Bellow writes: During my residency at Wave Farm I will work on a radio play called one long rock song. I will use my time to create an event score for the play, organize field recordings and sound pieces, and listen. The script/event score will be comprised of different symbols as a citational method for place, event, sounds and story. This work will be attentive to my own relationship to stones through embodied memory and language. Through the play I offer my own experiences, songs, and memories, and dreams, to create sonic interference with the settler logics that reproduce themselves on land. My time will be rounded off with a broadcast of the play.

Riel Bellow is a multidisciplinary artist, educator, writer, and radio-host. They grew up moving around with the seasons and running around markets, between Santa Fe, New Mexico, San Cristóbal de las Casas, Chiapas, and Edmonton, Alberta. Across mediums they use storytelling as a mode of documentary that endeavors to break into the sequentiality of modern grammar, opening ethical and temporal possibilities for how and where language takes place. Riel has published work in Canada Art, ẹwà journal, Gender Fail, Vera List Center for Art and Politics, and elsewhere. Riel holds a BA from Pitzer College, an MFA from Bard College’s Milton Avery Graduate School, and has recently taught at Pomona College, and Scripps College.


Wave Farm presents the groundbreaking, generative, Oscar shortlisted documentary, Eno, for the first time in a four-screen presentation with director Gary Hustwit rendering Screen One live. Performances by Fred Frith and Eucademix (Yuka Honda of Cibo Matto) will take place preceding the screenings as the sun sets.

Performances will take place on a rooftop stage on the Hi-Way’s concessions building, amplified on PA speakers as well as transmitted to audience members' car radios on each of the drive-in’s four FM frequencies (one per screen). The four screenings of Eno will be projected on the Hi-Way’s four large outdoor screens with each rendering’s soundtrack transmitted to the audience’s car radios on each screen’s dedicated FM frequency.

This extraordinary event will serve as a central fundraiser for Wave Farm’s WGXC: Radio for Open Ears, a creative community radio station serving New York’s Upper Hudson Valley on 90.7-FM and international listeners at wavefarm.org/listen.

Wave Farm is an international transmission arts organization driven by experimentation with the electromagnetic spectrum. Wave Farm cultivates creative practices in radio and support artists and nonprofit organizations in their cultural endeavors.

Based in New York’s Upper Hudson Valley, Wave Farm is a media arts center, media platform, and arts service organization. Wave Farm offers interdisciplinary outdoor installations, residencies and fellowships, and a research library. Wave Farm operates FM radio station WGXC and host many online radio channels. Wave Farm provides fiscal sponsorship, consultation, and grants to artists and organizations.

Launched in 2011, Wave Farm’s WGXC-FM is a full-power, non-commercial, listener-supported station operating out of dedicated studios in Acra and Catskill, NY; as well as pop-up temporary studio locations throughout the listening area and beyond. WGXC transmits 3,300 watts to more than 78,000 potential listeners on 90.7-FM and unlimited international listeners at wavefarm.org/ listen. Hands-on access and participation distinguish WGXC as a public platform for information, experimentation, and engagement.

Brian Eno - musician, producer, visual artist and activist first came to international prominence in the early seventies as a founding member of British band, Roxy Music, followed by a series of solo albums and collaborations. His work as producer includes albums with Talking Heads, Devo, U2, Laurie Anderson, James, Jane Siberry and Coldplay, while his long list of collaborations include recordings with David Bowie, Jon Hassell, Harold Budd, David Byrne, Grace Jones, his brother, Roger, on Mixing Colours and recently with Fred Again. In January 2024, Eno, a generative film about his life premiered worldwide to critical acclaim. His most recent music project is a collaboration with musician and artist Beatie Wolfe, and their first two albums, Luminal and Lateral, will be released on June 6th, 2025.

