Bill Corrigan is a sound archivist, musician, researcher and writer. Starting as a freeform DJ at Ann Arbor’s WCBN-FM, he has been digging into radio stations and archives across the United States, from Detroit’s WDET to Charlottesville’s WTJU, and has undertaken research and preservation activities at the Pacifica Radio Archives and the Library of Congress. He has made sounds for interdisciplinary ensembles Underword and the Llano Estacado Monad Band, and currently performs duets within the Resuscianne group. He is presently puzzling over the aesthetics of democratic participation, the rhetorics and putative realities of archival neutrality, and the fictive dimensions of documentary recordings. His work for Wave Farm promises to provide an instruction in navigation through the airwaves via the not-entirely-metaphorical medium of water.

As a Radio Art Research Fellow, Luna Galassini will contribute works of transmissions art originating in New Mexico and the broader Southwest. She will continue archival research that began as an exploration of mining and labor history in New Mexico, and soon expanded to include extant audio archives of historic field recordings, public radio interviews with downwinders and from inside the American Indian Movement's occupation of the Shiprock semiconductor plant, and educational radio programs on New Mexico's rivers, water rights, and land grants. She will focus especially on KUNM's Radio Performance Project, initiated and curated by Ned Sublette, a collection spanning documentary, radio play, long-form field recording, and experimental composition--including a 1979 performance of Alvin Lucier's "Music on a Long Thin Wire," broadcast for five straight days and nights from the roof of the Winrock Shopping Center in Albuquerque. Galassini will also contribute contemporary works to Wave Farm's archive, including artists working with shortwave transmission, low-power community radio, tape collage, performance works using analog broadcast equipment, and contributions from the DIY community of Very Low Frequency enthusiasts drawn to New Mexico's dark sky parks and quiet expanses.

Luna Galassini is a musician and artist based in Santa Fe, New Mexico. Her performances explore the somatic qualities of sound and the vernacular range of the voice through improvisation with found objects, handmade oscillators and receivers, and traditional instruments exploited for their resonant potential as speaker objects. As an independent researcher, she is interested in the translation of the electromagnetic spectrum into audible tones; in the nature of energy work and vibrational healing, particularly as it intersects with her day job as a bodyworker; and in the ecology and history unique to New Mexico, including its vast rural expanses, its troubled sites of extraction, and the aesthetic mythologies that obscure its political and cultural complexity. She has performed both solo and in ensembles at Cocoon (Santa Fe), Wave Archive (Tucson), High Desert Soundings, CO-OPt (Lubbock TX), ICA Santa Fe, the New Mexico Museum of Art, Human Resources, No Name Cinema (Santa Fe), Coaxial, and The Box (Los Angeles). Her video work has been exhibited at No Name Cinema, Currents 826, and REDCAT. She is a co-founder of Santa Fe Noise Ordinance, an experimental concert series that has hosted the Chacon/Nakatani/Santisteven trio, White Boy Scream, Twig Harper, Zachary James Watkins, and the Santa Fe Intertribal Noise Symposium, among many others.

Attention Hudson Valley, Capital Region, and Western Mass Musicians and Sound Artists! Send in your tracks for WGXC airplay!

We are pleased to announce our second Local Waves call for local music and sounds to air on WGXC 90.7-FM. Wave Farm is working with Chosen Family to deepen our local music library for on-air use. Tracks air during the weekly "Local Waves" show on Thursdays from 10 a.m. to 11 a.m. and Friday nights from 8 p.m. to 12 a.m. or 10 a.m. to 12 a.m., as well as many other times throughout the WGXC program schedule.

Send your files for airplay on WGXC 90.7-FM: Radio for Open Ears! Put "LOCAL WAVES" in the subject line of the email to music@wgxc.org and include a Bandcamp link with download code or mp3s (320 kbps).

Bill Corrigan is a sound archivist, musician, researcher and writer. Starting as a freeform DJ at Ann Arbor’s WCBN-FM, he has been digging into radio stations and archives across the United States, from Detroit’s WDET to Charlottesville’s WTJU, and has undertaken research and preservation activities at the Pacifica Radio Archives and the Library of Congress. He has made sounds for interdisciplinary ensembles Underword and the Llano Estacado Monad Band, and currently performs duets within the Resuscianne group. He is presently puzzling over the aesthetics of democratic participation, the rhetorics and putative realities of archival neutrality, and the fictive dimensions of documentary recordings. His work for Wave Farm promises to provide an instruction in navigation through the airwaves via the not-entirely-metaphorical medium of water.

As a Radio Art Research Fellow, Luna Galassini will contribute works of transmissions art originating in New Mexico and the broader Southwest. She will continue archival research that began as an exploration of mining and labor history in New Mexico, and soon expanded to include extant audio archives of historic field recordings, public radio interviews with downwinders and from inside the American Indian Movement's occupation of the Shiprock semiconductor plant, and educational radio programs on New Mexico's rivers, water rights, and land grants. She will focus especially on KUNM's Radio Performance Project, initiated and curated by Ned Sublette, a collection spanning documentary, radio play, long-form field recording, and experimental composition--including a 1979 performance of Alvin Lucier's "Music on a Long Thin Wire," broadcast for five straight days and nights from the roof of the Winrock Shopping Center in Albuquerque. Galassini will also contribute contemporary works to Wave Farm's archive, including artists working with shortwave transmission, low-power community radio, tape collage, performance works using analog broadcast equipment, and contributions from the DIY community of Very Low Frequency enthusiasts drawn to New Mexico's dark sky parks and quiet expanses.

Luna Galassini is a musician and artist based in Santa Fe, New Mexico. Her performances explore the somatic qualities of sound and the vernacular range of the voice through improvisation with found objects, handmade oscillators and receivers, and traditional instruments exploited for their resonant potential as speaker objects. As an independent researcher, she is interested in the translation of the electromagnetic spectrum into audible tones; in the nature of energy work and vibrational healing, particularly as it intersects with her day job as a bodyworker; and in the ecology and history unique to New Mexico, including its vast rural expanses, its troubled sites of extraction, and the aesthetic mythologies that obscure its political and cultural complexity. She has performed both solo and in ensembles at Cocoon (Santa Fe), Wave Archive (Tucson), High Desert Soundings, CO-OPt (Lubbock TX), ICA Santa Fe, the New Mexico Museum of Art, Human Resources, No Name Cinema (Santa Fe), Coaxial, and The Box (Los Angeles). Her video work has been exhibited at No Name Cinema, Currents 826, and REDCAT. She is a co-founder of Santa Fe Noise Ordinance, an experimental concert series that has hosted the Chacon/Nakatani/Santisteven trio, White Boy Scream, Twig Harper, Zachary James Watkins, and the Santa Fe Intertribal Noise Symposium, among many others.

Attention Hudson Valley, Capital Region, and Western Mass Musicians and Sound Artists! Send in your tracks for WGXC airplay!

We are pleased to announce our second Local Waves call for local music and sounds to air on WGXC 90.7-FM. Wave Farm is working with Chosen Family to deepen our local music library for on-air use. Tracks air during the weekly "Local Waves" show on Thursdays from 10 a.m. to 11 a.m. and Friday nights from 8 p.m. to 12 a.m. or 10 a.m. to 12 a.m., as well as many other times throughout the WGXC program schedule.

Send your files for airplay on WGXC 90.7-FM: Radio for Open Ears! Put "LOCAL WAVES" in the subject line of the email to music@wgxc.org and include a Bandcamp link with download code or mp3s (320 kbps).

Bill Corrigan is a sound archivist, musician, researcher and writer. Starting as a freeform DJ at Ann Arbor’s WCBN-FM, he has been digging into radio stations and archives across the United States, from Detroit’s WDET to Charlottesville’s WTJU, and has undertaken research and preservation activities at the Pacifica Radio Archives and the Library of Congress. He has made sounds for interdisciplinary ensembles Underword and the Llano Estacado Monad Band, and currently performs duets within the Resuscianne group. He is presently puzzling over the aesthetics of democratic participation, the rhetorics and putative realities of archival neutrality, and the fictive dimensions of documentary recordings. His work for Wave Farm promises to provide an instruction in navigation through the airwaves via the not-entirely-metaphorical medium of water.

As a Radio Art Research Fellow, Luna Galassini will contribute works of transmissions art originating in New Mexico and the broader Southwest. She will continue archival research that began as an exploration of mining and labor history in New Mexico, and soon expanded to include extant audio archives of historic field recordings, public radio interviews with downwinders and from inside the American Indian Movement's occupation of the Shiprock semiconductor plant, and educational radio programs on New Mexico's rivers, water rights, and land grants. She will focus especially on KUNM's Radio Performance Project, initiated and curated by Ned Sublette, a collection spanning documentary, radio play, long-form field recording, and experimental composition--including a 1979 performance of Alvin Lucier's "Music on a Long Thin Wire," broadcast for five straight days and nights from the roof of the Winrock Shopping Center in Albuquerque. Galassini will also contribute contemporary works to Wave Farm's archive, including artists working with shortwave transmission, low-power community radio, tape collage, performance works using analog broadcast equipment, and contributions from the DIY community of Very Low Frequency enthusiasts drawn to New Mexico's dark sky parks and quiet expanses.

Luna Galassini is a musician and artist based in Santa Fe, New Mexico. Her performances explore the somatic qualities of sound and the vernacular range of the voice through improvisation with found objects, handmade oscillators and receivers, and traditional instruments exploited for their resonant potential as speaker objects. As an independent researcher, she is interested in the translation of the electromagnetic spectrum into audible tones; in the nature of energy work and vibrational healing, particularly as it intersects with her day job as a bodyworker; and in the ecology and history unique to New Mexico, including its vast rural expanses, its troubled sites of extraction, and the aesthetic mythologies that obscure its political and cultural complexity. She has performed both solo and in ensembles at Cocoon (Santa Fe), Wave Archive (Tucson), High Desert Soundings, CO-OPt (Lubbock TX), ICA Santa Fe, the New Mexico Museum of Art, Human Resources, No Name Cinema (Santa Fe), Coaxial, and The Box (Los Angeles). Her video work has been exhibited at No Name Cinema, Currents 826, and REDCAT. She is a co-founder of Santa Fe Noise Ordinance, an experimental concert series that has hosted the Chacon/Nakatani/Santisteven trio, White Boy Scream, Twig Harper, Zachary James Watkins, and the Santa Fe Intertribal Noise Symposium, among many others.

Attention Hudson Valley, Capital Region, and Western Mass Musicians and Sound Artists! Send in your tracks for WGXC airplay!

We are pleased to announce our second Local Waves call for local music and sounds to air on WGXC 90.7-FM. Wave Farm is working with Chosen Family to deepen our local music library for on-air use. Tracks air during the weekly "Local Waves" show on Thursdays from 10 a.m. to 11 a.m. and Friday nights from 8 p.m. to 12 a.m. or 10 a.m. to 12 a.m., as well as many other times throughout the WGXC program schedule.

Send your files for airplay on WGXC 90.7-FM: Radio for Open Ears! Put "LOCAL WAVES" in the subject line of the email to music@wgxc.org and include a Bandcamp link with download code or mp3s (320 kbps).

