Wave Farm is delighted to announce that José Alejandro Rivera will serve as a 2022 Wave Farm Radio Art Fellow. During his engagement, Rivera will make additions to the Wave Farm Broadcast Radio Art Archive, an online resource and broadcast series on Wave Farm’s WGXC 90.7-FM, which is syndicated to stations across the country through The Radio Art Hour. Rivera will also conduct workshops and listening sessions with WGXC programmers and interested members of the public, and create original radio artworks for broadcast.

José Alejandro Rivera (he/they) is a Puerto Rican, Ohio-born artist, composer, designer, and researcher currently based in SW Vermont. Their layered, place-based practice is informed by a background in music, architecture, and tending land. Working through sound and space to draw on critical cartography, technological ubiquity, systems, and flows of temporalities, José creates evocative, experimental soundworks, geo-notational maps, sound design for podcasts and the moving image, and multichannel, audiovisual installations and performances. He regards natural and built environments as woven fabrics of experience and association that exist and change across phenomenological, political, cultural, and aesthetic dimensions. In performances, they often use the space as an instrument, incorporating live and processed location recordings, various microphones and DIY electronics, radios, custom software, samples, and spatialized, textural elements that oscillate between noise and music. José’s encounters with the electromagnetic spectrum pursue expanded states of consciousness, sonic agency, sites of contingency and multiplicity, science fiction, and notions of identity as it relates to neurodivergence, diaspora, and queerness. His interests also include listening beyond sound, learning from the wisdom of plants and medicine making, regenerative farming, dreamwork, meditation, and movement practices like Qigong and yoga. https://proxemiasound.net/

As an extension of his aural cartographic practice, he performs and makes electroacoustic pieces as Proxemia. He has been featured on disquiet.com, framework radio, Rare Frequency, and textsound.org, among others. His multi-year exploration of the origins of weather mapping, radar, and the Green Building at MIT (2016-19), resulted in performances, a handmade cd/object, and a ground-level, 8.1 channel radio installation that mixed live transmission of spatial resonances with sonified weather data, custom software, and location recordings from the roof’s weather station. Other projects and collaborations have been exhibited at the Blackstar Film Festival, Martha Hill Dance Theater at Bennington College, National Arts Centre (NAC), MASS MoCA, Venice Biennale of Architecture, Bienal de Imagen en Movimiento (BIM), the deCordova Sculpture Park and Museum, Together Boston, Goethe-Institut Boston, ICA Boston (Leap Before You Look: Black Mountain College 1933–1957), The Sensory Ethnography Lab, MIT’s MediaLab and List Visual Art Center, The Center for Visual and Performing Arts at UMass Dartmouth, and Le Laboratoire in Cambridge, MA. From 2015-2020, he worked closely with Non-Event, a Boston-based experimental music series, as a live-sound engineer and graphic designer. Along with numerous collaborations, José’s fluid body of work also includes workshops, teaching, and the design and construction of an open­-air performance space for a youth dance and drumming group in rural Ghana. They studied art and sound in MIT’s Program in Art, Culture, and Technology (MSc 2017), and hold a BS in Architecture & Environmental Design from Kent State University (2011).

INSECTA is an ephemeral radio installation and vocal performance in collaboration with the insects that inhabit Wave Farm. Luminescent balloon membranes become microphones to explore experimental passages between sounding beings (insects, air, voices) as a way to traverse a relationship with otherness, non-normative knowledge, and sustainable sociality. Curci and Genoud aim to contribute with the practice of collective voices (including other species in that collectiveness) capable of telling new stories, imagining and producing shared and livable futures.

Florencia Curci works as a sound and radio artist, performer and curator. Since 2017 she is Director of CASo (Sound Art Center), an institution dependent on the Ministry of Culture of Argentina promoting artistic research on sound, experimental music and social acoustics. Co-curator of RUIDO Festival. Her installations, radio pieces and performances explore collective sounding and listening strategies and were commissioned by KunstRadio, AMEE, CA2M (Madrid), Centro Cultural Kirchner (Arg) and presented internationally at Festival Aural (MX), MediaLab Prado (Madrid), Tsonami Festival (Chile), among others. florenciacurci.com