Eno’s visual experiments with light and video continue to parallel his musical career, with exhibitions and installations all over the globe. He has exhibited extensively, as far afield as St. Petersburg’s Marble Palace, Ritan Park in Beijing, Arcos de Lapa in Rio de Janeiro and the sails of the Sydney Opera House. He is involved in multiple activist work, such as the climate charity Earth Percent and HardArt, both of which he co-founded, as well as the Stop The War coalition. He is a founding member of the Long Now Foundation, a trustee of Client Earth and patron of Videre est Credere. In 2023, Brian was awarded the Golden Lion for Lifetime Achievement by the Venice Biennale Musica. He has recently written his second book, What Art Does co-authored with Bette A. and based upon his experience as an artist. Published by Faber, it was released in January 2025.

"Thrillingly inventive... a groundbreaking portrait that tears up the rules of cinema and reinvents itself with each new screening." -The Guardian

“Revolutionary” -Screen Daily

“A template for how cinema can be re-defined in the digital age” -The Quietus "One of the 10 Best Films of 2024" -New York Times

"A film like this gives us an opportunity to think about what cinema actually is, and where new technology fits into the process of how we make movies." -BBC News

Rich with access to hundreds of hours of never-before-seen footage and unreleased music, Gary Hustwit’s documentary Eno employs groundbreaking technology to accomplish something that’s never been done before: a feature film that’s never the same twice. Hustwit and digital artist Brendan Dawes have developed bespoke non-AI generative software designed to sequence scenes and create transitions out of Hustwit’s original interviews with Eno, and Eno’s rich archive of hundreds of hours of never-before-seen footage, and unreleased music.

Each screening of Eno is unique, presenting different scenes, order, music, and meant to be experienced live. The infinitely iterative quality of Eno resonates with the artist's own creative practice, his methods of using technology to compose music, and his endless deep dive into the mercurial essence of creativity. Eno premiered at the 2024 Sundance Film Festival and was shortlisted for the Academy Award for Best Documentary Feature.

Performances as the sun sets

Fred Frith

Fred Frith is a pioneer of the extended electric guitar. He learned to compose in Henry Cow, developed his song-writing skills in Art Bears, explored his multi-instrumentalism in Skeleton Crew, rocked the house with Massacre and is still doing all of those things, having been in one band or another continuously since 1964! Meanwhile his work has been performed by ensembles, string quartets, chamber orchestras, and a whole range of groups and artists in the ever-expanding field of semi-popular music. Fred composes extensively for film, including Rivers and Tides and Touch the Sound by Thomas Riedelsheimer, The Tango Lesson by Sally Potter, Werner Penzel’s Zen for Nothing, and the Oscar-nominated Last Day of Freedom, by Nomi Talisman and Dee Hibbert-Jones. His passion for improvising, evident from the beginning, has increasingly led him to work with artists who don’t necessarily define themselves as improvisers, including Brazilian drummer Mariá Portugal, Argentinian cellist and performance artist Paula Sanchez, and bricoleur extraordinaire Sudhu Tewari. Fred played on several recordings by Brian Eno in the 1970s, including Before and After Science and Music for Films.

Eucademix (Yuka Honda )

Eucademix is the moniker of Yuka Honda, a producer, composer, performer, and visual artist renowned for her innovative, genre-defying approach to music and multimedia. Through her compositions and self-crafted video art, Honda seeks to transport audiences and expand the possibilities of sound and visual expression.

Her work is shaped by a bold and distinctive fusion of influences: the experimental energy of New York’s downtown jazz scene, the raw power of hip-hop and street music, the intricacies of classical music cherished by her mother, and the profound inspiration of nature—wild, beautiful, and at times mercilessly harsh. Honda’s artistry blends experimental textures with rhythm-driven grooves, engaging both the intellect and the body.

Born in Tokyo, Honda spent her formative years in Germany and Denmark before later living in Aix-en-Provence and Paris. These cultural experiences deeply inform her sonic explorations, resulting in a distinct and boundary-pushing body of work.

