your dream band
• learn to be a WGXC town recorder / town reporter
• experience musical play-doh

This event will celebrate the launch of youth programs out of WGXC's forthcoming studio space at the Catskill Community Center.

In conjunction with the Bing Bang Boing (Radical Instruments of Sound and Vision) Exhibition at the Greene County Council on the Arts, 398 Main Street Catskill.

Hong-Kai Wang's I Am Not A Very Good Extemporaneous Speaker; In Fact, I Am No Speaker At All (2011) is the third and final element of a three-part broadcast, presented as part of the research exhibition and experiment, Dear Pratella, which investigates the critical potential of sound-based art in various social, spatial, temporal, and discursive contexts. For more information, visit www.dearpratella.org.

Soong May-Ling, aka Madame Chiang Kai-Shek, began the second paragraph of a historic speech on February 18, 1943 with the statement, “I am not a very good extemporaneous speaker; in fact, I am no speaker at all.” With this speech, Soong May-Ling was the first Chinese national and second woman to address both houses of the U.S. Congress. Though Madame Chiang may have later faded into obscurity, at this pivotal moment, she spoke on behalf of the Chinese cause in a lobbying and fundraising campaign during World War II. She delivered a well-received speech articulated with empathetic, politically nuanced-words. I am not a very good extemporaneous speaker… attempts to reenact this perhaps obscure historical event by reconstructing its specific social space through recording and listening – attempting to translate its historicity as well as investigating its contemporary resonance. Participants in the recording nevertheless took turns performing the roles of both speaker and audience, further complicating the aspects of communication translated across time, space, and bodies. In listening to this reenactment and recording, against our own contemporary situation and in now retrospective reflection, what are the multiple meanings we may parse from this speech act? How might we now hear and reflect on the given social space of the recording, its historical referent, as well as the space of our own listening?

Hong-Kai Wang is a Taiwanese artist based in New York. She primarily works with sound as a conceptual means to investigate social relations and to explore the construction of new social space in everyday life. Wang studied art and politics at the National Taiwan University, followed by a master’s degree in Arts and Media Studies at the New School in New York. She has exhibited and performed internationally and will represent the Taiwan Pavilion in the 54th Venice Biennale (2011).

This month's "Sound Forms: Conversations with Composers" on WGXC features music and interviews with Pauline Oliveros. Oliveros is a Kingston-based Internationally renown composer, innovator, performer, and teacher whose Deep Listening Foundation promotes cutting-edge artistic exchange. This show will feature her recent performances in Dunrobin Gym in Ontario and a 1965 tape piece made at the San Francisco Tape Music Center.

New Adventures in Sound Art (NAISA)'s ninth annual Radio Without Boundaries conference makes Deep Wireless an internationally sought after destination for those with a general interest in radio and transmission art, sound and radio artists and/or those who just want something more from radio. Exploring the many potentials, boundaries and artist perspectives of radio and transmission art, the 2011 line-up of international radio art luminaries includes Jonathan Goldstein (CBC Radio’s Wiretap), Colin Black (Frequency Oz, Australia), Nora Young (CBC Radio’s Spark), Matt Smith (Can), Hank Bull (Can), Roman Mars (REMIX Radio from PRX, USA), Gregory Whitehead (USA), Darsha Hewitt (Can), Shea Shackelford (USA), Peter Courtemanche (Can) plus many more.

On, Saturday May 28th, WGXC 90.7-FM will broadcast many of the festival events taking place at the Radio Without Boundaries conference in Toronto, Including:

9 a.m.: Keynote Address by Jonathan Goldstein
1 p.m.: Dual session with Sarah Boothroyd and Shea Shackleford
3 p.m.: Translocal Transmissions Panel session
4:30 p.m.: REMIX Radio with Roman Mars
8 p.m.: Deep Wireless Ensemble performance #2 + Philosophie zoologique by Jocelyn Robert + Colin Black + CBC radio’s commissioned artists

Radius Sketchpad is an ongoing monthly program on WGXC 90.7-FM presented by the Chicago-based platform, Radius. This month features Margaret Noble's Frakture: George Orwell’s Novel “1984” Remixed, originally produced for Radius, and is followed by a playlist of works selected by the artist.