Bill Corrigan is a sound archivist, musician, researcher and writer. Starting as a freeform DJ at Ann Arbor’s WCBN-FM, he has been digging into radio stations and archives across the United States, from Detroit’s WDET to Charlottesville’s WTJU, and has undertaken research and preservation activities at the Pacifica Radio Archives and the Library of Congress. He has made sounds for interdisciplinary ensembles Underword and the Llano Estacado Monad Band, and currently performs duets within the Resuscianne group. He is presently puzzling over the aesthetics of democratic participation, the rhetorics and putative realities of archival neutrality, and the fictive dimensions of documentary recordings. His work for Wave Farm promises to provide an instruction in navigation through the airwaves via the not-entirely-metaphorical medium of water.

As a Radio Art Research Fellow, Luna Galassini will contribute works of transmissions art originating in New Mexico and the broader Southwest. She will continue archival research that began as an exploration of mining and labor history in New Mexico, and soon expanded to include extant audio archives of historic field recordings, public radio interviews with downwinders and from inside the American Indian Movement's occupation of the Shiprock semiconductor plant, and educational radio programs on New Mexico's rivers, water rights, and land grants. She will focus especially on KUNM's Radio Performance Project, initiated and curated by Ned Sublette, a collection spanning documentary, radio play, long-form field recording, and experimental composition--including a 1979 performance of Alvin Lucier's "Music on a Long Thin Wire," broadcast for five straight days and nights from the roof of the Winrock Shopping Center in Albuquerque. Galassini will also contribute contemporary works to Wave Farm's archive, including artists working with shortwave transmission, low-power community radio, tape collage, performance works using analog broadcast equipment, and contributions from the DIY community of Very Low Frequency enthusiasts drawn to New Mexico's dark sky parks and quiet expanses.

Luna Galassini is a musician and artist based in Santa Fe, New Mexico. Her performances explore the somatic qualities of sound and the vernacular range of the voice through improvisation with found objects, handmade oscillators and receivers, and traditional instruments exploited for their resonant potential as speaker objects. As an independent researcher, she is interested in the translation of the electromagnetic spectrum into audible tones; in the nature of energy work and vibrational healing, particularly as it intersects with her day job as a bodyworker; and in the ecology and history unique to New Mexico, including its vast rural expanses, its troubled sites of extraction, and the aesthetic mythologies that obscure its political and cultural complexity. She has performed both solo and in ensembles at Cocoon (Santa Fe), Wave Archive (Tucson), High Desert Soundings, CO-OPt (Lubbock TX), ICA Santa Fe, the New Mexico Museum of Art, Human Resources, No Name Cinema (Santa Fe), Coaxial, and The Box (Los Angeles). Her video work has been exhibited at No Name Cinema, Currents 826, and REDCAT. She is a co-founder of Santa Fe Noise Ordinance, an experimental concert series that has hosted the Chacon/Nakatani/Santisteven trio, White Boy Scream, Twig Harper, Zachary James Watkins, and the Santa Fe Intertribal Noise Symposium, among many others.

Attention Hudson Valley, Capital Region, and Western Mass Musicians and Sound Artists! Send in your tracks for WGXC airplay!

We are pleased to announce our second Local Waves call for local music and sounds to air on WGXC 90.7-FM. Wave Farm is working with Chosen Family to deepen our local music library for on-air use. Tracks air during the weekly "Local Waves" show on Thursdays from 10 a.m. to 11 a.m. and Friday nights from 8 p.m. to 12 a.m. or 10 a.m. to 12 a.m., as well as many other times throughout the WGXC program schedule.

Send your files for airplay on WGXC 90.7-FM: Radio for Open Ears! Put "LOCAL WAVES" in the subject line of the email to music@wgxc.org and include a Bandcamp link with download code or mp3s (320 kbps).

Bill Corrigan is a sound archivist, musician, researcher and writer. Starting as a freeform DJ at Ann Arbor’s WCBN-FM, he has been digging into radio stations and archives across the United States, from Detroit’s WDET to Charlottesville’s WTJU, and has undertaken research and preservation activities at the Pacifica Radio Archives and the Library of Congress. He has made sounds for interdisciplinary ensembles Underword and the Llano Estacado Monad Band, and currently performs duets within the Resuscianne group. He is presently puzzling over the aesthetics of democratic participation, the rhetorics and putative realities of archival neutrality, and the fictive dimensions of documentary recordings. His work for Wave Farm promises to provide an instruction in navigation through the airwaves via the not-entirely-metaphorical medium of water.

As a Radio Art Research Fellow, Luna Galassini will contribute works of transmissions art originating in New Mexico and the broader Southwest. She will continue archival research that began as an exploration of mining and labor history in New Mexico, and soon expanded to include extant audio archives of historic field recordings, public radio interviews with downwinders and from inside the American Indian Movement's occupation of the Shiprock semiconductor plant, and educational radio programs on New Mexico's rivers, water rights, and land grants. She will focus especially on KUNM's Radio Performance Project, initiated and curated by Ned Sublette, a collection spanning documentary, radio play, long-form field recording, and experimental composition--including a 1979 performance of Alvin Lucier's "Music on a Long Thin Wire," broadcast for five straight days and nights from the roof of the Winrock Shopping Center in Albuquerque. Galassini will also contribute contemporary works to Wave Farm's archive, including artists working with shortwave transmission, low-power community radio, tape collage, performance works using analog broadcast equipment, and contributions from the DIY community of Very Low Frequency enthusiasts drawn to New Mexico's dark sky parks and quiet expanses.

Luna Galassini is a musician and artist based in Santa Fe, New Mexico. Her performances explore the somatic qualities of sound and the vernacular range of the voice through improvisation with found objects, handmade oscillators and receivers, and traditional instruments exploited for their resonant potential as speaker objects. As an independent researcher, she is interested in the translation of the electromagnetic spectrum into audible tones; in the nature of energy work and vibrational healing, particularly as it intersects with her day job as a bodyworker; and in the ecology and history unique to New Mexico, including its vast rural expanses, its troubled sites of extraction, and the aesthetic mythologies that obscure its political and cultural complexity. She has performed both solo and in ensembles at Cocoon (Santa Fe), Wave Archive (Tucson), High Desert Soundings, CO-OPt (Lubbock TX), ICA Santa Fe, the New Mexico Museum of Art, Human Resources, No Name Cinema (Santa Fe), Coaxial, and The Box (Los Angeles). Her video work has been exhibited at No Name Cinema, Currents 826, and REDCAT. She is a co-founder of Santa Fe Noise Ordinance, an experimental concert series that has hosted the Chacon/Nakatani/Santisteven trio, White Boy Scream, Twig Harper, Zachary James Watkins, and the Santa Fe Intertribal Noise Symposium, among many others.

Attention Hudson Valley, Capital Region, and Western Mass Musicians and Sound Artists! Send in your tracks for WGXC airplay!

We are pleased to announce our second Local Waves call for local music and sounds to air on WGXC 90.7-FM. Wave Farm is working with Chosen Family to deepen our local music library for on-air use. Tracks air during the weekly "Local Waves" show on Thursdays from 10 a.m. to 11 a.m. and Friday nights from 8 p.m. to 12 a.m. or 10 a.m. to 12 a.m., as well as many other times throughout the WGXC program schedule.

Send your files for airplay on WGXC 90.7-FM: Radio for Open Ears! Put "LOCAL WAVES" in the subject line of the email to music@wgxc.org and include a Bandcamp link with download code or mp3s (320 kbps).

Bill Corrigan is a sound archivist, musician, researcher and writer. Starting as a freeform DJ at Ann Arbor’s WCBN-FM, he has been digging into radio stations and archives across the United States, from Detroit’s WDET to Charlottesville’s WTJU, and has undertaken research and preservation activities at the Pacifica Radio Archives and the Library of Congress. He has made sounds for interdisciplinary ensembles Underword and the Llano Estacado Monad Band, and currently performs duets within the Resuscianne group. He is presently puzzling over the aesthetics of democratic participation, the rhetorics and putative realities of archival neutrality, and the fictive dimensions of documentary recordings. His work for Wave Farm promises to provide an instruction in navigation through the airwaves via the not-entirely-metaphorical medium of water.

As a Radio Art Research Fellow, Luna Galassini will contribute works of transmissions art originating in New Mexico and the broader Southwest. She will continue archival research that began as an exploration of mining and labor history in New Mexico, and soon expanded to include extant audio archives of historic field recordings, public radio interviews with downwinders and from inside the American Indian Movement's occupation of the Shiprock semiconductor plant, and educational radio programs on New Mexico's rivers, water rights, and land grants. She will focus especially on KUNM's Radio Performance Project, initiated and curated by Ned Sublette, a collection spanning documentary, radio play, long-form field recording, and experimental composition--including a 1979 performance of Alvin Lucier's "Music on a Long Thin Wire," broadcast for five straight days and nights from the roof of the Winrock Shopping Center in Albuquerque. Galassini will also contribute contemporary works to Wave Farm's archive, including artists working with shortwave transmission, low-power community radio, tape collage, performance works using analog broadcast equipment, and contributions from the DIY community of Very Low Frequency enthusiasts drawn to New Mexico's dark sky parks and quiet expanses.

Luna Galassini is a musician and artist based in Santa Fe, New Mexico. Her performances explore the somatic qualities of sound and the vernacular range of the voice through improvisation with found objects, handmade oscillators and receivers, and traditional instruments exploited for their resonant potential as speaker objects. As an independent researcher, she is interested in the translation of the electromagnetic spectrum into audible tones; in the nature of energy work and vibrational healing, particularly as it intersects with her day job as a bodyworker; and in the ecology and history unique to New Mexico, including its vast rural expanses, its troubled sites of extraction, and the aesthetic mythologies that obscure its political and cultural complexity. She has performed both solo and in ensembles at Cocoon (Santa Fe), Wave Archive (Tucson), High Desert Soundings, CO-OPt (Lubbock TX), ICA Santa Fe, the New Mexico Museum of Art, Human Resources, No Name Cinema (Santa Fe), Coaxial, and The Box (Los Angeles). Her video work has been exhibited at No Name Cinema, Currents 826, and REDCAT. She is a co-founder of Santa Fe Noise Ordinance, an experimental concert series that has hosted the Chacon/Nakatani/Santisteven trio, White Boy Scream, Twig Harper, Zachary James Watkins, and the Santa Fe Intertribal Noise Symposium, among many others.

Attention Hudson Valley, Capital Region, and Western Mass Musicians and Sound Artists! Send in your tracks for WGXC airplay!

We are pleased to announce our second Local Waves call for local music and sounds to air on WGXC 90.7-FM. Wave Farm is working with Chosen Family to deepen our local music library for on-air use. Tracks air during the weekly "Local Waves" show on Thursdays from 10 a.m. to 11 a.m. and Friday nights from 8 p.m. to 12 a.m. or 10 a.m. to 12 a.m., as well as many other times throughout the WGXC program schedule.

Send your files for airplay on WGXC 90.7-FM: Radio for Open Ears! Put "LOCAL WAVES" in the subject line of the email to music@wgxc.org and include a Bandcamp link with download code or mp3s (320 kbps).