In 1994, Honda co-founded the band Cibo Matto with Miho Hatori. Deeply connected to the rhythms of the natural world, Honda is also a board member of the Catskills Agrarian Alliance, a non-profit organization dedicated to food sovereignty and regenerative agriculture. Her recent works, Farm Psychedelia I and Farm Psychedelia II honor the radical farmers of upstate New York who are innovating solutions to food insecurity, further bridging her artistic practice with her commitment to community and environmental stewardship.

Interstitial Sounds: SUNJIR0 (Kadallah Burrowes)

Photo Credit: Lucy Bohnsack Photography and Wave Farm (Acra, NY)

SUNJIR0 is one of the many aliases of Kadallah Burrowes, a transdisciplinary artist and creative technologist who brings vital soul and aesthetic depth to the bleeding edge of technical arts. Their current practice as a sonic artist makes use of live-coding environments to sculpt infinitely generating musical compositions within the realms of ambient, noise, and experimental electronic music. As a social arts practitioner, they helped catalyze the ANANSI Revolutionary Collective, a pan-African group of artists that democratically collaborate on art and work while physically spread across the world. SUNJIR0 and the ANANSI Revolutionary Collective were Wave Farm residents in 2024.

Kadallah's art work has been showcased and performed in person at Wave Farm, Fridman Gallery, Munyu Space, Nafasi Art Space, and Power Station of Art, and digitally in COMMON and in collaboration with the City of Seattle. Their work has been featured in Resident Advisor, Foxy Digitalis, China Daily, Kernel Magazine, Radii China, Brooklyn to Beijing, The Afrofuturist Podcast with Ahmed Best, GoFAR, and Speak Up! Speeches by Young People to Empower and Inspire.

Please Note: Registration is now full. If you'd like to be placed on a waiting list, please contact info@wavefarm.org

Develop sound skills to share your story through best practices for recording, editing, and live radio.

• First Thursdays of the month, 6 - 8 p.m. February - November 2025
• WGXC Catskill Studio 393 Main Street Catskill, NY 12414
• Registration limited to 15 participants per session. No experience required.
• Instructor: Jen Kutler, Wave Farm Technical Director
• Questions: Email Meredith Kooi, meredith@wavefarm.org

February 6, 2025: Basic Audio Concepts 

Session objectives include an overview of common and useful terms related to acoustic, electronic, and digital ecologies, with a technical focus on audio transduction and microphone varieties. Additional topics for discussion include psychoacoustics—the branch of science studying the psychological responses associated with sound—with a focus on physical spatial considerations and panning/width in recording.

March 6, 2025: Filters

Session objectives include an introduction to common concepts related to filters in audio production, including frequency response, polar pattern, and equalization. Participants will also learn about The Fletcher Munson Curve, frequency masking, and infrasound, and how to apply these concepts to your work. We will also consider recording height and how to address unwanted plosives and sibilance.

April 3, 2025: Considering Loudness when Recording

Session objectives include strategies for achieving desired “depth” in your recordings. Topics include gain staging, dynamic range, compression, and the concept of distance in recording, including reverb and distortion.

May 1, 2025: Editing Bootcamp

Editing bootcamp! We will cover hotkeys, fades, matching takes, punching in/out, layering tracks, and bus processing. Participants will learn shortcuts for quicker and better edits, as well as bulk import/export strategies.

June 5, 2025: Creative processing

Session objectives include strategies for creating your own audio effects (FX). Topics include delays, filters, autopan, and time stretching. Participants will learn about sequences FX and FX automation in order to achieve the sounds you are imagining.

July 3, 2025: Multitrack Mixing

Session objectives include strategies for mixing multitrack sessions for full height, width, and depth without murkiness. The goal of this session is to understand how to make multiple tracks fit together in a mix. Attendees will participate in critical listening for frequency range, dynamics, and headroom.

August 7, 2025: The Physical Components of Recording Audio

Session objectives include an overview of crucial care and maintenance of recording equipment to ensure longevity of your tools, including a hands-on introduction to soldering and light electronic repairs.

