As Wave Farm's 2024 Radio Art Research Fellow, Austin T. Richey will contribute five new artists and works to the Broadcast Radio Art Archive. Richey's research will focus on artists who utilize new interfaces to develop an emergent soundscape or hide themselves within the sonic textures. The cohort will include Zimbabwean radio and sculpture artist Masimba Hwati, whose performances connect Shona ritual and contemporary diasporic African life, and Martin Freeman, a New York-based instrument maker who builds and leads workshops around solar-powered synthesis. Richey's interest in diasporic frequencies and environmental modulation developed from his own performance practice. Each Fellowship commences with a 10-day on-site residency. In addition to using this time on-site to inform his research, Richey will sound out Wave Farm through broadcast recordings of his own solar instruments, placed throughout the campus. These sounders will be complemented by a set of instruments—specifically built for his time at Wave Farm—that are only audible through EMF detectors.

Austin T. Richey is a musician, multimedia artist, and ethnomusicologist based in Detroit, Michigan, where he explores the resonances between diasporic African musical, dance, and visual arts and Detroit-specific genres such as Motown and techno. Richey’s current sonic practice reclaims public spaces through community-oriented DIY synthesizer-making workshops and site-specific, historically and environmentally informed sound installation. Through these workshops, Richey connects young sound makers to their environment via deep listening practices while teaching skills like electrical engineering, encouraging them to experiment with self-designed sonic expressions.

Richey has published original research in African Music, Opioid Aesthetics, and Sonic Signatures, has contributed research to the Public Broadcasting Service digital series Sound Field, and is currently turning his dissertation on experimental community music-making and griots in Detroit into a manuscript. His research is supported by the Frederick Douglass Institute, the Society for American Music, Humanities New York, the Knight Foundation, and the Presser Foundation. Collaborations include work with Sō Percussion, Bora Yoon, and extensive live sound installation and performance with Maritza Garibay as the duo Dominant Hand. He earned a Ph.D. from Eastman School of Music in 2023, is an instructor at Western Michigan University's Gilmore School of Music, and is the current Storyteller for Detroit Opera.

As Wave Farm's 2024 Radio Art Research Fellow, Austin T. Richey will contribute five new artists and works to the Broadcast Radio Art Archive. Richey's research will focus on artists who utilize new interfaces to develop an emergent soundscape or hide themselves within the sonic textures. The cohort will include Zimbabwean radio and sculpture artist Masimba Hwati, whose performances connect Shona ritual and contemporary diasporic African life, and Martin Freeman, a New York-based instrument maker who builds and leads workshops around solar-powered synthesis. Richey's interest in diasporic frequencies and environmental modulation developed from his own performance practice. Each Fellowship commences with a 10-day on-site residency. In addition to using this time on-site to inform his research, Richey will sound out Wave Farm through broadcast recordings of his own solar instruments, placed throughout the campus. These sounders will be complemented by a set of instruments—specifically built for his time at Wave Farm—that are only audible through EMF detectors.

Austin T. Richey is a musician, multimedia artist, and ethnomusicologist based in Detroit, Michigan, where he explores the resonances between diasporic African musical, dance, and visual arts and Detroit-specific genres such as Motown and techno. Richey’s current sonic practice reclaims public spaces through community-oriented DIY synthesizer-making workshops and site-specific, historically and environmentally informed sound installation. Through these workshops, Richey connects young sound makers to their environment via deep listening practices while teaching skills like electrical engineering, encouraging them to experiment with self-designed sonic expressions.

Richey has published original research in African Music, Opioid Aesthetics, and Sonic Signatures, has contributed research to the Public Broadcasting Service digital series Sound Field, and is currently turning his dissertation on experimental community music-making and griots in Detroit into a manuscript. His research is supported by the Frederick Douglass Institute, the Society for American Music, Humanities New York, the Knight Foundation, and the Presser Foundation. Collaborations include work with Sō Percussion, Bora Yoon, and extensive live sound installation and performance with Maritza Garibay as the duo Dominant Hand. He earned a Ph.D. from Eastman School of Music in 2023, is an instructor at Western Michigan University's Gilmore School of Music, and is the current Storyteller for Detroit Opera.