Bill Corrigan is a sound archivist, musician, researcher and writer. Starting as a freeform DJ at Ann Arbor’s WCBN-FM, he has been digging into radio stations and archives across the United States, from Detroit’s WDET to Charlottesville’s WTJU, and has undertaken research and preservation activities at the Pacifica Radio Archives and the Library of Congress. He has made sounds for interdisciplinary ensembles Underword and the Llano Estacado Monad Band, and currently performs duets within the Resuscianne group. He is presently puzzling over the aesthetics of democratic participation, the rhetorics and putative realities of archival neutrality, and the fictive dimensions of documentary recordings. His work for Wave Farm promises to provide an instruction in navigation through the airwaves via the not-entirely-metaphorical medium of water.

As a Radio Art Research Fellow, Luna Galassini will contribute works of transmissions art originating in New Mexico and the broader Southwest. She will continue archival research that began as an exploration of mining and labor history in New Mexico, and soon expanded to include extant audio archives of historic field recordings, public radio interviews with downwinders and from inside the American Indian Movement's occupation of the Shiprock semiconductor plant, and educational radio programs on New Mexico's rivers, water rights, and land grants. She will focus especially on KUNM's Radio Performance Project, initiated and curated by Ned Sublette, a collection spanning documentary, radio play, long-form field recording, and experimental composition--including a 1979 performance of Alvin Lucier's "Music on a Long Thin Wire," broadcast for five straight days and nights from the roof of the Winrock Shopping Center in Albuquerque. Galassini will also contribute contemporary works to Wave Farm's archive, including artists working with shortwave transmission, low-power community radio, tape collage, performance works using analog broadcast equipment, and contributions from the DIY community of Very Low Frequency enthusiasts drawn to New Mexico's dark sky parks and quiet expanses.

Luna Galassini is a musician and artist based in Santa Fe, New Mexico. Her performances explore the somatic qualities of sound and the vernacular range of the voice through improvisation with found objects, handmade oscillators and receivers, and traditional instruments exploited for their resonant potential as speaker objects. As an independent researcher, she is interested in the translation of the electromagnetic spectrum into audible tones; in the nature of energy work and vibrational healing, particularly as it intersects with her day job as a bodyworker; and in the ecology and history unique to New Mexico, including its vast rural expanses, its troubled sites of extraction, and the aesthetic mythologies that obscure its political and cultural complexity. She has performed both solo and in ensembles at Cocoon (Santa Fe), Wave Archive (Tucson), High Desert Soundings, CO-OPt (Lubbock TX), ICA Santa Fe, the New Mexico Museum of Art, Human Resources, No Name Cinema (Santa Fe), Coaxial, and The Box (Los Angeles). Her video work has been exhibited at No Name Cinema, Currents 826, and REDCAT. She is a co-founder of Santa Fe Noise Ordinance, an experimental concert series that has hosted the Chacon/Nakatani/Santisteven trio, White Boy Scream, Twig Harper, Zachary James Watkins, and the Santa Fe Intertribal Noise Symposium, among many others.

Attention Hudson Valley, Capital Region, and Western Mass Musicians and Sound Artists! Send in your tracks for WGXC airplay!

We are pleased to announce our second Local Waves call for local music and sounds to air on WGXC 90.7-FM. Wave Farm is working with Chosen Family to deepen our local music library for on-air use. Tracks air during the weekly "Local Waves" show on Thursdays from 10 a.m. to 11 a.m. and Friday nights from 8 p.m. to 12 a.m. or 10 a.m. to 12 a.m., as well as many other times throughout the WGXC program schedule.

Send your files for airplay on WGXC 90.7-FM: Radio for Open Ears! Put "LOCAL WAVES" in the subject line of the email to music@wgxc.org and include a Bandcamp link with download code or mp3s (320 kbps).

Bill Corrigan is a sound archivist, musician, researcher and writer. Starting as a freeform DJ at Ann Arbor’s WCBN-FM, he has been digging into radio stations and archives across the United States, from Detroit’s WDET to Charlottesville’s WTJU, and has undertaken research and preservation activities at the Pacifica Radio Archives and the Library of Congress. He has made sounds for interdisciplinary ensembles Underword and the Llano Estacado Monad Band, and currently performs duets within the Resuscianne group. He is presently puzzling over the aesthetics of democratic participation, the rhetorics and putative realities of archival neutrality, and the fictive dimensions of documentary recordings. His work for Wave Farm promises to provide an instruction in navigation through the airwaves via the not-entirely-metaphorical medium of water.

As a Radio Art Research Fellow, Luna Galassini will contribute works of transmissions art originating in New Mexico and the broader Southwest. She will continue archival research that began as an exploration of mining and labor history in New Mexico, and soon expanded to include extant audio archives of historic field recordings, public radio interviews with downwinders and from inside the American Indian Movement's occupation of the Shiprock semiconductor plant, and educational radio programs on New Mexico's rivers, water rights, and land grants. She will focus especially on KUNM's Radio Performance Project, initiated and curated by Ned Sublette, a collection spanning documentary, radio play, long-form field recording, and experimental composition--including a 1979 performance of Alvin Lucier's "Music on a Long Thin Wire," broadcast for five straight days and nights from the roof of the Winrock Shopping Center in Albuquerque. Galassini will also contribute contemporary works to Wave Farm's archive, including artists working with shortwave transmission, low-power community radio, tape collage, performance works using analog broadcast equipment, and contributions from the DIY community of Very Low Frequency enthusiasts drawn to New Mexico's dark sky parks and quiet expanses.

Luna Galassini is a musician and artist based in Santa Fe, New Mexico. Her performances explore the somatic qualities of sound and the vernacular range of the voice through improvisation with found objects, handmade oscillators and receivers, and traditional instruments exploited for their resonant potential as speaker objects. As an independent researcher, she is interested in the translation of the electromagnetic spectrum into audible tones; in the nature of energy work and vibrational healing, particularly as it intersects with her day job as a bodyworker; and in the ecology and history unique to New Mexico, including its vast rural expanses, its troubled sites of extraction, and the aesthetic mythologies that obscure its political and cultural complexity. She has performed both solo and in ensembles at Cocoon (Santa Fe), Wave Archive (Tucson), High Desert Soundings, CO-OPt (Lubbock TX), ICA Santa Fe, the New Mexico Museum of Art, Human Resources, No Name Cinema (Santa Fe), Coaxial, and The Box (Los Angeles). Her video work has been exhibited at No Name Cinema, Currents 826, and REDCAT. She is a co-founder of Santa Fe Noise Ordinance, an experimental concert series that has hosted the Chacon/Nakatani/Santisteven trio, White Boy Scream, Twig Harper, Zachary James Watkins, and the Santa Fe Intertribal Noise Symposium, among many others.

Attention Hudson Valley, Capital Region, and Western Mass Musicians and Sound Artists! Send in your tracks for WGXC airplay!

We are pleased to announce our second Local Waves call for local music and sounds to air on WGXC 90.7-FM. Wave Farm is working with Chosen Family to deepen our local music library for on-air use. Tracks air during the weekly "Local Waves" show on Thursdays from 10 a.m. to 11 a.m. and Friday nights from 8 p.m. to 12 a.m. or 10 a.m. to 12 a.m., as well as many other times throughout the WGXC program schedule.

Send your files for airplay on WGXC 90.7-FM: Radio for Open Ears! Put "LOCAL WAVES" in the subject line of the email to music@wgxc.org and include a Bandcamp link with download code or mp3s (320 kbps).

Bill Corrigan is a sound archivist, musician, researcher and writer. Starting as a freeform DJ at Ann Arbor’s WCBN-FM, he has been digging into radio stations and archives across the United States, from Detroit’s WDET to Charlottesville’s WTJU, and has undertaken research and preservation activities at the Pacifica Radio Archives and the Library of Congress. He has made sounds for interdisciplinary ensembles Underword and the Llano Estacado Monad Band, and currently performs duets within the Resuscianne group. He is presently puzzling over the aesthetics of democratic participation, the rhetorics and putative realities of archival neutrality, and the fictive dimensions of documentary recordings. His work for Wave Farm promises to provide an instruction in navigation through the airwaves via the not-entirely-metaphorical medium of water.

As a Radio Art Research Fellow, Luna Galassini will contribute works of transmissions art originating in New Mexico and the broader Southwest. She will continue archival research that began as an exploration of mining and labor history in New Mexico, and soon expanded to include extant audio archives of historic field recordings, public radio interviews with downwinders and from inside the American Indian Movement's occupation of the Shiprock semiconductor plant, and educational radio programs on New Mexico's rivers, water rights, and land grants. She will focus especially on KUNM's Radio Performance Project, initiated and curated by Ned Sublette, a collection spanning documentary, radio play, long-form field recording, and experimental composition--including a 1979 performance of Alvin Lucier's "Music on a Long Thin Wire," broadcast for five straight days and nights from the roof of the Winrock Shopping Center in Albuquerque. Galassini will also contribute contemporary works to Wave Farm's archive, including artists working with shortwave transmission, low-power community radio, tape collage, performance works using analog broadcast equipment, and contributions from the DIY community of Very Low Frequency enthusiasts drawn to New Mexico's dark sky parks and quiet expanses.

Luna Galassini is a musician and artist based in Santa Fe, New Mexico. Her performances explore the somatic qualities of sound and the vernacular range of the voice through improvisation with found objects, handmade oscillators and receivers, and traditional instruments exploited for their resonant potential as speaker objects. As an independent researcher, she is interested in the translation of the electromagnetic spectrum into audible tones; in the nature of energy work and vibrational healing, particularly as it intersects with her day job as a bodyworker; and in the ecology and history unique to New Mexico, including its vast rural expanses, its troubled sites of extraction, and the aesthetic mythologies that obscure its political and cultural complexity. She has performed both solo and in ensembles at Cocoon (Santa Fe), Wave Archive (Tucson), High Desert Soundings, CO-OPt (Lubbock TX), ICA Santa Fe, the New Mexico Museum of Art, Human Resources, No Name Cinema (Santa Fe), Coaxial, and The Box (Los Angeles). Her video work has been exhibited at No Name Cinema, Currents 826, and REDCAT. She is a co-founder of Santa Fe Noise Ordinance, an experimental concert series that has hosted the Chacon/Nakatani/Santisteven trio, White Boy Scream, Twig Harper, Zachary James Watkins, and the Santa Fe Intertribal Noise Symposium, among many others.

Attention Hudson Valley, Capital Region, and Western Mass Musicians and Sound Artists! Send in your tracks for WGXC airplay!

We are pleased to announce our second Local Waves call for local music and sounds to air on WGXC 90.7-FM. Wave Farm is working with Chosen Family to deepen our local music library for on-air use. Tracks air during the weekly "Local Waves" show on Thursdays from 10 a.m. to 11 a.m. and Friday nights from 8 p.m. to 12 a.m. or 10 a.m. to 12 a.m., as well as many other times throughout the WGXC program schedule.