September 4, 2025: The Intangible Components of Recording Audio

Session objectives include discussions about analog-to-digital and digital-to-analog conversion and digital audio processing. Specific topics will include block size, sample rate, bit depth, compression, streaming, and physical media. Additional topics include how best to manage computer resources in large sessions, latency for high track count, and CPU intensive processing.

October 2, 2025: Understanding Monitoring Sources and Taking it to the Stage

Session objectives include a conceptual overview of possible monitoring sources: speakers, headphones, and subwoofers, as well as the impacts of the space or room on your recording quality. Additional topics will include techniques for recording live performance, including ringing out microphones, PA system safety, microphone techniques, and streaming.

November 6, 2025: Taking It to the Field

Session objectives include field recording tools, principles, refinement, and processing.

Jen Kutler is a multidisciplinary artist and Technical Director of Wave Farm. Kutler modifies found objects that are cultural signifiers of power, gender, queerness, and intimacy to create atypical instruments and sculptures. Her performances feature many of her instruments incorporated with immersive field recordings to explore common and discrepant experiences of familiar social tones in immersive sound and media environments. You can learn more about her at jenkutler.com.

Wave Farm programs are made possible, in part, by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature; the National Endowment for the Arts; the Greene County Legislature through the Greene County Cultural Fund; the Alexander and Marjorie Hover Foundation; and hundreds of other generous individual donors, including WGXC Monthly Supporters, who provide critical monthly support to Wave Farm's radio station WGXC 90.7-FM. A special acknowledgment to the Alexander and Marjorie Hover Foundation for their support of the the All Things Audio workshop series.

Visit Wave Farm to celebrate the newest Art Park installation. Visitors will be offered guided tours of the Wave Farm Art Park, Study Center, and WGXC Acra Studio. Directions and more information about visiting at wavefarm.org/visit

Talk To Me - Wave Farm (2025-Ongoing) is an experiment in serendipitous social interaction, mutual aid, community building, and the power of strangers to alter the ground on which we stand. Built on the Talk To Me micro telephone network, each conversation is an opportunity for two strangers to touch each others lives, however briefly. When activated, the pond-facing phone will call out to every person in the Talk To Me - Wave Farm community, all at once. You will speak with the first person to answer the call.

To improve society spend time with people you haven’t met. - John Cage

Talk To Me NYC (2022) was a network of five payphones that only called each other, placed on streets, one in each of NYC’s five boroughs. This serendipitous interaction machine ran for a little over a year and a half and created thousands of interactions and hundreds of meaningful moments between strangers. Every day New Yorkers would pick up the phone, and others would answer the call. Confusion was common, connection less so, but each call represented a moment in time in which two people were held in brief proximity. The forest-facing phone features an edited compilation of the audio that resulted.

Talk To Me - Wave Farm, is made possible, in part, by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature through a Support for Artists Grant, fiscally sponsored by Wave Farm.

To kick off The Ripples Make Waves Pledge Drive, we'll be in the Catskill Studio for live shows all day! And, the studio will be open to the public from 4-10 p.m. so stop by for a tour, record a station ID, pick up some WGXC merch, make a donation, or just say hi!

Tune in using your radio locally on 90.7-FM or online at wavefarm.org/listen to hear Brendan Donegan of "Playing Favorites" at 12 p.m., Simone Stevens of "Friday Afternoon Show with Simone Stevens" at 1 p.m., and winslow of "Upon the Cypress Bough" at 3 p.m. Then, stop by the studio from 4-10 p.m. for live shows from Theo Baker of "Infinite Contact" at 4 p.m., Rebecca Echevarria of "Meant to Ferment" at 6 p.m., Yeshi of "NORMLRadio" at 7 p.m., Bella Grace of "Hometown Canvas" at 8 p.m., and Sean Mangan of "The Golden Hour" at 9 p.m. And then round out your day with Sadie Woods of "Gridlock Soundlab" at 10 p.m. using your radio locally on 90.7-FM or online at wavefarm.org/listen.

