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.

TONE FIELD HORIZON

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.

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.

transmitter2ears

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 interacts with the audio-field of the highly directive speakers. In this site-specific performance, Fabian Lanzmaier and Andreas Zißler (Vienna) work with audio reflections, directional sound beams and specific resonances, turning the landscape of the Wave Farm Art Park into an instrument.

1:10 p.m. - 2:00 p.m. Live Performance
2:00 p.m. - 3:00 p.m. Installation

In-person guests:
As the sounds are highly dependent on the location, visitors are invited to wander around and listen from different positions. Note, either Andreas or Fabian will be wearing binaural microphones in their ears feeding the performance (so talking directly to them during the first hour will interrupt the project.)

Radio listeners:
You will be hearing the sounds picked up by the artist’s binaural microphones, and via the radio broadcast experiencing "perspective" of the performer. 

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.

Calling all radionauts, wave artists, transmission enthusiasts, and utopists!

This participatory workshop (conducted via Zoom) introduces you to the realm of spectrum management: the overlapping forces of law, politics, economics & technology that shape the landscape of the electromagnetic spectrum, and thereby the lives of the citizens within it. Up and down the electromagnetic field, we communicate, express our selves, and forge relationships. Our very personhood is therefore bound up in our access to spectrum and its regulation.

For 125+ years, the sheer immaterial strangeness of the radio spectrum has mounted challenge after challenge to the “commonsense” around which our world is ordered: property, territory, the greater good. For, at heart, what *is* spectrum? Is it an invisible continent? common utility? precious natural resource? transcendent ether? Each analogy naturalizes certain ideas about how spectrum can and ought to be used. But our language misleads us.

Together, workshop “articipants” will form a citizens’ assembly of sorts, deliberating these themes. We take in a global view, considering not only the regulatory environment in the US, but also Indigenous legal challenges to spectrum auctions in Aotearoa New Zealand & Turtle Island, grassroots spectrum autonomy in Latin America, and the claims to spectrum by its more-than-human users. We’ll experiment with language and listening to renovate our understanding of spectrum and recover its strangeness. As citizens of spectrum, we will negotiate a “radio treaty” (a ‘treaty’ being, in essence, a score) that professes what rights—and mutual obligations—we might claim to guide our radioventures. Across these prompts, articipants will have the option to submit personal reflections and creative responses to be included in a collaborative radioplay.

Now as ever, the spectrum is a proving ground for some of the most urgent political re-calibrations of our time: the rights and powers of corporate bodies, the nature of the democratic nation-state, Indigenous sovereignty and decolonial governance, overlapping sovereignties within shared territorial environments. In deliberating together over the radio spectrum, may we also find a way to walk together on the earth.

Please register to secure your spot and receive perusal materials in advance of the workshop (though this preparation is not a strict prerequisite for attendance; come as you are).

REGISTER HERE!

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. https://celesteoram.com/

Calling all radionauts, wave artists, transmission enthusiasts, and utopists!

This participatory workshop (conducted via Zoom) introduces you to the realm of spectrum management: the overlapping forces of law, politics, economics & technology that shape the landscape of the electromagnetic spectrum, and thereby the lives of the citizens within it. Up and down the electromagnetic field, we communicate, express our selves, and forge relationships. Our very personhood is therefore bound up in our access to spectrum and its regulation.

For 125+ years, the sheer immaterial strangeness of the radio spectrum has mounted challenge after challenge to the “commonsense” around which our world is ordered: property, territory, the greater good. For, at heart, what *is* spectrum? Is it an invisible continent? common utility? precious natural resource? transcendent ether? Each analogy naturalizes certain ideas about how spectrum can and ought to be used. But our language misleads us.

Together, workshop “articipants” will form a citizens’ assembly of sorts, deliberating these themes. We take in a global view, considering not only the regulatory environment in the US, but also Indigenous legal challenges to spectrum auctions in Aotearoa New Zealand & Turtle Island, grassroots spectrum autonomy in Latin America, and the claims to spectrum by its more-than-human users. We’ll experiment with language and listening to renovate our understanding of spectrum and recover its strangeness. As citizens of spectrum, we will negotiate a “radio treaty” (a ‘treaty’ being, in essence, a score) that professes what rights—and mutual obligations—we might claim to guide our radioventures. Across these prompts, articipants will have the option to submit personal reflections and creative responses to be included in a collaborative radioplay.

Now as ever, the spectrum is a proving ground for some of the most urgent political re-calibrations of our time: the rights and powers of corporate bodies, the nature of the democratic nation-state, Indigenous sovereignty and decolonial governance, overlapping sovereignties within shared territorial environments. In deliberating together over the radio spectrum, may we also find a way to walk together on the earth.

Please register to secure your spot and receive perusal materials in advance of the workshop (though this preparation is not a strict prerequisite for attendance; come as you are).

REGISTER HERE!

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. https://celesteoram.com/