Send your files for airplay on WGXC 90.7-FM: Radio for Open Ears! Put "LOCAL WAVES" in the subject line of the email to music@wgxc.org and include a Bandcamp link with download code or mp3s (320 kbps).

Bill Corrigan is a sound archivist, musician, researcher and writer. Starting as a freeform DJ at Ann Arbor’s WCBN-FM, he has been digging into radio stations and archives across the United States, from Detroit’s WDET to Charlottesville’s WTJU, and has undertaken research and preservation activities at the Pacifica Radio Archives and the Library of Congress. He has made sounds for interdisciplinary ensembles Underword and the Llano Estacado Monad Band, and currently performs duets within the Resuscianne group. He is presently puzzling over the aesthetics of democratic participation, the rhetorics and putative realities of archival neutrality, and the fictive dimensions of documentary recordings. His work for Wave Farm promises to provide an instruction in navigation through the airwaves via the not-entirely-metaphorical medium of water.

As a Radio Art Research Fellow, Luna Galassini will contribute works of transmissions art originating in New Mexico and the broader Southwest. She will continue archival research that began as an exploration of mining and labor history in New Mexico, and soon expanded to include extant audio archives of historic field recordings, public radio interviews with downwinders and from inside the American Indian Movement's occupation of the Shiprock semiconductor plant, and educational radio programs on New Mexico's rivers, water rights, and land grants. She will focus especially on KUNM's Radio Performance Project, initiated and curated by Ned Sublette, a collection spanning documentary, radio play, long-form field recording, and experimental composition--including a 1979 performance of Alvin Lucier's "Music on a Long Thin Wire," broadcast for five straight days and nights from the roof of the Winrock Shopping Center in Albuquerque. Galassini will also contribute contemporary works to Wave Farm's archive, including artists working with shortwave transmission, low-power community radio, tape collage, performance works using analog broadcast equipment, and contributions from the DIY community of Very Low Frequency enthusiasts drawn to New Mexico's dark sky parks and quiet expanses.

Luna Galassini is a musician and artist based in Santa Fe, New Mexico. Her performances explore the somatic qualities of sound and the vernacular range of the voice through improvisation with found objects, handmade oscillators and receivers, and traditional instruments exploited for their resonant potential as speaker objects. As an independent researcher, she is interested in the translation of the electromagnetic spectrum into audible tones; in the nature of energy work and vibrational healing, particularly as it intersects with her day job as a bodyworker; and in the ecology and history unique to New Mexico, including its vast rural expanses, its troubled sites of extraction, and the aesthetic mythologies that obscure its political and cultural complexity. She has performed both solo and in ensembles at Cocoon (Santa Fe), Wave Archive (Tucson), High Desert Soundings, CO-OPt (Lubbock TX), ICA Santa Fe, the New Mexico Museum of Art, Human Resources, No Name Cinema (Santa Fe), Coaxial, and The Box (Los Angeles). Her video work has been exhibited at No Name Cinema, Currents 826, and REDCAT. She is a co-founder of Santa Fe Noise Ordinance, an experimental concert series that has hosted the Chacon/Nakatani/Santisteven trio, White Boy Scream, Twig Harper, Zachary James Watkins, and the Santa Fe Intertribal Noise Symposium, among many others.

Attention Hudson Valley, Capital Region, and Western Mass Musicians and Sound Artists! Send in your tracks for WGXC airplay!

We are pleased to announce our second Local Waves call for local music and sounds to air on WGXC 90.7-FM. Wave Farm is working with Chosen Family to deepen our local music library for on-air use. Tracks air during the weekly "Local Waves" show on Thursdays from 10 a.m. to 11 a.m. and Friday nights from 8 p.m. to 12 a.m. or 10 a.m. to 12 a.m., as well as many other times throughout the WGXC program schedule.

Send your files for airplay on WGXC 90.7-FM: Radio for Open Ears! Put "LOCAL WAVES" in the subject line of the email to music@wgxc.org and include a Bandcamp link with download code or mp3s (320 kbps).

Bill Corrigan is a sound archivist, musician, researcher and writer. Starting as a freeform DJ at Ann Arbor’s WCBN-FM, he has been digging into radio stations and archives across the United States, from Detroit’s WDET to Charlottesville’s WTJU, and has undertaken research and preservation activities at the Pacifica Radio Archives and the Library of Congress. He has made sounds for interdisciplinary ensembles Underword and the Llano Estacado Monad Band, and currently performs duets within the Resuscianne group. He is presently puzzling over the aesthetics of democratic participation, the rhetorics and putative realities of archival neutrality, and the fictive dimensions of documentary recordings. His work for Wave Farm promises to provide an instruction in navigation through the airwaves via the not-entirely-metaphorical medium of water.

As a Radio Art Research Fellow, Luna Galassini will contribute works of transmissions art originating in New Mexico and the broader Southwest. She will continue archival research that began as an exploration of mining and labor history in New Mexico, and soon expanded to include extant audio archives of historic field recordings, public radio interviews with downwinders and from inside the American Indian Movement's occupation of the Shiprock semiconductor plant, and educational radio programs on New Mexico's rivers, water rights, and land grants. She will focus especially on KUNM's Radio Performance Project, initiated and curated by Ned Sublette, a collection spanning documentary, radio play, long-form field recording, and experimental composition--including a 1979 performance of Alvin Lucier's "Music on a Long Thin Wire," broadcast for five straight days and nights from the roof of the Winrock Shopping Center in Albuquerque. Galassini will also contribute contemporary works to Wave Farm's archive, including artists working with shortwave transmission, low-power community radio, tape collage, performance works using analog broadcast equipment, and contributions from the DIY community of Very Low Frequency enthusiasts drawn to New Mexico's dark sky parks and quiet expanses.

Luna Galassini is a musician and artist based in Santa Fe, New Mexico. Her performances explore the somatic qualities of sound and the vernacular range of the voice through improvisation with found objects, handmade oscillators and receivers, and traditional instruments exploited for their resonant potential as speaker objects. As an independent researcher, she is interested in the translation of the electromagnetic spectrum into audible tones; in the nature of energy work and vibrational healing, particularly as it intersects with her day job as a bodyworker; and in the ecology and history unique to New Mexico, including its vast rural expanses, its troubled sites of extraction, and the aesthetic mythologies that obscure its political and cultural complexity. She has performed both solo and in ensembles at Cocoon (Santa Fe), Wave Archive (Tucson), High Desert Soundings, CO-OPt (Lubbock TX), ICA Santa Fe, the New Mexico Museum of Art, Human Resources, No Name Cinema (Santa Fe), Coaxial, and The Box (Los Angeles). Her video work has been exhibited at No Name Cinema, Currents 826, and REDCAT. She is a co-founder of Santa Fe Noise Ordinance, an experimental concert series that has hosted the Chacon/Nakatani/Santisteven trio, White Boy Scream, Twig Harper, Zachary James Watkins, and the Santa Fe Intertribal Noise Symposium, among many others.

Attention Hudson Valley, Capital Region, and Western Mass Musicians and Sound Artists! Send in your tracks for WGXC airplay!

We are pleased to announce our second Local Waves call for local music and sounds to air on WGXC 90.7-FM. Wave Farm is working with Chosen Family to deepen our local music library for on-air use. Tracks air during the weekly "Local Waves" show on Thursdays from 10 a.m. to 11 a.m. and Friday nights from 8 p.m. to 12 a.m. or 10 a.m. to 12 a.m., as well as many other times throughout the WGXC program schedule.

Send your files for airplay on WGXC 90.7-FM: Radio for Open Ears! Put "LOCAL WAVES" in the subject line of the email to music@wgxc.org and include a Bandcamp link with download code or mp3s (320 kbps).

Bill Corrigan is a sound archivist, musician, researcher and writer. Starting as a freeform DJ at Ann Arbor’s WCBN-FM, he has been digging into radio stations and archives across the United States, from Detroit’s WDET to Charlottesville’s WTJU, and has undertaken research and preservation activities at the Pacifica Radio Archives and the Library of Congress. He has made sounds for interdisciplinary ensembles Underword and the Llano Estacado Monad Band, and currently performs duets within the Resuscianne group. He is presently puzzling over the aesthetics of democratic participation, the rhetorics and putative realities of archival neutrality, and the fictive dimensions of documentary recordings. His work for Wave Farm promises to provide an instruction in navigation through the airwaves via the not-entirely-metaphorical medium of water.

As a Radio Art Research Fellow, Luna Galassini will contribute works of transmissions art originating in New Mexico and the broader Southwest. She will continue archival research that began as an exploration of mining and labor history in New Mexico, and soon expanded to include extant audio archives of historic field recordings, public radio interviews with downwinders and from inside the American Indian Movement's occupation of the Shiprock semiconductor plant, and educational radio programs on New Mexico's rivers, water rights, and land grants. She will focus especially on KUNM's Radio Performance Project, initiated and curated by Ned Sublette, a collection spanning documentary, radio play, long-form field recording, and experimental composition--including a 1979 performance of Alvin Lucier's "Music on a Long Thin Wire," broadcast for five straight days and nights from the roof of the Winrock Shopping Center in Albuquerque. Galassini will also contribute contemporary works to Wave Farm's archive, including artists working with shortwave transmission, low-power community radio, tape collage, performance works using analog broadcast equipment, and contributions from the DIY community of Very Low Frequency enthusiasts drawn to New Mexico's dark sky parks and quiet expanses.

Luna Galassini is a musician and artist based in Santa Fe, New Mexico. Her performances explore the somatic qualities of sound and the vernacular range of the voice through improvisation with found objects, handmade oscillators and receivers, and traditional instruments exploited for their resonant potential as speaker objects. As an independent researcher, she is interested in the translation of the electromagnetic spectrum into audible tones; in the nature of energy work and vibrational healing, particularly as it intersects with her day job as a bodyworker; and in the ecology and history unique to New Mexico, including its vast rural expanses, its troubled sites of extraction, and the aesthetic mythologies that obscure its political and cultural complexity. She has performed both solo and in ensembles at Cocoon (Santa Fe), Wave Archive (Tucson), High Desert Soundings, CO-OPt (Lubbock TX), ICA Santa Fe, the New Mexico Museum of Art, Human Resources, No Name Cinema (Santa Fe), Coaxial, and The Box (Los Angeles). Her video work has been exhibited at No Name Cinema, Currents 826, and REDCAT. She is a co-founder of Santa Fe Noise Ordinance, an experimental concert series that has hosted the Chacon/Nakatani/Santisteven trio, White Boy Scream, Twig Harper, Zachary James Watkins, and the Santa Fe Intertribal Noise Symposium, among many others.

Attention Hudson Valley, Capital Region, and Western Mass Musicians and Sound Artists! Send in your tracks for WGXC airplay!

We are pleased to announce our second Local Waves call for local music and sounds to air on WGXC 90.7-FM. Wave Farm is working with Chosen Family to deepen our local music library for on-air use. Tracks air during the weekly "Local Waves" show on Thursdays from 10 a.m. to 11 a.m. and Friday nights from 8 p.m. to 12 a.m. or 10 a.m. to 12 a.m., as well as many other times throughout the WGXC program schedule.