As Wave Farm's 2024 Radio Art Research Fellow, Austin T. Richey will contribute five new artists and works to the Broadcast Radio Art Archive. Richey's research will focus on artists who utilize new interfaces to develop an emergent soundscape or hide themselves within the sonic textures. The cohort will include Zimbabwean radio and sculpture artist Masimba Hwati, whose performances connect Shona ritual and contemporary diasporic African life, and Martin Freeman, a New York-based instrument maker who builds and leads workshops around solar-powered synthesis. Richey's interest in diasporic frequencies and environmental modulation developed from his own performance practice. Each Fellowship commences with a 10-day on-site residency. In addition to using this time on-site to inform his research, Richey will sound out Wave Farm through broadcast recordings of his own solar instruments, placed throughout the campus. These sounders will be complemented by a set of instruments—specifically built for his time at Wave Farm—that are only audible through EMF detectors.

Austin T. Richey is a musician, multimedia artist, and ethnomusicologist based in Detroit, Michigan, where he explores the resonances between diasporic African musical, dance, and visual arts and Detroit-specific genres such as Motown and techno. Richey’s current sonic practice reclaims public spaces through community-oriented DIY synthesizer-making workshops and site-specific, historically and environmentally informed sound installation. Through these workshops, Richey connects young sound makers to their environment via deep listening practices while teaching skills like electrical engineering, encouraging them to experiment with self-designed sonic expressions.

Richey has published original research in African Music, Opioid Aesthetics, and Sonic Signatures, has contributed research to the Public Broadcasting Service digital series Sound Field, and is currently turning his dissertation on experimental community music-making and griots in Detroit into a manuscript. His research is supported by the Frederick Douglass Institute, the Society for American Music, Humanities New York, the Knight Foundation, and the Presser Foundation. Collaborations include work with Sō Percussion, Bora Yoon, and extensive live sound installation and performance with Maritza Garibay as the duo Dominant Hand. He earned a Ph.D. from Eastman School of Music in 2023, is an instructor at Western Michigan University's Gilmore School of Music, and is the current Storyteller for Detroit Opera.

Voices_in_Transmission: _Immersive_Radio_Phantom_Words aims to expand on Diana Deutsch's psychoacoustic phenomenon "Phantom Words" incorporating spatiality, multi-channeling, diverse languages, voices, and syllables into the exploration. The primary goal is to create a comprehensive sound bank using recordings exclusively from local radio stations to investigate the radio's role in auditory perception and neurological responses in the creation of phantom words. The project will explore how radio samples, including background music and sound effects, contribute to the perception of phantom words. Additionally, the project will enhance spatiality by incorporating several radio receivers and examining the electro-acoustic chain's impact on perception. Raventós will be joined in-residence with her Acoustic Heritage Collective (https://acousticheritagecollective.org/) collaborator, Emilio Marx who will contribute as a sound producer and technician. Trained in acoustic engineering, with an interest in acoustic heritage, Marx frequently uses his theoretical background to implement technology that enhances spatial translations.

Anyone can contribute to the project by visiting wavefarm.org/phantom.

Ginebra Raventós is a poet and sound artist. Her field of research crosses the voice, word, collective unconscious, and psychoacoustics through sound, space, and the moving image. She investigates the possibilities of expanding the field of action of poetry beyond the word in the text. In her pieces, Raventós displays her poetic universe, where voice, action, sound, image, space, and text are intermingled in an indispensable whole. She also explores the idea of repetition and trance, that is, the alteration of consciousness understood as the displacement to a new mental space and perceptual world.

As Wave Farm's 2024 Radio Art Research Fellow, Austin T. Richey will contribute five new artists and works to the Broadcast Radio Art Archive. Richey's research will focus on artists who utilize new interfaces to develop an emergent soundscape or hide themselves within the sonic textures. The cohort will include Zimbabwean radio and sculpture artist Masimba Hwati, whose performances connect Shona ritual and contemporary diasporic African life, and Martin Freeman, a New York-based instrument maker who builds and leads workshops around solar-powered synthesis. Richey's interest in diasporic frequencies and environmental modulation developed from his own performance practice. Each Fellowship commences with a 10-day on-site residency. In addition to using this time on-site to inform his research, Richey will sound out Wave Farm through broadcast recordings of his own solar instruments, placed throughout the campus. These sounders will be complemented by a set of instruments—specifically built for his time at Wave Farm—that are only audible through EMF detectors.