Agustin Genoud works as a performer, musician and scholar in the fields of contemporary voice, post-humanism and new media. He creates expanded voice techniques that disrupt and interfere with the humanly assigned sounds to the vocal tract and tries to expand those capacities through machinic and animalistic behaviors. As a scholar and lecturer Genoud’s work centers around post-humanism, new materialisms, expanded voice performances and biopolitics. Genoud teaches and conducts research in Buenos Aires at the Universidad Nacional de las Artes (New Media Department) and Tres de Febrero University. agustingenoud.cc

Wave Farm is delighted to announce that José Alejandro Rivera will serve as a 2022 Wave Farm Radio Art Fellow. During his engagement, Rivera will make additions to the Wave Farm Broadcast Radio Art Archive, an online resource and broadcast series on Wave Farm’s WGXC 90.7-FM, which is syndicated to stations across the country through The Radio Art Hour. Rivera will also conduct workshops and listening sessions with WGXC programmers and interested members of the public, and create original radio artworks for broadcast.

José Alejandro Rivera (he/they) is a Puerto Rican, Ohio-born artist, composer, designer, and researcher currently based in SW Vermont. Their layered, place-based practice is informed by a background in music, architecture, and tending land. Working through sound and space to draw on critical cartography, technological ubiquity, systems, and flows of temporalities, José creates evocative, experimental soundworks, geo-notational maps, sound design for podcasts and the moving image, and multichannel, audiovisual installations and performances. He regards natural and built environments as woven fabrics of experience and association that exist and change across phenomenological, political, cultural, and aesthetic dimensions. In performances, they often use the space as an instrument, incorporating live and processed location recordings, various microphones and DIY electronics, radios, custom software, samples, and spatialized, textural elements that oscillate between noise and music. José’s encounters with the electromagnetic spectrum pursue expanded states of consciousness, sonic agency, sites of contingency and multiplicity, science fiction, and notions of identity as it relates to neurodivergence, diaspora, and queerness. His interests also include listening beyond sound, learning from the wisdom of plants and medicine making, regenerative farming, dreamwork, meditation, and movement practices like Qigong and yoga. https://proxemiasound.net/

As an extension of his aural cartographic practice, he performs and makes electroacoustic pieces as Proxemia. He has been featured on disquiet.com, framework radio, Rare Frequency, and textsound.org, among others. His multi-year exploration of the origins of weather mapping, radar, and the Green Building at MIT (2016-19), resulted in performances, a handmade cd/object, and a ground-level, 8.1 channel radio installation that mixed live transmission of spatial resonances with sonified weather data, custom software, and location recordings from the roof’s weather station. Other projects and collaborations have been exhibited at the Blackstar Film Festival, Martha Hill Dance Theater at Bennington College, National Arts Centre (NAC), MASS MoCA, Venice Biennale of Architecture, Bienal de Imagen en Movimiento (BIM), the deCordova Sculpture Park and Museum, Together Boston, Goethe-Institut Boston, ICA Boston (Leap Before You Look: Black Mountain College 1933–1957), The Sensory Ethnography Lab, MIT’s MediaLab and List Visual Art Center, The Center for Visual and Performing Arts at UMass Dartmouth, and Le Laboratoire in Cambridge, MA. From 2015-2020, he worked closely with Non-Event, a Boston-based experimental music series, as a live-sound engineer and graphic designer. Along with numerous collaborations, José’s fluid body of work also includes workshops, teaching, and the design and construction of an open­-air performance space for a youth dance and drumming group in rural Ghana. They studied art and sound in MIT’s Program in Art, Culture, and Technology (MSc 2017), and hold a BS in Architecture & Environmental Design from Kent State University (2011).

INSECTA is an ephemeral radio installation and vocal performance in collaboration with the insects that inhabit Wave Farm. Luminescent balloon membranes become microphones to explore experimental passages between sounding beings (insects, air, voices) as a way to traverse a relationship with otherness, non-normative knowledge, and sustainable sociality. Curci and Genoud aim to contribute with the practice of collective voices (including other species in that collectiveness) capable of telling new stories, imagining and producing shared and livable futures.