Send your files for airplay on WGXC 90.7-FM: Radio for Open Ears! Put "LOCAL WAVES" in the subject line of the email to music@wgxc.org and include a Bandcamp link with download code or mp3s (320 kbps).

Bill Corrigan is a sound archivist, musician, researcher and writer. Starting as a freeform DJ at Ann Arbor’s WCBN-FM, he has been digging into radio stations and archives across the United States, from Detroit’s WDET to Charlottesville’s WTJU, and has undertaken research and preservation activities at the Pacifica Radio Archives and the Library of Congress. He has made sounds for interdisciplinary ensembles Underword and the Llano Estacado Monad Band, and currently performs duets within the Resuscianne group. He is presently puzzling over the aesthetics of democratic participation, the rhetorics and putative realities of archival neutrality, and the fictive dimensions of documentary recordings. His work for Wave Farm promises to provide an instruction in navigation through the airwaves via the not-entirely-metaphorical medium of water.

As a Radio Art Research Fellow, Luna Galassini will contribute works of transmissions art originating in New Mexico and the broader Southwest. She will continue archival research that began as an exploration of mining and labor history in New Mexico, and soon expanded to include extant audio archives of historic field recordings, public radio interviews with downwinders and from inside the American Indian Movement's occupation of the Shiprock semiconductor plant, and educational radio programs on New Mexico's rivers, water rights, and land grants. She will focus especially on KUNM's Radio Performance Project, initiated and curated by Ned Sublette, a collection spanning documentary, radio play, long-form field recording, and experimental composition--including a 1979 performance of Alvin Lucier's "Music on a Long Thin Wire," broadcast for five straight days and nights from the roof of the Winrock Shopping Center in Albuquerque. Galassini will also contribute contemporary works to Wave Farm's archive, including artists working with shortwave transmission, low-power community radio, tape collage, performance works using analog broadcast equipment, and contributions from the DIY community of Very Low Frequency enthusiasts drawn to New Mexico's dark sky parks and quiet expanses.

Luna Galassini is a musician and artist based in Santa Fe, New Mexico. Her performances explore the somatic qualities of sound and the vernacular range of the voice through improvisation with found objects, handmade oscillators and receivers, and traditional instruments exploited for their resonant potential as speaker objects. As an independent researcher, she is interested in the translation of the electromagnetic spectrum into audible tones; in the nature of energy work and vibrational healing, particularly as it intersects with her day job as a bodyworker; and in the ecology and history unique to New Mexico, including its vast rural expanses, its troubled sites of extraction, and the aesthetic mythologies that obscure its political and cultural complexity. She has performed both solo and in ensembles at Cocoon (Santa Fe), Wave Archive (Tucson), High Desert Soundings, CO-OPt (Lubbock TX), ICA Santa Fe, the New Mexico Museum of Art, Human Resources, No Name Cinema (Santa Fe), Coaxial, and The Box (Los Angeles). Her video work has been exhibited at No Name Cinema, Currents 826, and REDCAT. She is a co-founder of Santa Fe Noise Ordinance, an experimental concert series that has hosted the Chacon/Nakatani/Santisteven trio, White Boy Scream, Twig Harper, Zachary James Watkins, and the Santa Fe Intertribal Noise Symposium, among many others.

Attention Hudson Valley, Capital Region, and Western Mass Musicians and Sound Artists! Send in your tracks for WGXC airplay!

We are pleased to announce our second Local Waves call for local music and sounds to air on WGXC 90.7-FM. Wave Farm is working with Chosen Family to deepen our local music library for on-air use. Tracks air during the weekly "Local Waves" show on Thursdays from 10 a.m. to 11 a.m. and Friday nights from 8 p.m. to 12 a.m. or 10 a.m. to 12 a.m., as well as many other times throughout the WGXC program schedule.

Send your files for airplay on WGXC 90.7-FM: Radio for Open Ears! Put "LOCAL WAVES" in the subject line of the email to music@wgxc.org and include a Bandcamp link with download code or mp3s (320 kbps).

Bill Corrigan is a sound archivist, musician, researcher and writer. Starting as a freeform DJ at Ann Arbor’s WCBN-FM, he has been digging into radio stations and archives across the United States, from Detroit’s WDET to Charlottesville’s WTJU, and has undertaken research and preservation activities at the Pacifica Radio Archives and the Library of Congress. He has made sounds for interdisciplinary ensembles Underword and the Llano Estacado Monad Band, and currently performs duets within the Resuscianne group. He is presently puzzling over the aesthetics of democratic participation, the rhetorics and putative realities of archival neutrality, and the fictive dimensions of documentary recordings. His work for Wave Farm promises to provide an instruction in navigation through the airwaves via the not-entirely-metaphorical medium of water.

As a Radio Art Research Fellow, Luna Galassini will contribute works of transmissions art originating in New Mexico and the broader Southwest. She will continue archival research that began as an exploration of mining and labor history in New Mexico, and soon expanded to include extant audio archives of historic field recordings, public radio interviews with downwinders and from inside the American Indian Movement's occupation of the Shiprock semiconductor plant, and educational radio programs on New Mexico's rivers, water rights, and land grants. She will focus especially on KUNM's Radio Performance Project, initiated and curated by Ned Sublette, a collection spanning documentary, radio play, long-form field recording, and experimental composition--including a 1979 performance of Alvin Lucier's "Music on a Long Thin Wire," broadcast for five straight days and nights from the roof of the Winrock Shopping Center in Albuquerque. Galassini will also contribute contemporary works to Wave Farm's archive, including artists working with shortwave transmission, low-power community radio, tape collage, performance works using analog broadcast equipment, and contributions from the DIY community of Very Low Frequency enthusiasts drawn to New Mexico's dark sky parks and quiet expanses.

Luna Galassini is a musician and artist based in Santa Fe, New Mexico. Her performances explore the somatic qualities of sound and the vernacular range of the voice through improvisation with found objects, handmade oscillators and receivers, and traditional instruments exploited for their resonant potential as speaker objects. As an independent researcher, she is interested in the translation of the electromagnetic spectrum into audible tones; in the nature of energy work and vibrational healing, particularly as it intersects with her day job as a bodyworker; and in the ecology and history unique to New Mexico, including its vast rural expanses, its troubled sites of extraction, and the aesthetic mythologies that obscure its political and cultural complexity. She has performed both solo and in ensembles at Cocoon (Santa Fe), Wave Archive (Tucson), High Desert Soundings, CO-OPt (Lubbock TX), ICA Santa Fe, the New Mexico Museum of Art, Human Resources, No Name Cinema (Santa Fe), Coaxial, and The Box (Los Angeles). Her video work has been exhibited at No Name Cinema, Currents 826, and REDCAT. She is a co-founder of Santa Fe Noise Ordinance, an experimental concert series that has hosted the Chacon/Nakatani/Santisteven trio, White Boy Scream, Twig Harper, Zachary James Watkins, and the Santa Fe Intertribal Noise Symposium, among many others.

Attention Hudson Valley, Capital Region, and Western Mass Musicians and Sound Artists! Send in your tracks for WGXC airplay!

We are pleased to announce our second Local Waves call for local music and sounds to air on WGXC 90.7-FM. Wave Farm is working with Chosen Family to deepen our local music library for on-air use. Tracks air during the weekly "Local Waves" show on Thursdays from 10 a.m. to 11 a.m. and Friday nights from 8 p.m. to 12 a.m. or 10 a.m. to 12 a.m., as well as many other times throughout the WGXC program schedule.

Send your files for airplay on WGXC 90.7-FM: Radio for Open Ears! Put "LOCAL WAVES" in the subject line of the email to music@wgxc.org and include a Bandcamp link with download code or mp3s (320 kbps).

Bill Corrigan is a sound archivist, musician, researcher and writer. Starting as a freeform DJ at Ann Arbor’s WCBN-FM, he has been digging into radio stations and archives across the United States, from Detroit’s WDET to Charlottesville’s WTJU, and has undertaken research and preservation activities at the Pacifica Radio Archives and the Library of Congress. He has made sounds for interdisciplinary ensembles Underword and the Llano Estacado Monad Band, and currently performs duets within the Resuscianne group. He is presently puzzling over the aesthetics of democratic participation, the rhetorics and putative realities of archival neutrality, and the fictive dimensions of documentary recordings. His work for Wave Farm promises to provide an instruction in navigation through the airwaves via the not-entirely-metaphorical medium of water.

As a Radio Art Research Fellow, Luna Galassini will contribute works of transmissions art originating in New Mexico and the broader Southwest. She will continue archival research that began as an exploration of mining and labor history in New Mexico, and soon expanded to include extant audio archives of historic field recordings, public radio interviews with downwinders and from inside the American Indian Movement's occupation of the Shiprock semiconductor plant, and educational radio programs on New Mexico's rivers, water rights, and land grants. She will focus especially on KUNM's Radio Performance Project, initiated and curated by Ned Sublette, a collection spanning documentary, radio play, long-form field recording, and experimental composition--including a 1979 performance of Alvin Lucier's "Music on a Long Thin Wire," broadcast for five straight days and nights from the roof of the Winrock Shopping Center in Albuquerque. Galassini will also contribute contemporary works to Wave Farm's archive, including artists working with shortwave transmission, low-power community radio, tape collage, performance works using analog broadcast equipment, and contributions from the DIY community of Very Low Frequency enthusiasts drawn to New Mexico's dark sky parks and quiet expanses.

Luna Galassini is a musician and artist based in Santa Fe, New Mexico. Her performances explore the somatic qualities of sound and the vernacular range of the voice through improvisation with found objects, handmade oscillators and receivers, and traditional instruments exploited for their resonant potential as speaker objects. As an independent researcher, she is interested in the translation of the electromagnetic spectrum into audible tones; in the nature of energy work and vibrational healing, particularly as it intersects with her day job as a bodyworker; and in the ecology and history unique to New Mexico, including its vast rural expanses, its troubled sites of extraction, and the aesthetic mythologies that obscure its political and cultural complexity. She has performed both solo and in ensembles at Cocoon (Santa Fe), Wave Archive (Tucson), High Desert Soundings, CO-OPt (Lubbock TX), ICA Santa Fe, the New Mexico Museum of Art, Human Resources, No Name Cinema (Santa Fe), Coaxial, and The Box (Los Angeles). Her video work has been exhibited at No Name Cinema, Currents 826, and REDCAT. She is a co-founder of Santa Fe Noise Ordinance, an experimental concert series that has hosted the Chacon/Nakatani/Santisteven trio, White Boy Scream, Twig Harper, Zachary James Watkins, and the Santa Fe Intertribal Noise Symposium, among many others.

Attention Hudson Valley, Capital Region, and Western Mass Musicians and Sound Artists! Send in your tracks for WGXC airplay!

We are pleased to announce our second Local Waves call for local music and sounds to air on WGXC 90.7-FM. Wave Farm is working with Chosen Family to deepen our local music library for on-air use. Tracks air during the weekly "Local Waves" show on Thursdays from 10 a.m. to 11 a.m. and Friday nights from 8 p.m. to 12 a.m. or 10 a.m. to 12 a.m., as well as many other times throughout the WGXC program schedule.