As Wayne Campbell says in “Wayne’s World,” “Well, you know how these things start, one guy tells another guy something and then he tells two friends and they tell two friends and they tell their friends and so on and so on and so on. You know how these things go.” Here at WGXC, we believe that each listener, each programmer, each broadcast, and each donation creates a ripple effect.

During these times when funding for the arts and public media has been cut, “The Ripples Make Waves Pledge Drive” is an opportunity for the WGXC community to make waves. Who’s in our pond but doesn’t know about us yet? Who are our waves touching but haven't donated before? “The Ripples Make Waves Pledge Drive” is the time to let people know who we are, what we do, and what we can do for them. Let your listeners and community know that they matter and that their participation makes a difference. The river is made up of droplets, and each is valuable.

The arts and public/independent media are under attack. Many organizations in the United States, including Wave Farm, have lost NEA funding. Your support of our FM radio station: WGXC 90.7-FM: Radio for Open Ears keeps WGXC broadcasting local and independent perspectives and creative expression to our region. Your contribution is even more meaningful in this critical moment.

Pledge your support for WGXC and independent media at wgxc.org/donate today!

Turn out at The Avalon Lounge on Sunday, June 29th at 7:30pm for a Wave Farm Radio fundraiser organized by Sunday Night Swim, a monthly ambient series! This month features Grains of Euphoria (Bradford Reed and Ryder Cooley) and Music for Furniture. Proceeds go to Wave Farm's WGXC!

In Grains of Euphora, Bradford Reed and Ryder Cooley combine strings, reeds, keys, bows and steel to create euphoric, mesmerizing plateaus of sound, intertwined with pizzicato ostinatos and improvisatory elements as the musicians respond to the energy of the room.

The electro-acoustic duet blends the dreamy sounds of bowed saw with harmonic overtones of pencilina, a zither-like instrument designed by Bradford. The music segues into traditional reedy melodies and drones on the accordion, then back again to the whispery moans of the saw interspersed with rhythmic pulses on the Pencilina. Traversing a broad sonic palette, Grains of Euphora can be categorized as simultaneously symphonious and rambunctious.

Bradford Reed is a multi-instrumentalist, composer, producer and inventor of the Pencilina, an electro-acoustic double necked string instrument inspired by the sounds of Indonesian Gamelan music and appearing similar to the Korean Kayagum. His projects have included King Missile III, The Blue Man Group as well as TV and film scoring. He currently plays with The Dirt Whisperers and Order of The Illusive.

Ryder Cooley is an interdisciplinary artist, accordionist, singing saw player and founder of the band Dust Bowl Faeries. The accordion was passed down to Ryder by her grandmother, who was a composer and piano accordionist.

Music for Furniture is an experiment in attentive listening. Rodney Alan Greenblat, David Garland, Jimmy Garver, Kenji Garland, and Dan Kirkhus pool their musical perspectives to create spontaneous soundscapes using synthesizers, electronics, and woodwinds.

Please Note: Registration is now full. If you'd like to be placed on a waiting list, please contact info@wavefarm.org

Develop sound skills to share your story through best practices for recording, editing, and live radio.

• First Thursdays of the month, 6 - 8 p.m. February - November 2025
• WGXC Catskill Studio 393 Main Street Catskill, NY 12414
• Registration limited to 15 participants per session. No experience required.
• Instructor: Jen Kutler, Wave Farm Technical Director
• Questions: Email Meredith Kooi, meredith@wavefarm.org

February 6, 2025: Basic Audio Concepts 

Session objectives include an overview of common and useful terms related to acoustic, electronic, and digital ecologies, with a technical focus on audio transduction and microphone varieties. Additional topics for discussion include psychoacoustics—the branch of science studying the psychological responses associated with sound—with a focus on physical spatial considerations and panning/width in recording.

March 6, 2025: Filters

Session objectives include an introduction to common concepts related to filters in audio production, including frequency response, polar pattern, and equalization. Participants will also learn about The Fletcher Munson Curve, frequency masking, and infrasound, and how to apply these concepts to your work. We will also consider recording height and how to address unwanted plosives and sibilance.

