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.

The Arts Writing Fellow is a critic and/or curator who will produce an essay about selected Wave Farm artists-in-residence work, including artist interviews. In this newly established Fellowship opportunity, Preziosi will consider the work of past residents whose projects implicate questions of climate change and human responsibility through intimate studies of biodiverse habitats, weather forecasting, insects, and machines. Preziosi's essay will explore possibilities of transmission as translation–between image and sound, between human and non-human language—in order to create bridges between ourselves and our precarious environment.

Caroline Preziosi is a writer, artist, and educator in Baltimore, MD and Callicoon, NY. She works in language, photography, sound, and installation. She has a BA in Writing from Johns Hopkins University, an MFA from School of the Art Institute of Chicago, and serves as a board member with ENGN Civic Creative Center, a 501(c)3 educational non-profit in NY.

TONE FIELD HORIZON is a performance-installation for the Wave Farm Art Park, as well as a simultaneous radio transmission mixed live from the various points that make up the field. The project uses the Art Park as a spatial instrument. Neumann will install five remote stations, each consisting of a loudspeaker and a microphone. He will use his software instrument Room Tone Generator [RTG] to generate finely tuned tonalities that blend into the nearfield environment. During a culminating public program, on-site audiences will experience the tones in the environment (RTG within an ecosystem) expanding spatiality. Listening gets a tonal anchor for focusing attention as the visitors move through the different acoustic arenas. As visitors walk around the Wave Farm Art Park they experience the shifting acoustic horizon in relation to how close or far they are from the various RTG speakers. The microphones will pick up the altered environment. For off-site radio audiences, all five feeds will be mixed together and output for stereo broadcast over WGXC 90.7-FM and wavefarm.org/listen. This tele-audience will experience a very different acoustic horizon, an all-at-once conglomerate from the different locations.

Daniel Neumann is a sound artist, organizer, and audio engineer. He holds a media art masters degree from the Academy of Visual Art Leipzig where he studied electronic music composition. Neumann’s main area of focus is how sound interacts with space and how space and spatial perception can be shaped by sound. He works in hybrid installation-performance formats and understands sound as an intersubjective field enabled by audio procedures. Neumann’s work has been presented internationally at venues including: Zona Maco CDMX, TEA Tenerife, Sinne Helsinki, Pinacoteca Bellas Artes Manizales Colombia, Espacios Resonantes Santiago de Chile, Loop Barcelona; Sculpture Center, etc. He is represented by Fridman Gallery, New York. Curatorially Neumann runs CT::SWaM, an ongoing series presenting spatial sound works, now under the umbrella of the organization New Ear, for which Neumann serves as a founding Board Member. As an audio engineer, he has worked for Diamanda Galás, BlankForms, Time:Spans, MoMA PS1, Meredith Monk, Kevin Beasley, Phill Niblock, Ellen Reid, Missy Mazzoli, David Guetta, ACME, Alarm Will Sound, and more.

transmitter2ears is a live performance/installation with two parabolic speakers, binaural microphones, radio transmission and a synthesizer. Together they form an audio-feedback loop, open to the sounds of the environment. A performer/musician equipped with binaural microphones, is interacting with the audio-field of the highly directive speakers. In the performance, Lanzmaier and Zißler and their collaborators actively blur the lines between performer, listener, musician and landscape, turning the whole ecosystem of the site into an instrument. The sounds picked up by the binaural microphones provide an audio stream from the "perspective" of the performer which will be broadcasted for the radio audience on WGXC 90.7-FM and wavefarm.org/listen.

Andreas Zißler and Fabian Lanzmaier are transdisciplinary artists based in Vienna. Coming from different backgrounds (architecture, fine arts, and sound/music) they share an interest in sound and its relation to space. Recently, they have collaborated on different site specific installations, working with feedback systems, parabolic sound reflectors, and spatial audio.