Austin T. Richey is a musician, multimedia artist, and ethnomusicologist based in Detroit, Michigan, where he explores the resonances between diasporic African musical, dance, and visual arts and Detroit-specific genres such as Motown and techno. Richey’s current sonic practice reclaims public spaces through community-oriented DIY synthesizer-making workshops and site-specific, historically and environmentally informed sound installation. Through these workshops, Richey connects young sound makers to their environment via deep listening practices while teaching skills like electrical engineering, encouraging them to experiment with self-designed sonic expressions.

Richey has published original research in African Music, Opioid Aesthetics, and Sonic Signatures, has contributed research to the Public Broadcasting Service digital series Sound Field, and is currently turning his dissertation on experimental community music-making and griots in Detroit into a manuscript. His research is supported by the Frederick Douglass Institute, the Society for American Music, Humanities New York, the Knight Foundation, and the Presser Foundation. Collaborations include work with Sō Percussion, Bora Yoon, and extensive live sound installation and performance with Maritza Garibay as the duo Dominant Hand. He earned a Ph.D. from Eastman School of Music in 2023, is an instructor at Western Michigan University's Gilmore School of Music, and is the current Storyteller for Detroit Opera.

Voices_in_Transmission: _Immersive_Radio_Phantom_Words aims to expand on Diana Deutsch's psychoacoustic phenomenon "Phantom Words" incorporating spatiality, multi-channeling, diverse languages, voices, and syllables into the exploration. The primary goal is to create a comprehensive sound bank using recordings exclusively from local radio stations to investigate the radio's role in auditory perception and neurological responses in the creation of phantom words. The project will explore how radio samples, including background music and sound effects, contribute to the perception of phantom words. Additionally, the project will enhance spatiality by incorporating several radio receivers and examining the electro-acoustic chain's impact on perception. Raventós will be joined in-residence with her Acoustic Heritage Collective (https://acousticheritagecollective.org/) collaborator, Emilio Marx who will contribute as a sound producer and technician. Trained in acoustic engineering, with an interest in acoustic heritage, Marx frequently uses his theoretical background to implement technology that enhances spatial translations.

Anyone can contribute to the project by visiting wavefarm.org/phantom.

Ginebra Raventós is a poet and sound artist. Her field of research crosses the voice, word, collective unconscious, and psychoacoustics through sound, space, and the moving image. She investigates the possibilities of expanding the field of action of poetry beyond the word in the text. In her pieces, Raventós displays her poetic universe, where voice, action, sound, image, space, and text are intermingled in an indispensable whole. She also explores the idea of repetition and trance, that is, the alteration of consciousness understood as the displacement to a new mental space and perceptual world.

As Wave Farm's 2024 Radio Art Research Fellow, Austin T. Richey will contribute five new artists and works to the Broadcast Radio Art Archive. Richey's research will focus on artists who utilize new interfaces to develop an emergent soundscape or hide themselves within the sonic textures. The cohort will include Zimbabwean radio and sculpture artist Masimba Hwati, whose performances connect Shona ritual and contemporary diasporic African life, and Martin Freeman, a New York-based instrument maker who builds and leads workshops around solar-powered synthesis. Richey's interest in diasporic frequencies and environmental modulation developed from his own performance practice. Each Fellowship commences with a 10-day on-site residency. In addition to using this time on-site to inform his research, Richey will sound out Wave Farm through broadcast recordings of his own solar instruments, placed throughout the campus. These sounders will be complemented by a set of instruments—specifically built for his time at Wave Farm—that are only audible through EMF detectors.

Austin T. Richey is a musician, multimedia artist, and ethnomusicologist based in Detroit, Michigan, where he explores the resonances between diasporic African musical, dance, and visual arts and Detroit-specific genres such as Motown and techno. Richey’s current sonic practice reclaims public spaces through community-oriented DIY synthesizer-making workshops and site-specific, historically and environmentally informed sound installation. Through these workshops, Richey connects young sound makers to their environment via deep listening practices while teaching skills like electrical engineering, encouraging them to experiment with self-designed sonic expressions.

Richey has published original research in African Music, Opioid Aesthetics, and Sonic Signatures, has contributed research to the Public Broadcasting Service digital series Sound Field, and is currently turning his dissertation on experimental community music-making and griots in Detroit into a manuscript. His research is supported by the Frederick Douglass Institute, the Society for American Music, Humanities New York, the Knight Foundation, and the Presser Foundation. Collaborations include work with Sō Percussion, Bora Yoon, and extensive live sound installation and performance with Maritza Garibay as the duo Dominant Hand. He earned a Ph.D. from Eastman School of Music in 2023, is an instructor at Western Michigan University's Gilmore School of Music, and is the current Storyteller for Detroit Opera.