Send your files for airplay on WGXC 90.7-FM: Radio for Open Ears! Put "LOCAL WAVES" in the subject line of the email to music@wgxc.org and include a Bandcamp link with download code or mp3s (320 kbps).

Bill Corrigan is a sound archivist, musician, researcher and writer. Starting as a freeform DJ at Ann Arbor’s WCBN-FM, he has been digging into radio stations and archives across the United States, from Detroit’s WDET to Charlottesville’s WTJU, and has undertaken research and preservation activities at the Pacifica Radio Archives and the Library of Congress. He has made sounds for interdisciplinary ensembles Underword and the Llano Estacado Monad Band, and currently performs duets within the Resuscianne group. He is presently puzzling over the aesthetics of democratic participation, the rhetorics and putative realities of archival neutrality, and the fictive dimensions of documentary recordings. His work for Wave Farm promises to provide an instruction in navigation through the airwaves via the not-entirely-metaphorical medium of water.

As a Radio Art Research Fellow, Luna Galassini will contribute works of transmissions art originating in New Mexico and the broader Southwest. She will continue archival research that began as an exploration of mining and labor history in New Mexico, and soon expanded to include extant audio archives of historic field recordings, public radio interviews with downwinders and from inside the American Indian Movement's occupation of the Shiprock semiconductor plant, and educational radio programs on New Mexico's rivers, water rights, and land grants. She will focus especially on KUNM's Radio Performance Project, initiated and curated by Ned Sublette, a collection spanning documentary, radio play, long-form field recording, and experimental composition--including a 1979 performance of Alvin Lucier's "Music on a Long Thin Wire," broadcast for five straight days and nights from the roof of the Winrock Shopping Center in Albuquerque. Galassini will also contribute contemporary works to Wave Farm's archive, including artists working with shortwave transmission, low-power community radio, tape collage, performance works using analog broadcast equipment, and contributions from the DIY community of Very Low Frequency enthusiasts drawn to New Mexico's dark sky parks and quiet expanses.

Luna Galassini is a musician and artist based in Santa Fe, New Mexico. Her performances explore the somatic qualities of sound and the vernacular range of the voice through improvisation with found objects, handmade oscillators and receivers, and traditional instruments exploited for their resonant potential as speaker objects. As an independent researcher, she is interested in the translation of the electromagnetic spectrum into audible tones; in the nature of energy work and vibrational healing, particularly as it intersects with her day job as a bodyworker; and in the ecology and history unique to New Mexico, including its vast rural expanses, its troubled sites of extraction, and the aesthetic mythologies that obscure its political and cultural complexity. She has performed both solo and in ensembles at Cocoon (Santa Fe), Wave Archive (Tucson), High Desert Soundings, CO-OPt (Lubbock TX), ICA Santa Fe, the New Mexico Museum of Art, Human Resources, No Name Cinema (Santa Fe), Coaxial, and The Box (Los Angeles). Her video work has been exhibited at No Name Cinema, Currents 826, and REDCAT. She is a co-founder of Santa Fe Noise Ordinance, an experimental concert series that has hosted the Chacon/Nakatani/Santisteven trio, White Boy Scream, Twig Harper, Zachary James Watkins, and the Santa Fe Intertribal Noise Symposium, among many others.

Attention Hudson Valley, Capital Region, and Western Mass Musicians and Sound Artists! Send in your tracks for WGXC airplay!

We are pleased to announce our second Local Waves call for local music and sounds to air on WGXC 90.7-FM. Wave Farm is working with Chosen Family to deepen our local music library for on-air use. Tracks air during the weekly "Local Waves" show on Thursdays from 10 a.m. to 11 a.m. and Friday nights from 8 p.m. to 12 a.m. or 10 a.m. to 12 a.m., as well as many other times throughout the WGXC program schedule.

Send your files for airplay on WGXC 90.7-FM: Radio for Open Ears! Put "LOCAL WAVES" in the subject line of the email to music@wgxc.org and include a Bandcamp link with download code or mp3s (320 kbps).

Bill Corrigan is a sound archivist, musician, researcher and writer. Starting as a freeform DJ at Ann Arbor’s WCBN-FM, he has been digging into radio stations and archives across the United States, from Detroit’s WDET to Charlottesville’s WTJU, and has undertaken research and preservation activities at the Pacifica Radio Archives and the Library of Congress. He has made sounds for interdisciplinary ensembles Underword and the Llano Estacado Monad Band, and currently performs duets within the Resuscianne group. He is presently puzzling over the aesthetics of democratic participation, the rhetorics and putative realities of archival neutrality, and the fictive dimensions of documentary recordings. His work for Wave Farm promises to provide an instruction in navigation through the airwaves via the not-entirely-metaphorical medium of water.

As a Radio Art Research Fellow, Luna Galassini will contribute works of transmissions art originating in New Mexico and the broader Southwest. She will continue archival research that began as an exploration of mining and labor history in New Mexico, and soon expanded to include extant audio archives of historic field recordings, public radio interviews with downwinders and from inside the American Indian Movement's occupation of the Shiprock semiconductor plant, and educational radio programs on New Mexico's rivers, water rights, and land grants. She will focus especially on KUNM's Radio Performance Project, initiated and curated by Ned Sublette, a collection spanning documentary, radio play, long-form field recording, and experimental composition--including a 1979 performance of Alvin Lucier's "Music on a Long Thin Wire," broadcast for five straight days and nights from the roof of the Winrock Shopping Center in Albuquerque. Galassini will also contribute contemporary works to Wave Farm's archive, including artists working with shortwave transmission, low-power community radio, tape collage, performance works using analog broadcast equipment, and contributions from the DIY community of Very Low Frequency enthusiasts drawn to New Mexico's dark sky parks and quiet expanses.

Luna Galassini is a musician and artist based in Santa Fe, New Mexico. Her performances explore the somatic qualities of sound and the vernacular range of the voice through improvisation with found objects, handmade oscillators and receivers, and traditional instruments exploited for their resonant potential as speaker objects. As an independent researcher, she is interested in the translation of the electromagnetic spectrum into audible tones; in the nature of energy work and vibrational healing, particularly as it intersects with her day job as a bodyworker; and in the ecology and history unique to New Mexico, including its vast rural expanses, its troubled sites of extraction, and the aesthetic mythologies that obscure its political and cultural complexity. She has performed both solo and in ensembles at Cocoon (Santa Fe), Wave Archive (Tucson), High Desert Soundings, CO-OPt (Lubbock TX), ICA Santa Fe, the New Mexico Museum of Art, Human Resources, No Name Cinema (Santa Fe), Coaxial, and The Box (Los Angeles). Her video work has been exhibited at No Name Cinema, Currents 826, and REDCAT. She is a co-founder of Santa Fe Noise Ordinance, an experimental concert series that has hosted the Chacon/Nakatani/Santisteven trio, White Boy Scream, Twig Harper, Zachary James Watkins, and the Santa Fe Intertribal Noise Symposium, among many others.

Attention Hudson Valley, Capital Region, and Western Mass Musicians and Sound Artists! Send in your tracks for WGXC airplay!

We are pleased to announce our second Local Waves call for local music and sounds to air on WGXC 90.7-FM. Wave Farm is working with Chosen Family to deepen our local music library for on-air use. Tracks air during the weekly "Local Waves" show on Thursdays from 10 a.m. to 11 a.m. and Friday nights from 8 p.m. to 12 a.m. or 10 a.m. to 12 a.m., as well as many other times throughout the WGXC program schedule.

Send your files for airplay on WGXC 90.7-FM: Radio for Open Ears! Put "LOCAL WAVES" in the subject line of the email to music@wgxc.org and include a Bandcamp link with download code or mp3s (320 kbps).

Bill Corrigan is a sound archivist, musician, researcher and writer. Starting as a freeform DJ at Ann Arbor’s WCBN-FM, he has been digging into radio stations and archives across the United States, from Detroit’s WDET to Charlottesville’s WTJU, and has undertaken research and preservation activities at the Pacifica Radio Archives and the Library of Congress. He has made sounds for interdisciplinary ensembles Underword and the Llano Estacado Monad Band, and currently performs duets within the Resuscianne group. He is presently puzzling over the aesthetics of democratic participation, the rhetorics and putative realities of archival neutrality, and the fictive dimensions of documentary recordings. His work for Wave Farm promises to provide an instruction in navigation through the airwaves via the not-entirely-metaphorical medium of water.

As a Radio Art Research Fellow, Luna Galassini will contribute works of transmissions art originating in New Mexico and the broader Southwest. She will continue archival research that began as an exploration of mining and labor history in New Mexico, and soon expanded to include extant audio archives of historic field recordings, public radio interviews with downwinders and from inside the American Indian Movement's occupation of the Shiprock semiconductor plant, and educational radio programs on New Mexico's rivers, water rights, and land grants. She will focus especially on KUNM's Radio Performance Project, initiated and curated by Ned Sublette, a collection spanning documentary, radio play, long-form field recording, and experimental composition--including a 1979 performance of Alvin Lucier's "Music on a Long Thin Wire," broadcast for five straight days and nights from the roof of the Winrock Shopping Center in Albuquerque. Galassini will also contribute contemporary works to Wave Farm's archive, including artists working with shortwave transmission, low-power community radio, tape collage, performance works using analog broadcast equipment, and contributions from the DIY community of Very Low Frequency enthusiasts drawn to New Mexico's dark sky parks and quiet expanses.

Luna Galassini is a musician and artist based in Santa Fe, New Mexico. Her performances explore the somatic qualities of sound and the vernacular range of the voice through improvisation with found objects, handmade oscillators and receivers, and traditional instruments exploited for their resonant potential as speaker objects. As an independent researcher, she is interested in the translation of the electromagnetic spectrum into audible tones; in the nature of energy work and vibrational healing, particularly as it intersects with her day job as a bodyworker; and in the ecology and history unique to New Mexico, including its vast rural expanses, its troubled sites of extraction, and the aesthetic mythologies that obscure its political and cultural complexity. She has performed both solo and in ensembles at Cocoon (Santa Fe), Wave Archive (Tucson), High Desert Soundings, CO-OPt (Lubbock TX), ICA Santa Fe, the New Mexico Museum of Art, Human Resources, No Name Cinema (Santa Fe), Coaxial, and The Box (Los Angeles). Her video work has been exhibited at No Name Cinema, Currents 826, and REDCAT. She is a co-founder of Santa Fe Noise Ordinance, an experimental concert series that has hosted the Chacon/Nakatani/Santisteven trio, White Boy Scream, Twig Harper, Zachary James Watkins, and the Santa Fe Intertribal Noise Symposium, among many others.

Attention Hudson Valley, Capital Region, and Western Mass Musicians and Sound Artists! Send in your tracks for WGXC airplay!

We are pleased to announce our second Local Waves call for local music and sounds to air on WGXC 90.7-FM. Wave Farm is working with Chosen Family to deepen our local music library for on-air use. Tracks air during the weekly "Local Waves" show on Thursdays from 10 a.m. to 11 a.m. and Friday nights from 8 p.m. to 12 a.m. or 10 a.m. to 12 a.m., as well as many other times throughout the WGXC program schedule.