Florencia Curci works as a sound and radio artist, performer and curator. Since 2017 she is Director of CASo (Sound Art Center), an institution dependent on the Ministry of Culture of Argentina promoting artistic research on sound, experimental music and social acoustics. Co-curator of RUIDO Festival. Her installations, radio pieces and performances explore collective sounding and listening strategies and were commissioned by KunstRadio, AMEE, CA2M (Madrid), Centro Cultural Kirchner (Arg) and presented internationally at Festival Aural (MX), MediaLab Prado (Madrid), Tsonami Festival (Chile), among others. florenciacurci.com

Agustin Genoud works as a performer, musician and scholar in the fields of contemporary voice, post-humanism and new media. He creates expanded voice techniques that disrupt and interfere with the humanly assigned sounds to the vocal tract and tries to expand those capacities through machinic and animalistic behaviors. As a scholar and lecturer Genoud’s work centers around post-humanism, new materialisms, expanded voice performances and biopolitics. Genoud teaches and conducts research in Buenos Aires at the Universidad Nacional de las Artes (New Media Department) and Tres de Febrero University. agustingenoud.cc

Wave Farm is delighted to announce that José Alejandro Rivera will serve as a 2022 Wave Farm Radio Art Fellow. During his engagement, Rivera will make additions to the Wave Farm Broadcast Radio Art Archive, an online resource and broadcast series on Wave Farm’s WGXC 90.7-FM, which is syndicated to stations across the country through The Radio Art Hour. Rivera will also conduct workshops and listening sessions with WGXC programmers and interested members of the public, and create original radio artworks for broadcast.

José Alejandro Rivera (he/they) is a Puerto Rican, Ohio-born artist, composer, designer, and researcher currently based in SW Vermont. Their layered, place-based practice is informed by a background in music, architecture, and tending land. Working through sound and space to draw on critical cartography, technological ubiquity, systems, and flows of temporalities, José creates evocative, experimental soundworks, geo-notational maps, sound design for podcasts and the moving image, and multichannel, audiovisual installations and performances. He regards natural and built environments as woven fabrics of experience and association that exist and change across phenomenological, political, cultural, and aesthetic dimensions. In performances, they often use the space as an instrument, incorporating live and processed location recordings, various microphones and DIY electronics, radios, custom software, samples, and spatialized, textural elements that oscillate between noise and music. José’s encounters with the electromagnetic spectrum pursue expanded states of consciousness, sonic agency, sites of contingency and multiplicity, science fiction, and notions of identity as it relates to neurodivergence, diaspora, and queerness. His interests also include listening beyond sound, learning from the wisdom of plants and medicine making, regenerative farming, dreamwork, meditation, and movement practices like Qigong and yoga. https://proxemiasound.net/

As an extension of his aural cartographic practice, he performs and makes electroacoustic pieces as Proxemia. He has been featured on disquiet.com, framework radio, Rare Frequency, and textsound.org, among others. His multi-year exploration of the origins of weather mapping, radar, and the Green Building at MIT (2016-19), resulted in performances, a handmade cd/object, and a ground-level, 8.1 channel radio installation that mixed live transmission of spatial resonances with sonified weather data, custom software, and location recordings from the roof’s weather station. Other projects and collaborations have been exhibited at the Blackstar Film Festival, Martha Hill Dance Theater at Bennington College, National Arts Centre (NAC), MASS MoCA, Venice Biennale of Architecture, Bienal de Imagen en Movimiento (BIM), the deCordova Sculpture Park and Museum, Together Boston, Goethe-Institut Boston, ICA Boston (Leap Before You Look: Black Mountain College 1933–1957), The Sensory Ethnography Lab, MIT’s MediaLab and List Visual Art Center, The Center for Visual and Performing Arts at UMass Dartmouth, and Le Laboratoire in Cambridge, MA. From 2015-2020, he worked closely with Non-Event, a Boston-based experimental music series, as a live-sound engineer and graphic designer. Along with numerous collaborations, José’s fluid body of work also includes workshops, teaching, and the design and construction of an open­-air performance space for a youth dance and drumming group in rural Ghana. They studied art and sound in MIT’s Program in Art, Culture, and Technology (MSc 2017), and hold a BS in Architecture & Environmental Design from Kent State University (2011).

INSECTA is an ephemeral radio installation and vocal performance in collaboration with the insects that inhabit Wave Farm. Luminescent balloon membranes become microphones to explore experimental passages between sounding beings (insects, air, voices) as a way to traverse a relationship with otherness, non-normative knowledge, and sustainable sociality. Curci and Genoud aim to contribute with the practice of collective voices (including other species in that collectiveness) capable of telling new stories, imagining and producing shared and livable futures.