Codes is a newly-founded collaboration between Kamari Carter and Gladstone Deluxe that features an audio-visual durational performance using data extracted from live police scanner transmissions as a primary material for musical exploration. Deriving from Carter’s research-oriented practice revolving heavily around policing, incarceration, Black aesthetics, and surveillance, and Deluxe’s haptic, Afrological and techno-inspired analog compositional strategies, Codes works towards a synthesis of both schools of thought, and seeks to elevate the obfuscated.

Kamari Carter is a New York-based artist primarily working with sound, video, installation, and performance. His practice circumvents materiality and familiarity through a variety of recording and amplification techniques to investigate notions such as space, systems of identity, oppression, control, and surveillance. Driven by the probative nature of perception and the concept of conversation and social science, he seeks to expand narrative structures through sonic stillness. Carter’s work has been exhibited at such venues as Automata Arts, MoMA, Mana Contemporary, RISD Museum, Flux Factory, Lenfest Center for the Arts, and Wave Hill and has been featured in a range of major publications including ArtNet, Precog Magazine, LevelGround, and WhiteWall. Carter holds a BFA in Music Technology from California Institute of the Arts and an MFA in Sound Art from Columbia University. Kamari Carter is represented by Microscope Gallery in New York City.

Gladstone Deluxe is a New York-based artist working with percussion and electronics. As a percussionist, Gladstone is interested in how conceptions and politics of time are embodied, and can bleed into the social topography of a culture through rhythmic performance. As a technologist, they develop systems for the augmentation and amplification of percussive messages. His experimental approach towards composition and interface design is a collision of the spiritual and the cybernetic. In 2023, Deluxe released EPs with Black Techno Matters and is / was. Films that Deluxe scored were shown at the British Film Institute, a STARZ television premiere, the Hawai’i International Film Festival, and more. He’s appeared in galleries like The Warhol Museum, Rubin Foundation, Chashama, the Carnegie Museum of Art, and clubs throughout the U.S. In 2024, he will collaborate with Moog Synthesizers, Sō Percussion, Attacca Quartet, and more. Gladstone also keeps busy as the timbales player for Las Mariquitas, which was recently featured in Rolling Stone.

As Wave Farm’s Community Engagement Radio Art Fellow, Celeste Oram will conduct the workshop TERRA RADIA: the (De-)Territorialization of the Radio Spectrum. Presented in three parts, the workshop gathers radio enthusiasts to reflect on the territorialization of the electromagnetic spectrum: that is, the conceptual, legal, political, scientific, and aesthetic frames whereby radio is described as if it were space or territory. The workshop will pose and discuss questions including: But how apt are those analogies? What do they elide or misrepresent about radio properties and technology? What political mechanisms do they naturalize? By what other conceptual means might we navigate and manage electromagnetic properties?

And what is at stake in these reflections? Well, the spectrum is a proving ground for some of the most urgent political re-calibrations of our time: the rights and privileges of corporate bodies; the future of the nation-state; Indigenous sovereignty and decolonial governance; overlapping sovereignties within shared territorial environments.

Presented in a hybrid format, an introductory experimental lecture-recital will be followed by collaborative Zoom sessions open to an international audience of radionauts and anyone who wants to learn about the political underpinnings of how we apprehend natural phenomena.

Celeste Oram is a composer with equal investments in radiophonic and transmission art, as well as live musical performance in the experimental and classical realms. Oram’s work explores the histories and micro-cultures of musical practice itself, as well as its socio-political entanglements. Her radiophonic pieces employ radio technologies (sometimes DIY) as a musical instrument in the pursuit of richly contrapuntal sonic textures. Often Oram’s work engages with the histories and cultures of both public and amateur radio, and their entwined development with colonialism and nation-building—especially in her home country Aotearoa New Zealand. Recent compositions for live performance span instrumental and vocal concert music, polyphonic songs, music for period Baroque instruments, experimental music-theatre, and orchestral music for dance-theater. Much of Oram’s musical language is rooted in a studied investment in early music, revivifying historical musical languages via experimental approaches.