April 3, 2025: Considering Loudness when Recording

Session objectives include strategies for achieving desired “depth” in your recordings. Topics include gain staging, dynamic range, compression, and the concept of distance in recording, including reverb and distortion.

May 1, 2025: Editing Bootcamp

Editing bootcamp! We will cover hotkeys, fades, matching takes, punching in/out, layering tracks, and bus processing. Participants will learn shortcuts for quicker and better edits, as well as bulk import/export strategies.

June 5, 2025: Creative processing

Session objectives include strategies for creating your own audio effects (FX). Topics include delays, filters, autopan, and time stretching. Participants will learn about sequences FX and FX automation in order to achieve the sounds you are imagining.

July 3, 2025: Multitrack Mixing

Session objectives include strategies for mixing multitrack sessions for full height, width, and depth without murkiness. The goal of this session is to understand how to make multiple tracks fit together in a mix. Attendees will participate in critical listening for frequency range, dynamics, and headroom.

August 7, 2025: The Physical Components of Recording Audio

Session objectives include an overview of crucial care and maintenance of recording equipment to ensure longevity of your tools, including a hands-on introduction to soldering and light electronic repairs.

September 4, 2025: The Intangible Components of Recording Audio

Session objectives include discussions about analog-to-digital and digital-to-analog conversion and digital audio processing. Specific topics will include block size, sample rate, bit depth, compression, streaming, and physical media. Additional topics include how best to manage computer resources in large sessions, latency for high track count, and CPU intensive processing.

October 2, 2025: Understanding Monitoring Sources and Taking it to the Stage

Session objectives include a conceptual overview of possible monitoring sources: speakers, headphones, and subwoofers, as well as the impacts of the space or room on your recording quality. Additional topics will include techniques for recording live performance, including ringing out microphones, PA system safety, microphone techniques, and streaming.

November 6, 2025: Taking It to the Field

Session objectives include field recording tools, principles, refinement, and processing.

Jen Kutler is a multidisciplinary artist and Technical Director of Wave Farm. Kutler modifies found objects that are cultural signifiers of power, gender, queerness, and intimacy to create atypical instruments and sculptures. Her performances feature many of her instruments incorporated with immersive field recordings to explore common and discrepant experiences of familiar social tones in immersive sound and media environments. You can learn more about her at jenkutler.com.

Wave Farm programs are made possible, in part, by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature; the National Endowment for the Arts; the Greene County Legislature through the Greene County Cultural Fund; the Alexander and Marjorie Hover Foundation; and hundreds of other generous individual donors, including WGXC Monthly Supporters, who provide critical monthly support to Wave Farm's radio station WGXC 90.7-FM. A special acknowledgment to the Alexander and Marjorie Hover Foundation for their support of the the All Things Audio workshop series.

Startalk is a generative sound broadcast informed by the geographic locations of black independent radio stations in America throughout history and their respective frequencies. This work (or patch) will output an improvised set of communications between archived broadcast program snippets, tones, and field recordings from each station's relative location. Startalk will be a continuation of a series of constellation pieces, integrating networks of black autonomous spaces into the process of composing music and long-form sound works.

Corey De’Juan Sherrard Jr engineers a developing system for composing songs and generating objects that respond to the deficit of black post-capitalist propaganda within a world culture. He is a School for Poetic Computation alum and graduated from the University of Houston with a BS in Digital Media in 2020. Sherrard has exhibited at Sanman Studios, Sabine Street Studios, Cleve Carney Museum of Art, Basket Books and Art, and the George Washington Carver Museum and Cultural Center. He was a recipient of the 2023 Jones Artist Award. He now consults at the Kinder High School for Performing and Visual Arts, DJs monthly with internet radio station Ice House Radio, spins jazz on his weekly radio show STEAM at KTRU-LP 96.1 FM, and is a member of experimental music group Essex Moor.