Florencia Curci works as a sound and radio artist, performer and curator. Since 2017 she is Director of CASo (Sound Art Center), an institution dependent on the Ministry of Culture of Argentina promoting artistic research on sound, experimental music and social acoustics. Co-curator of RUIDO Festival. Her installations, radio pieces and performances explore collective sounding and listening strategies and were commissioned by KunstRadio, AMEE, CA2M (Madrid), Centro Cultural Kirchner (Arg) and presented internationally at Festival Aural (MX), MediaLab Prado (Madrid), Tsonami Festival (Chile), among others. florenciacurci.com

Agustin Genoud works as a performer, musician and scholar in the fields of contemporary voice, post-humanism and new media. He creates expanded voice techniques that disrupt and interfere with the humanly assigned sounds to the vocal tract and tries to expand those capacities through machinic and animalistic behaviors. As a scholar and lecturer Genoud’s work centers around post-humanism, new materialisms, expanded voice performances and biopolitics. Genoud teaches and conducts research in Buenos Aires at the Universidad Nacional de las Artes (New Media Department) and Tres de Febrero University. agustingenoud.cc

Wave Farm is delighted to announce that José Alejandro Rivera will serve as a 2022 Wave Farm Radio Art Fellow. During his engagement, Rivera will make additions to the Wave Farm Broadcast Radio Art Archive, an online resource and broadcast series on Wave Farm’s WGXC 90.7-FM, which is syndicated to stations across the country through The Radio Art Hour. Rivera will also conduct workshops and listening sessions with WGXC programmers and interested members of the public, and create original radio artworks for broadcast.

José Alejandro Rivera (he/they) is a Puerto Rican, Ohio-born artist, composer, designer, and researcher currently based in SW Vermont. Their layered, place-based practice is informed by a background in music, architecture, and tending land. Working through sound and space to draw on critical cartography, technological ubiquity, systems, and flows of temporalities, José creates evocative, experimental soundworks, geo-notational maps, sound design for podcasts and the moving image, and multichannel, audiovisual installations and performances. He regards natural and built environments as woven fabrics of experience and association that exist and change across phenomenological, political, cultural, and aesthetic dimensions. In performances, they often use the space as an instrument, incorporating live and processed location recordings, various microphones and DIY electronics, radios, custom software, samples, and spatialized, textural elements that oscillate between noise and music. José’s encounters with the electromagnetic spectrum pursue expanded states of consciousness, sonic agency, sites of contingency and multiplicity, science fiction, and notions of identity as it relates to neurodivergence, diaspora, and queerness. His interests also include listening beyond sound, learning from the wisdom of plants and medicine making, regenerative farming, dreamwork, meditation, and movement practices like Qigong and yoga. https://proxemiasound.net/

As an extension of his aural cartographic practice, he performs and makes electroacoustic pieces as Proxemia. He has been featured on disquiet.com, framework radio, Rare Frequency, and textsound.org, among others. His multi-year exploration of the origins of weather mapping, radar, and the Green Building at MIT (2016-19), resulted in performances, a handmade cd/object, and a ground-level, 8.1 channel radio installation that mixed live transmission of spatial resonances with sonified weather data, custom software, and location recordings from the roof’s weather station. Other projects and collaborations have been exhibited at the Blackstar Film Festival, Martha Hill Dance Theater at Bennington College, National Arts Centre (NAC), MASS MoCA, Venice Biennale of Architecture, Bienal de Imagen en Movimiento (BIM), the deCordova Sculpture Park and Museum, Together Boston, Goethe-Institut Boston, ICA Boston (Leap Before You Look: Black Mountain College 1933–1957), The Sensory Ethnography Lab, MIT’s MediaLab and List Visual Art Center, The Center for Visual and Performing Arts at UMass Dartmouth, and Le Laboratoire in Cambridge, MA. From 2015-2020, he worked closely with Non-Event, a Boston-based experimental music series, as a live-sound engineer and graphic designer. Along with numerous collaborations, José’s fluid body of work also includes workshops, teaching, and the design and construction of an open­-air performance space for a youth dance and drumming group in rural Ghana. They studied art and sound in MIT’s Program in Art, Culture, and Technology (MSc 2017), and hold a BS in Architecture & Environmental Design from Kent State University (2011).

