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.

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.

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.

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.

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.