Send your files for airplay on WGXC 90.7-FM: Radio for Open Ears! Put "LOCAL WAVES" in the subject line of the email to music@wgxc.org and include a Bandcamp link with download code or mp3s (320 kbps).

Bill Corrigan is a sound archivist, musician, researcher and writer. Starting as a freeform DJ at Ann Arbor’s WCBN-FM, he has been digging into radio stations and archives across the United States, from Detroit’s WDET to Charlottesville’s WTJU, and has undertaken research and preservation activities at the Pacifica Radio Archives and the Library of Congress. He has made sounds for interdisciplinary ensembles Underword and the Llano Estacado Monad Band, and currently performs duets within the Resuscianne group. He is presently puzzling over the aesthetics of democratic participation, the rhetorics and putative realities of archival neutrality, and the fictive dimensions of documentary recordings. His work for Wave Farm promises to provide an instruction in navigation through the airwaves via the not-entirely-metaphorical medium of water.

As a Radio Art Research Fellow, Luna Galassini will contribute works of transmissions art originating in New Mexico and the broader Southwest. She will continue archival research that began as an exploration of mining and labor history in New Mexico, and soon expanded to include extant audio archives of historic field recordings, public radio interviews with downwinders and from inside the American Indian Movement's occupation of the Shiprock semiconductor plant, and educational radio programs on New Mexico's rivers, water rights, and land grants. She will focus especially on KUNM's Radio Performance Project, initiated and curated by Ned Sublette, a collection spanning documentary, radio play, long-form field recording, and experimental composition--including a 1979 performance of Alvin Lucier's "Music on a Long Thin Wire," broadcast for five straight days and nights from the roof of the Winrock Shopping Center in Albuquerque. Galassini will also contribute contemporary works to Wave Farm's archive, including artists working with shortwave transmission, low-power community radio, tape collage, performance works using analog broadcast equipment, and contributions from the DIY community of Very Low Frequency enthusiasts drawn to New Mexico's dark sky parks and quiet expanses.

Luna Galassini is a musician and artist based in Santa Fe, New Mexico. Her performances explore the somatic qualities of sound and the vernacular range of the voice through improvisation with found objects, handmade oscillators and receivers, and traditional instruments exploited for their resonant potential as speaker objects. As an independent researcher, she is interested in the translation of the electromagnetic spectrum into audible tones; in the nature of energy work and vibrational healing, particularly as it intersects with her day job as a bodyworker; and in the ecology and history unique to New Mexico, including its vast rural expanses, its troubled sites of extraction, and the aesthetic mythologies that obscure its political and cultural complexity. She has performed both solo and in ensembles at Cocoon (Santa Fe), Wave Archive (Tucson), High Desert Soundings, CO-OPt (Lubbock TX), ICA Santa Fe, the New Mexico Museum of Art, Human Resources, No Name Cinema (Santa Fe), Coaxial, and The Box (Los Angeles). Her video work has been exhibited at No Name Cinema, Currents 826, and REDCAT. She is a co-founder of Santa Fe Noise Ordinance, an experimental concert series that has hosted the Chacon/Nakatani/Santisteven trio, White Boy Scream, Twig Harper, Zachary James Watkins, and the Santa Fe Intertribal Noise Symposium, among many others.

Attention Hudson Valley, Capital Region, and Western Mass Musicians and Sound Artists! Send in your tracks for WGXC airplay!

We are pleased to announce our second Local Waves call for local music and sounds to air on WGXC 90.7-FM. Wave Farm is working with Chosen Family to deepen our local music library for on-air use. Tracks air during the weekly "Local Waves" show on Thursdays from 10 a.m. to 11 a.m. and Friday nights from 8 p.m. to 12 a.m. or 10 a.m. to 12 a.m., as well as many other times throughout the WGXC program schedule.

Send your files for airplay on WGXC 90.7-FM: Radio for Open Ears! Put "LOCAL WAVES" in the subject line of the email to music@wgxc.org and include a Bandcamp link with download code or mp3s (320 kbps).

Bill Corrigan is a sound archivist, musician, researcher and writer. Starting as a freeform DJ at Ann Arbor’s WCBN-FM, he has been digging into radio stations and archives across the United States, from Detroit’s WDET to Charlottesville’s WTJU, and has undertaken research and preservation activities at the Pacifica Radio Archives and the Library of Congress. He has made sounds for interdisciplinary ensembles Underword and the Llano Estacado Monad Band, and currently performs duets within the Resuscianne group. He is presently puzzling over the aesthetics of democratic participation, the rhetorics and putative realities of archival neutrality, and the fictive dimensions of documentary recordings. His work for Wave Farm promises to provide an instruction in navigation through the airwaves via the not-entirely-metaphorical medium of water.

As a Radio Art Research Fellow, Luna Galassini will contribute works of transmissions art originating in New Mexico and the broader Southwest. She will continue archival research that began as an exploration of mining and labor history in New Mexico, and soon expanded to include extant audio archives of historic field recordings, public radio interviews with downwinders and from inside the American Indian Movement's occupation of the Shiprock semiconductor plant, and educational radio programs on New Mexico's rivers, water rights, and land grants. She will focus especially on KUNM's Radio Performance Project, initiated and curated by Ned Sublette, a collection spanning documentary, radio play, long-form field recording, and experimental composition--including a 1979 performance of Alvin Lucier's "Music on a Long Thin Wire," broadcast for five straight days and nights from the roof of the Winrock Shopping Center in Albuquerque. Galassini will also contribute contemporary works to Wave Farm's archive, including artists working with shortwave transmission, low-power community radio, tape collage, performance works using analog broadcast equipment, and contributions from the DIY community of Very Low Frequency enthusiasts drawn to New Mexico's dark sky parks and quiet expanses.

Luna Galassini is a musician and artist based in Santa Fe, New Mexico. Her performances explore the somatic qualities of sound and the vernacular range of the voice through improvisation with found objects, handmade oscillators and receivers, and traditional instruments exploited for their resonant potential as speaker objects. As an independent researcher, she is interested in the translation of the electromagnetic spectrum into audible tones; in the nature of energy work and vibrational healing, particularly as it intersects with her day job as a bodyworker; and in the ecology and history unique to New Mexico, including its vast rural expanses, its troubled sites of extraction, and the aesthetic mythologies that obscure its political and cultural complexity. She has performed both solo and in ensembles at Cocoon (Santa Fe), Wave Archive (Tucson), High Desert Soundings, CO-OPt (Lubbock TX), ICA Santa Fe, the New Mexico Museum of Art, Human Resources, No Name Cinema (Santa Fe), Coaxial, and The Box (Los Angeles). Her video work has been exhibited at No Name Cinema, Currents 826, and REDCAT. She is a co-founder of Santa Fe Noise Ordinance, an experimental concert series that has hosted the Chacon/Nakatani/Santisteven trio, White Boy Scream, Twig Harper, Zachary James Watkins, and the Santa Fe Intertribal Noise Symposium, among many others.

Attention Hudson Valley, Capital Region, and Western Mass Musicians and Sound Artists! Send in your tracks for WGXC airplay!

We are pleased to announce our second Local Waves call for local music and sounds to air on WGXC 90.7-FM. Wave Farm is working with Chosen Family to deepen our local music library for on-air use. Tracks air during the weekly "Local Waves" show on Thursdays from 10 a.m. to 11 a.m. and Friday nights from 8 p.m. to 12 a.m. or 10 a.m. to 12 a.m., as well as many other times throughout the WGXC program schedule.

Send your files for airplay on WGXC 90.7-FM: Radio for Open Ears! Put "LOCAL WAVES" in the subject line of the email to music@wgxc.org and include a Bandcamp link with download code or mp3s (320 kbps).

Bill Corrigan is a sound archivist, musician, researcher and writer. Starting as a freeform DJ at Ann Arbor’s WCBN-FM, he has been digging into radio stations and archives across the United States, from Detroit’s WDET to Charlottesville’s WTJU, and has undertaken research and preservation activities at the Pacifica Radio Archives and the Library of Congress. He has made sounds for interdisciplinary ensembles Underword and the Llano Estacado Monad Band, and currently performs duets within the Resuscianne group. He is presently puzzling over the aesthetics of democratic participation, the rhetorics and putative realities of archival neutrality, and the fictive dimensions of documentary recordings. His work for Wave Farm promises to provide an instruction in navigation through the airwaves via the not-entirely-metaphorical medium of water.

As a Radio Art Research Fellow, Luna Galassini will contribute works of transmissions art originating in New Mexico and the broader Southwest. She will continue archival research that began as an exploration of mining and labor history in New Mexico, and soon expanded to include extant audio archives of historic field recordings, public radio interviews with downwinders and from inside the American Indian Movement's occupation of the Shiprock semiconductor plant, and educational radio programs on New Mexico's rivers, water rights, and land grants. She will focus especially on KUNM's Radio Performance Project, initiated and curated by Ned Sublette, a collection spanning documentary, radio play, long-form field recording, and experimental composition--including a 1979 performance of Alvin Lucier's "Music on a Long Thin Wire," broadcast for five straight days and nights from the roof of the Winrock Shopping Center in Albuquerque. Galassini will also contribute contemporary works to Wave Farm's archive, including artists working with shortwave transmission, low-power community radio, tape collage, performance works using analog broadcast equipment, and contributions from the DIY community of Very Low Frequency enthusiasts drawn to New Mexico's dark sky parks and quiet expanses.

Luna Galassini is a musician and artist based in Santa Fe, New Mexico. Her performances explore the somatic qualities of sound and the vernacular range of the voice through improvisation with found objects, handmade oscillators and receivers, and traditional instruments exploited for their resonant potential as speaker objects. As an independent researcher, she is interested in the translation of the electromagnetic spectrum into audible tones; in the nature of energy work and vibrational healing, particularly as it intersects with her day job as a bodyworker; and in the ecology and history unique to New Mexico, including its vast rural expanses, its troubled sites of extraction, and the aesthetic mythologies that obscure its political and cultural complexity. She has performed both solo and in ensembles at Cocoon (Santa Fe), Wave Archive (Tucson), High Desert Soundings, CO-OPt (Lubbock TX), ICA Santa Fe, the New Mexico Museum of Art, Human Resources, No Name Cinema (Santa Fe), Coaxial, and The Box (Los Angeles). Her video work has been exhibited at No Name Cinema, Currents 826, and REDCAT. She is a co-founder of Santa Fe Noise Ordinance, an experimental concert series that has hosted the Chacon/Nakatani/Santisteven trio, White Boy Scream, Twig Harper, Zachary James Watkins, and the Santa Fe Intertribal Noise Symposium, among many others.

Attention Hudson Valley, Capital Region, and Western Mass Musicians and Sound Artists! Send in your tracks for WGXC airplay!

We are pleased to announce our second Local Waves call for local music and sounds to air on WGXC 90.7-FM. Wave Farm is working with Chosen Family to deepen our local music library for on-air use. Tracks air during the weekly "Local Waves" show on Thursdays from 10 a.m. to 11 a.m. and Friday nights from 8 p.m. to 12 a.m. or 10 a.m. to 12 a.m., as well as many other times throughout the WGXC program schedule.