Voices_in_Transmission: _Immersive_Radio_Phantom_Words aims to expand on Diana Deutsch's psychoacoustic phenomenon "Phantom Words" incorporating spatiality, multi-channeling, diverse languages, voices, and syllables into the exploration. The primary goal is to create a comprehensive sound bank using recordings exclusively from local radio stations to investigate the radio's role in auditory perception and neurological responses in the creation of phantom words. The project will explore how radio samples, including background music and sound effects, contribute to the perception of phantom words. Additionally, the project will enhance spatiality by incorporating several radio receivers and examining the electro-acoustic chain's impact on perception. Raventós will be joined in-residence with her Acoustic Heritage Collective (https://acousticheritagecollective.org/) collaborator, Emilio Marx who will contribute as a sound producer and technician. Trained in acoustic engineering, with an interest in acoustic heritage, Marx frequently uses his theoretical background to implement technology that enhances spatial translations.

Anyone can contribute to the project by visiting wavefarm.org/phantom.

Ginebra Raventós is a poet and sound artist. Her field of research crosses the voice, word, collective unconscious, and psychoacoustics through sound, space, and the moving image. She investigates the possibilities of expanding the field of action of poetry beyond the word in the text. In her pieces, Raventós displays her poetic universe, where voice, action, sound, image, space, and text are intermingled in an indispensable whole. She also explores the idea of repetition and trance, that is, the alteration of consciousness understood as the displacement to a new mental space and perceptual world.

As Wave Farm's 2024 Radio Art Research Fellow, Austin T. Richey will contribute five new artists and works to the Broadcast Radio Art Archive. Richey's research will focus on artists who utilize new interfaces to develop an emergent soundscape or hide themselves within the sonic textures. The cohort will include Zimbabwean radio and sculpture artist Masimba Hwati, whose performances connect Shona ritual and contemporary diasporic African life, and Martin Freeman, a New York-based instrument maker who builds and leads workshops around solar-powered synthesis. Richey's interest in diasporic frequencies and environmental modulation developed from his own performance practice. Each Fellowship commences with a 10-day on-site residency. In addition to using this time on-site to inform his research, Richey will sound out Wave Farm through broadcast recordings of his own solar instruments, placed throughout the campus. These sounders will be complemented by a set of instruments—specifically built for his time at Wave Farm—that are only audible through EMF detectors.

Austin T. Richey is a musician, multimedia artist, and ethnomusicologist based in Detroit, Michigan, where he explores the resonances between diasporic African musical, dance, and visual arts and Detroit-specific genres such as Motown and techno. Richey’s current sonic practice reclaims public spaces through community-oriented DIY synthesizer-making workshops and site-specific, historically and environmentally informed sound installation. Through these workshops, Richey connects young sound makers to their environment via deep listening practices while teaching skills like electrical engineering, encouraging them to experiment with self-designed sonic expressions.

Richey has published original research in African Music, Opioid Aesthetics, and Sonic Signatures, has contributed research to the Public Broadcasting Service digital series Sound Field, and is currently turning his dissertation on experimental community music-making and griots in Detroit into a manuscript. His research is supported by the Frederick Douglass Institute, the Society for American Music, Humanities New York, the Knight Foundation, and the Presser Foundation. Collaborations include work with Sō Percussion, Bora Yoon, and extensive live sound installation and performance with Maritza Garibay as the duo Dominant Hand. He earned a Ph.D. from Eastman School of Music in 2023, is an instructor at Western Michigan University's Gilmore School of Music, and is the current Storyteller for Detroit Opera.

Voices_in_Transmission: _Immersive_Radio_Phantom_Words aims to expand on Diana Deutsch's psychoacoustic phenomenon "Phantom Words" incorporating spatiality, multi-channeling, diverse languages, voices, and syllables into the exploration. The primary goal is to create a comprehensive sound bank using recordings exclusively from local radio stations to investigate the radio's role in auditory perception and neurological responses in the creation of phantom words. The project will explore how radio samples, including background music and sound effects, contribute to the perception of phantom words. Additionally, the project will enhance spatiality by incorporating several radio receivers and examining the electro-acoustic chain's impact on perception. Raventós will be joined in-residence with her Acoustic Heritage Collective (https://acousticheritagecollective.org/) collaborator, Emilio Marx who will contribute as a sound producer and technician. Trained in acoustic engineering, with an interest in acoustic heritage, Marx frequently uses his theoretical background to implement technology that enhances spatial translations.