INSECTA is an ephemeral radio installation and vocal performance in collaboration with the insects that inhabit Wave Farm. Luminescent balloon membranes become microphones to explore experimental passages between sounding beings (insects, air, voices) as a way to traverse a relationship with otherness, non-normative knowledge, and sustainable sociality. Curci and Genoud aim to contribute with the practice of collective voices (including other species in that collectiveness) capable of telling new stories, imagining and producing shared and livable futures.

Florencia Curci works as a sound and radio artist, performer and curator. Since 2017 she is Director of CASo (Sound Art Center), an institution dependent on the Ministry of Culture of Argentina promoting artistic research on sound, experimental music and social acoustics. Co-curator of RUIDO Festival. Her installations, radio pieces and performances explore collective sounding and listening strategies and were commissioned by KunstRadio, AMEE, CA2M (Madrid), Centro Cultural Kirchner (Arg) and presented internationally at Festival Aural (MX), MediaLab Prado (Madrid), Tsonami Festival (Chile), among others. florenciacurci.com

Agustin Genoud works as a performer, musician and scholar in the fields of contemporary voice, post-humanism and new media. He creates expanded voice techniques that disrupt and interfere with the humanly assigned sounds to the vocal tract and tries to expand those capacities through machinic and animalistic behaviors. As a scholar and lecturer Genoud’s work centers around post-humanism, new materialisms, expanded voice performances and biopolitics. Genoud teaches and conducts research in Buenos Aires at the Universidad Nacional de las Artes (New Media Department) and Tres de Febrero University. agustingenoud.cc

Wave Farm is delighted to announce that José Alejandro Rivera will serve as a 2022 Wave Farm Radio Art Fellow. During his engagement, Rivera will make additions to the Wave Farm Broadcast Radio Art Archive, an online resource and broadcast series on Wave Farm’s WGXC 90.7-FM, which is syndicated to stations across the country through The Radio Art Hour. Rivera will also conduct workshops and listening sessions with WGXC programmers and interested members of the public, and create original radio artworks for broadcast.

José Alejandro Rivera (he/they) is a Puerto Rican, Ohio-born artist, composer, designer, and researcher currently based in SW Vermont. Their layered, place-based practice is informed by a background in music, architecture, and tending land. Working through sound and space to draw on critical cartography, technological ubiquity, systems, and flows of temporalities, José creates evocative, experimental soundworks, geo-notational maps, sound design for podcasts and the moving image, and multichannel, audiovisual installations and performances. He regards natural and built environments as woven fabrics of experience and association that exist and change across phenomenological, political, cultural, and aesthetic dimensions. In performances, they often use the space as an instrument, incorporating live and processed location recordings, various microphones and DIY electronics, radios, custom software, samples, and spatialized, textural elements that oscillate between noise and music. José’s encounters with the electromagnetic spectrum pursue expanded states of consciousness, sonic agency, sites of contingency and multiplicity, science fiction, and notions of identity as it relates to neurodivergence, diaspora, and queerness. His interests also include listening beyond sound, learning from the wisdom of plants and medicine making, regenerative farming, dreamwork, meditation, and movement practices like Qigong and yoga. https://proxemiasound.net/

As an extension of his aural cartographic practice, he performs and makes electroacoustic pieces as Proxemia. He has been featured on disquiet.com, framework radio, Rare Frequency, and textsound.org, among others. His multi-year exploration of the origins of weather mapping, radar, and the Green Building at MIT (2016-19), resulted in performances, a handmade cd/object, and a ground-level, 8.1 channel radio installation that mixed live transmission of spatial resonances with sonified weather data, custom software, and location recordings from the roof’s weather station. Other projects and collaborations have been exhibited at the Blackstar Film Festival, Martha Hill Dance Theater at Bennington College, National Arts Centre (NAC), MASS MoCA, Venice Biennale of Architecture, Bienal de Imagen en Movimiento (BIM), the deCordova Sculpture Park and Museum, Together Boston, Goethe-Institut Boston, ICA Boston (Leap Before You Look: Black Mountain College 1933–1957), The Sensory Ethnography Lab, MIT’s MediaLab and List Visual Art Center, The Center for Visual and Performing Arts at UMass Dartmouth, and Le Laboratoire in Cambridge, MA. From 2015-2020, he worked closely with Non-Event, a Boston-based experimental music series, as a live-sound engineer and graphic designer. Along with numerous collaborations, José’s fluid body of work also includes workshops, teaching, and the design and construction of an open­-air performance space for a youth dance and drumming group in rural Ghana. They studied art and sound in MIT’s Program in Art, Culture, and Technology (MSc 2017), and hold a BS in Architecture & Environmental Design from Kent State University (2011).

INSECTA is an ephemeral radio installation and vocal performance in collaboration with the insects that inhabit Wave Farm. Luminescent balloon membranes become microphones to explore experimental passages between sounding beings (insects, air, voices) as a way to traverse a relationship with otherness, non-normative knowledge, and sustainable sociality. Curci and Genoud aim to contribute with the practice of collective voices (including other species in that collectiveness) capable of telling new stories, imagining and producing shared and livable futures.

Florencia Curci works as a sound and radio artist, performer and curator. Since 2017 she is Director of CASo (Sound Art Center), an institution dependent on the Ministry of Culture of Argentina promoting artistic research on sound, experimental music and social acoustics. Co-curator of RUIDO Festival. Her installations, radio pieces and performances explore collective sounding and listening strategies and were commissioned by KunstRadio, AMEE, CA2M (Madrid), Centro Cultural Kirchner (Arg) and presented internationally at Festival Aural (MX), MediaLab Prado (Madrid), Tsonami Festival (Chile), among others. florenciacurci.com

Agustin Genoud works as a performer, musician and scholar in the fields of contemporary voice, post-humanism and new media. He creates expanded voice techniques that disrupt and interfere with the humanly assigned sounds to the vocal tract and tries to expand those capacities through machinic and animalistic behaviors. As a scholar and lecturer Genoud’s work centers around post-humanism, new materialisms, expanded voice performances and biopolitics. Genoud teaches and conducts research in Buenos Aires at the Universidad Nacional de las Artes (New Media Department) and Tres de Febrero University. agustingenoud.cc

We need your help! It's almost time to renew WGXC's FM tower lease! Donate now to keep

independent, live, local, adventurous, atypical radio on your FM dial for another five years.

Donate Monthly

Sustain Wave Farm's WGXC with a tax-deductible monthly donation amount of your choosing.

$15.00 USD - monthly $5.00 USD - monthly $10.00 USD - monthly $20.00 USD - monthly $25.00 USD - monthly $35.00 USD - monthly $50.00 USD - monthly $100.00 USD - monthly $200.00 USD - monthly $300.00 USD - monthly

Or, Make a One-time WGXC Contribution

Want to donate by check, stocks, crypto? Visit wgxc.org/donate or call 518-697-7400 and pledge your support of Creative Community Radio for Open Ears.

Thank you!

Wave Farm is delighted to announce that José Alejandro Rivera will serve as a 2022 Wave Farm Radio Art Fellow. During his engagement, Rivera will make additions to the Wave Farm Broadcast Radio Art Archive, an online resource and broadcast series on Wave Farm’s WGXC 90.7-FM, which is syndicated to stations across the country through The Radio Art Hour. Rivera will also conduct workshops and listening sessions with WGXC programmers and interested members of the public, and create original radio artworks for broadcast.

José Alejandro Rivera (he/they) is a Puerto Rican, Ohio-born artist, composer, designer, and researcher currently based in SW Vermont. Their layered, place-based practice is informed by a background in music, architecture, and tending land. Working through sound and space to draw on critical cartography, technological ubiquity, systems, and flows of temporalities, José creates evocative, experimental soundworks, geo-notational maps, sound design for podcasts and the moving image, and multichannel, audiovisual installations and performances. He regards natural and built environments as woven fabrics of experience and association that exist and change across phenomenological, political, cultural, and aesthetic dimensions. In performances, they often use the space as an instrument, incorporating live and processed location recordings, various microphones and DIY electronics, radios, custom software, samples, and spatialized, textural elements that oscillate between noise and music. José’s encounters with the electromagnetic spectrum pursue expanded states of consciousness, sonic agency, sites of contingency and multiplicity, science fiction, and notions of identity as it relates to neurodivergence, diaspora, and queerness. His interests also include listening beyond sound, learning from the wisdom of plants and medicine making, regenerative farming, dreamwork, meditation, and movement practices like Qigong and yoga. https://proxemiasound.net/