Anyone can contribute to the project by visiting wavefarm.org/phantom.

Ginebra Raventós is a poet and sound artist. Her field of research crosses the voice, word, collective unconscious, and psychoacoustics through sound, space, and the moving image. She investigates the possibilities of expanding the field of action of poetry beyond the word in the text. In her pieces, Raventós displays her poetic universe, where voice, action, sound, image, space, and text are intermingled in an indispensable whole. She also explores the idea of repetition and trance, that is, the alteration of consciousness understood as the displacement to a new mental space and perceptual world.

As Wave Farm's 2024 Radio Art Research Fellow, Austin T. Richey will contribute five new artists and works to the Broadcast Radio Art Archive. Richey's research will focus on artists who utilize new interfaces to develop an emergent soundscape or hide themselves within the sonic textures. The cohort will include Zimbabwean radio and sculpture artist Masimba Hwati, whose performances connect Shona ritual and contemporary diasporic African life, and Martin Freeman, a New York-based instrument maker who builds and leads workshops around solar-powered synthesis. Richey's interest in diasporic frequencies and environmental modulation developed from his own performance practice. Each Fellowship commences with a 10-day on-site residency. In addition to using this time on-site to inform his research, Richey will sound out Wave Farm through broadcast recordings of his own solar instruments, placed throughout the campus. These sounders will be complemented by a set of instruments—specifically built for his time at Wave Farm—that are only audible through EMF detectors.

Austin T. Richey is a musician, multimedia artist, and ethnomusicologist based in Detroit, Michigan, where he explores the resonances between diasporic African musical, dance, and visual arts and Detroit-specific genres such as Motown and techno. Richey’s current sonic practice reclaims public spaces through community-oriented DIY synthesizer-making workshops and site-specific, historically and environmentally informed sound installation. Through these workshops, Richey connects young sound makers to their environment via deep listening practices while teaching skills like electrical engineering, encouraging them to experiment with self-designed sonic expressions.

Richey has published original research in African Music, Opioid Aesthetics, and Sonic Signatures, has contributed research to the Public Broadcasting Service digital series Sound Field, and is currently turning his dissertation on experimental community music-making and griots in Detroit into a manuscript. His research is supported by the Frederick Douglass Institute, the Society for American Music, Humanities New York, the Knight Foundation, and the Presser Foundation. Collaborations include work with Sō Percussion, Bora Yoon, and extensive live sound installation and performance with Maritza Garibay as the duo Dominant Hand. He earned a Ph.D. from Eastman School of Music in 2023, is an instructor at Western Michigan University's Gilmore School of Music, and is the current Storyteller for Detroit Opera.

Voices_in_Transmission: _Immersive_Radio_Phantom_Words aims to expand on Diana Deutsch's psychoacoustic phenomenon "Phantom Words" incorporating spatiality, multi-channeling, diverse languages, voices, and syllables into the exploration. The primary goal is to create a comprehensive sound bank using recordings exclusively from local radio stations to investigate the radio's role in auditory perception and neurological responses in the creation of phantom words. The project will explore how radio samples, including background music and sound effects, contribute to the perception of phantom words. Additionally, the project will enhance spatiality by incorporating several radio receivers and examining the electro-acoustic chain's impact on perception. Raventós will be joined in-residence with her Acoustic Heritage Collective (https://acousticheritagecollective.org/) collaborator, Emilio Marx who will contribute as a sound producer and technician. Trained in acoustic engineering, with an interest in acoustic heritage, Marx frequently uses his theoretical background to implement technology that enhances spatial translations.

Anyone can contribute to the project by visiting wavefarm.org/phantom.

Ginebra Raventós is a poet and sound artist. Her field of research crosses the voice, word, collective unconscious, and psychoacoustics through sound, space, and the moving image. She investigates the possibilities of expanding the field of action of poetry beyond the word in the text. In her pieces, Raventós displays her poetic universe, where voice, action, sound, image, space, and text are intermingled in an indispensable whole. She also explores the idea of repetition and trance, that is, the alteration of consciousness understood as the displacement to a new mental space and perceptual world.