As an extension of his aural cartographic practice, he performs and makes electroacoustic pieces as Proxemia. He has been featured on disquiet.com, framework radio, Rare Frequency, and textsound.org, among others. His multi-year exploration of the origins of weather mapping, radar, and the Green Building at MIT (2016-19), resulted in performances, a handmade cd/object, and a ground-level, 8.1 channel radio installation that mixed live transmission of spatial resonances with sonified weather data, custom software, and location recordings from the roof’s weather station. Other projects and collaborations have been exhibited at the Blackstar Film Festival, Martha Hill Dance Theater at Bennington College, National Arts Centre (NAC), MASS MoCA, Venice Biennale of Architecture, Bienal de Imagen en Movimiento (BIM), the deCordova Sculpture Park and Museum, Together Boston, Goethe-Institut Boston, ICA Boston (Leap Before You Look: Black Mountain College 1933–1957), The Sensory Ethnography Lab, MIT’s MediaLab and List Visual Art Center, The Center for Visual and Performing Arts at UMass Dartmouth, and Le Laboratoire in Cambridge, MA. From 2015-2020, he worked closely with Non-Event, a Boston-based experimental music series, as a live-sound engineer and graphic designer. Along with numerous collaborations, José’s fluid body of work also includes workshops, teaching, and the design and construction of an open­-air performance space for a youth dance and drumming group in rural Ghana. They studied art and sound in MIT’s Program in Art, Culture, and Technology (MSc 2017), and hold a BS in Architecture & Environmental Design from Kent State University (2011).

INSECTA is an ephemeral radio installation and vocal performance in collaboration with the insects that inhabit Wave Farm. Luminescent balloon membranes become microphones to explore experimental passages between sounding beings (insects, air, voices) as a way to traverse a relationship with otherness, non-normative knowledge, and sustainable sociality. Curci and Genoud aim to contribute with the practice of collective voices (including other species in that collectiveness) capable of telling new stories, imagining and producing shared and livable futures.

Florencia Curci works as a sound and radio artist, performer and curator. Since 2017 she is Director of CASo (Sound Art Center), an institution dependent on the Ministry of Culture of Argentina promoting artistic research on sound, experimental music and social acoustics. Co-curator of RUIDO Festival. Her installations, radio pieces and performances explore collective sounding and listening strategies and were commissioned by KunstRadio, AMEE, CA2M (Madrid), Centro Cultural Kirchner (Arg) and presented internationally at Festival Aural (MX), MediaLab Prado (Madrid), Tsonami Festival (Chile), among others. florenciacurci.com

Agustin Genoud works as a performer, musician and scholar in the fields of contemporary voice, post-humanism and new media. He creates expanded voice techniques that disrupt and interfere with the humanly assigned sounds to the vocal tract and tries to expand those capacities through machinic and animalistic behaviors. As a scholar and lecturer Genoud’s work centers around post-humanism, new materialisms, expanded voice performances and biopolitics. Genoud teaches and conducts research in Buenos Aires at the Universidad Nacional de las Artes (New Media Department) and Tres de Febrero University. agustingenoud.cc

We need your help! It's almost time to renew WGXC's FM tower lease! Donate now to keep

independent, live, local, adventurous, atypical radio on your FM dial for another five years.

Donate Monthly

Sustain Wave Farm's WGXC with a tax-deductible monthly donation amount of your choosing.

$15.00 USD - monthly $5.00 USD - monthly $10.00 USD - monthly $20.00 USD - monthly $25.00 USD - monthly $35.00 USD - monthly $50.00 USD - monthly $100.00 USD - monthly $200.00 USD - monthly $300.00 USD - monthly

Or, Make a One-time WGXC Contribution

Want to donate by check, stocks, crypto? Visit wgxc.org/donate or call 518-697-7400 and pledge your support of Creative Community Radio for Open Ears.

Thank you!

Wave Farm is delighted to announce that José Alejandro Rivera will serve as a 2022 Wave Farm Radio Art Fellow. During his engagement, Rivera will make additions to the Wave Farm Broadcast Radio Art Archive, an online resource and broadcast series on Wave Farm’s WGXC 90.7-FM, which is syndicated to stations across the country through The Radio Art Hour. Rivera will also conduct workshops and listening sessions with WGXC programmers and interested members of the public, and create original radio artworks for broadcast.

José Alejandro Rivera (he/they) is a Puerto Rican, Ohio-born artist, composer, designer, and researcher currently based in SW Vermont. Their layered, place-based practice is informed by a background in music, architecture, and tending land. Working through sound and space to draw on critical cartography, technological ubiquity, systems, and flows of temporalities, José creates evocative, experimental soundworks, geo-notational maps, sound design for podcasts and the moving image, and multichannel, audiovisual installations and performances. He regards natural and built environments as woven fabrics of experience and association that exist and change across phenomenological, political, cultural, and aesthetic dimensions. In performances, they often use the space as an instrument, incorporating live and processed location recordings, various microphones and DIY electronics, radios, custom software, samples, and spatialized, textural elements that oscillate between noise and music. José’s encounters with the electromagnetic spectrum pursue expanded states of consciousness, sonic agency, sites of contingency and multiplicity, science fiction, and notions of identity as it relates to neurodivergence, diaspora, and queerness. His interests also include listening beyond sound, learning from the wisdom of plants and medicine making, regenerative farming, dreamwork, meditation, and movement practices like Qigong and yoga. https://proxemiasound.net/

As an extension of his aural cartographic practice, he performs and makes electroacoustic pieces as Proxemia. He has been featured on disquiet.com, framework radio, Rare Frequency, and textsound.org, among others. His multi-year exploration of the origins of weather mapping, radar, and the Green Building at MIT (2016-19), resulted in performances, a handmade cd/object, and a ground-level, 8.1 channel radio installation that mixed live transmission of spatial resonances with sonified weather data, custom software, and location recordings from the roof’s weather station. Other projects and collaborations have been exhibited at the Blackstar Film Festival, Martha Hill Dance Theater at Bennington College, National Arts Centre (NAC), MASS MoCA, Venice Biennale of Architecture, Bienal de Imagen en Movimiento (BIM), the deCordova Sculpture Park and Museum, Together Boston, Goethe-Institut Boston, ICA Boston (Leap Before You Look: Black Mountain College 1933–1957), The Sensory Ethnography Lab, MIT’s MediaLab and List Visual Art Center, The Center for Visual and Performing Arts at UMass Dartmouth, and Le Laboratoire in Cambridge, MA. From 2015-2020, he worked closely with Non-Event, a Boston-based experimental music series, as a live-sound engineer and graphic designer. Along with numerous collaborations, José’s fluid body of work also includes workshops, teaching, and the design and construction of an open­-air performance space for a youth dance and drumming group in rural Ghana. They studied art and sound in MIT’s Program in Art, Culture, and Technology (MSc 2017), and hold a BS in Architecture & Environmental Design from Kent State University (2011).

INSECTA is an ephemeral radio installation and vocal performance in collaboration with the insects that inhabit Wave Farm. Luminescent balloon membranes become microphones to explore experimental passages between sounding beings (insects, air, voices) as a way to traverse a relationship with otherness, non-normative knowledge, and sustainable sociality. Curci and Genoud aim to contribute with the practice of collective voices (including other species in that collectiveness) capable of telling new stories, imagining and producing shared and livable futures.

Florencia Curci works as a sound and radio artist, performer and curator. Since 2017 she is Director of CASo (Sound Art Center), an institution dependent on the Ministry of Culture of Argentina promoting artistic research on sound, experimental music and social acoustics. Co-curator of RUIDO Festival. Her installations, radio pieces and performances explore collective sounding and listening strategies and were commissioned by KunstRadio, AMEE, CA2M (Madrid), Centro Cultural Kirchner (Arg) and presented internationally at Festival Aural (MX), MediaLab Prado (Madrid), Tsonami Festival (Chile), among others. florenciacurci.com

Agustin Genoud works as a performer, musician and scholar in the fields of contemporary voice, post-humanism and new media. He creates expanded voice techniques that disrupt and interfere with the humanly assigned sounds to the vocal tract and tries to expand those capacities through machinic and animalistic behaviors. As a scholar and lecturer Genoud’s work centers around post-humanism, new materialisms, expanded voice performances and biopolitics. Genoud teaches and conducts research in Buenos Aires at the Universidad Nacional de las Artes (New Media Department) and Tres de Febrero University. agustingenoud.cc

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