Send your files for airplay on WGXC 90.7-FM: Radio for Open Ears! Put "LOCAL WAVES" in the subject line of the email to music@wgxc.org and include a Bandcamp link with download code or mp3s (320 kbps).

Bill Corrigan is a sound archivist, musician, researcher and writer. Starting as a freeform DJ at Ann Arbor’s WCBN-FM, he has been digging into radio stations and archives across the United States, from Detroit’s WDET to Charlottesville’s WTJU, and has undertaken research and preservation activities at the Pacifica Radio Archives and the Library of Congress. He has made sounds for interdisciplinary ensembles Underword and the Llano Estacado Monad Band, and currently performs duets within the Resuscianne group. He is presently puzzling over the aesthetics of democratic participation, the rhetorics and putative realities of archival neutrality, and the fictive dimensions of documentary recordings. His work for Wave Farm promises to provide an instruction in navigation through the airwaves via the not-entirely-metaphorical medium of water.

As a Radio Art Research Fellow, Luna Galassini will contribute works of transmissions art originating in New Mexico and the broader Southwest. She will continue archival research that began as an exploration of mining and labor history in New Mexico, and soon expanded to include extant audio archives of historic field recordings, public radio interviews with downwinders and from inside the American Indian Movement's occupation of the Shiprock semiconductor plant, and educational radio programs on New Mexico's rivers, water rights, and land grants. She will focus especially on KUNM's Radio Performance Project, initiated and curated by Ned Sublette, a collection spanning documentary, radio play, long-form field recording, and experimental composition--including a 1979 performance of Alvin Lucier's "Music on a Long Thin Wire," broadcast for five straight days and nights from the roof of the Winrock Shopping Center in Albuquerque. Galassini will also contribute contemporary works to Wave Farm's archive, including artists working with shortwave transmission, low-power community radio, tape collage, performance works using analog broadcast equipment, and contributions from the DIY community of Very Low Frequency enthusiasts drawn to New Mexico's dark sky parks and quiet expanses.

Luna Galassini is a musician and artist based in Santa Fe, New Mexico. Her performances explore the somatic qualities of sound and the vernacular range of the voice through improvisation with found objects, handmade oscillators and receivers, and traditional instruments exploited for their resonant potential as speaker objects. As an independent researcher, she is interested in the translation of the electromagnetic spectrum into audible tones; in the nature of energy work and vibrational healing, particularly as it intersects with her day job as a bodyworker; and in the ecology and history unique to New Mexico, including its vast rural expanses, its troubled sites of extraction, and the aesthetic mythologies that obscure its political and cultural complexity. She has performed both solo and in ensembles at Cocoon (Santa Fe), Wave Archive (Tucson), High Desert Soundings, CO-OPt (Lubbock TX), ICA Santa Fe, the New Mexico Museum of Art, Human Resources, No Name Cinema (Santa Fe), Coaxial, and The Box (Los Angeles). Her video work has been exhibited at No Name Cinema, Currents 826, and REDCAT. She is a co-founder of Santa Fe Noise Ordinance, an experimental concert series that has hosted the Chacon/Nakatani/Santisteven trio, White Boy Scream, Twig Harper, Zachary James Watkins, and the Santa Fe Intertribal Noise Symposium, among many others.

Attention Hudson Valley, Capital Region, and Western Mass Musicians and Sound Artists! Send in your tracks for WGXC airplay!

We are pleased to announce our second Local Waves call for local music and sounds to air on WGXC 90.7-FM. Wave Farm is working with Chosen Family to deepen our local music library for on-air use. Tracks air during the weekly "Local Waves" show on Thursdays from 10 a.m. to 11 a.m. and Friday nights from 8 p.m. to 12 a.m. or 10 a.m. to 12 a.m., as well as many other times throughout the WGXC program schedule.

Send your files for airplay on WGXC 90.7-FM: Radio for Open Ears! Put "LOCAL WAVES" in the subject line of the email to music@wgxc.org and include a Bandcamp link with download code or mp3s (320 kbps).

Bill Corrigan is a sound archivist, musician, researcher and writer. Starting as a freeform DJ at Ann Arbor’s WCBN-FM, he has been digging into radio stations and archives across the United States, from Detroit’s WDET to Charlottesville’s WTJU, and has undertaken research and preservation activities at the Pacifica Radio Archives and the Library of Congress. He has made sounds for interdisciplinary ensembles Underword and the Llano Estacado Monad Band, and currently performs duets within the Resuscianne group. He is presently puzzling over the aesthetics of democratic participation, the rhetorics and putative realities of archival neutrality, and the fictive dimensions of documentary recordings. His work for Wave Farm promises to provide an instruction in navigation through the airwaves via the not-entirely-metaphorical medium of water.

As a Radio Art Research Fellow, Luna Galassini will contribute works of transmissions art originating in New Mexico and the broader Southwest. She will continue archival research that began as an exploration of mining and labor history in New Mexico, and soon expanded to include extant audio archives of historic field recordings, public radio interviews with downwinders and from inside the American Indian Movement's occupation of the Shiprock semiconductor plant, and educational radio programs on New Mexico's rivers, water rights, and land grants. She will focus especially on KUNM's Radio Performance Project, initiated and curated by Ned Sublette, a collection spanning documentary, radio play, long-form field recording, and experimental composition--including a 1979 performance of Alvin Lucier's "Music on a Long Thin Wire," broadcast for five straight days and nights from the roof of the Winrock Shopping Center in Albuquerque. Galassini will also contribute contemporary works to Wave Farm's archive, including artists working with shortwave transmission, low-power community radio, tape collage, performance works using analog broadcast equipment, and contributions from the DIY community of Very Low Frequency enthusiasts drawn to New Mexico's dark sky parks and quiet expanses.

Luna Galassini is a musician and artist based in Santa Fe, New Mexico. Her performances explore the somatic qualities of sound and the vernacular range of the voice through improvisation with found objects, handmade oscillators and receivers, and traditional instruments exploited for their resonant potential as speaker objects. As an independent researcher, she is interested in the translation of the electromagnetic spectrum into audible tones; in the nature of energy work and vibrational healing, particularly as it intersects with her day job as a bodyworker; and in the ecology and history unique to New Mexico, including its vast rural expanses, its troubled sites of extraction, and the aesthetic mythologies that obscure its political and cultural complexity. She has performed both solo and in ensembles at Cocoon (Santa Fe), Wave Archive (Tucson), High Desert Soundings, CO-OPt (Lubbock TX), ICA Santa Fe, the New Mexico Museum of Art, Human Resources, No Name Cinema (Santa Fe), Coaxial, and The Box (Los Angeles). Her video work has been exhibited at No Name Cinema, Currents 826, and REDCAT. She is a co-founder of Santa Fe Noise Ordinance, an experimental concert series that has hosted the Chacon/Nakatani/Santisteven trio, White Boy Scream, Twig Harper, Zachary James Watkins, and the Santa Fe Intertribal Noise Symposium, among many others.

Attention Hudson Valley, Capital Region, and Western Mass Musicians and Sound Artists! Send in your tracks for WGXC airplay!

We are pleased to announce our second Local Waves call for local music and sounds to air on WGXC 90.7-FM. Wave Farm is working with Chosen Family to deepen our local music library for on-air use. Tracks air during the weekly "Local Waves" show on Thursdays from 10 a.m. to 11 a.m. and Friday nights from 8 p.m. to 12 a.m. or 10 a.m. to 12 a.m., as well as many other times throughout the WGXC program schedule.

Send your files for airplay on WGXC 90.7-FM: Radio for Open Ears! Put "LOCAL WAVES" in the subject line of the email to music@wgxc.org and include a Bandcamp link with download code or mp3s (320 kbps).

Bill Corrigan is a sound archivist, musician, researcher and writer. Starting as a freeform DJ at Ann Arbor’s WCBN-FM, he has been digging into radio stations and archives across the United States, from Detroit’s WDET to Charlottesville’s WTJU, and has undertaken research and preservation activities at the Pacifica Radio Archives and the Library of Congress. He has made sounds for interdisciplinary ensembles Underword and the Llano Estacado Monad Band, and currently performs duets within the Resuscianne group. He is presently puzzling over the aesthetics of democratic participation, the rhetorics and putative realities of archival neutrality, and the fictive dimensions of documentary recordings. His work for Wave Farm promises to provide an instruction in navigation through the airwaves via the not-entirely-metaphorical medium of water.

As a Radio Art Research Fellow, Luna Galassini will contribute works of transmissions art originating in New Mexico and the broader Southwest. She will continue archival research that began as an exploration of mining and labor history in New Mexico, and soon expanded to include extant audio archives of historic field recordings, public radio interviews with downwinders and from inside the American Indian Movement's occupation of the Shiprock semiconductor plant, and educational radio programs on New Mexico's rivers, water rights, and land grants. She will focus especially on KUNM's Radio Performance Project, initiated and curated by Ned Sublette, a collection spanning documentary, radio play, long-form field recording, and experimental composition--including a 1979 performance of Alvin Lucier's "Music on a Long Thin Wire," broadcast for five straight days and nights from the roof of the Winrock Shopping Center in Albuquerque. Galassini will also contribute contemporary works to Wave Farm's archive, including artists working with shortwave transmission, low-power community radio, tape collage, performance works using analog broadcast equipment, and contributions from the DIY community of Very Low Frequency enthusiasts drawn to New Mexico's dark sky parks and quiet expanses.

Luna Galassini is a musician and artist based in Santa Fe, New Mexico. Her performances explore the somatic qualities of sound and the vernacular range of the voice through improvisation with found objects, handmade oscillators and receivers, and traditional instruments exploited for their resonant potential as speaker objects. As an independent researcher, she is interested in the translation of the electromagnetic spectrum into audible tones; in the nature of energy work and vibrational healing, particularly as it intersects with her day job as a bodyworker; and in the ecology and history unique to New Mexico, including its vast rural expanses, its troubled sites of extraction, and the aesthetic mythologies that obscure its political and cultural complexity. She has performed both solo and in ensembles at Cocoon (Santa Fe), Wave Archive (Tucson), High Desert Soundings, CO-OPt (Lubbock TX), ICA Santa Fe, the New Mexico Museum of Art, Human Resources, No Name Cinema (Santa Fe), Coaxial, and The Box (Los Angeles). Her video work has been exhibited at No Name Cinema, Currents 826, and REDCAT. She is a co-founder of Santa Fe Noise Ordinance, an experimental concert series that has hosted the Chacon/Nakatani/Santisteven trio, White Boy Scream, Twig Harper, Zachary James Watkins, and the Santa Fe Intertribal Noise Symposium, among many others.

Attention Hudson Valley, Capital Region, and Western Mass Musicians and Sound Artists! Send in your tracks for WGXC airplay!

We are pleased to announce our second Local Waves call for local music and sounds to air on WGXC 90.7-FM. Wave Farm is working with Chosen Family to deepen our local music library for on-air use. Tracks air during the weekly "Local Waves" show on Thursdays from 10 a.m. to 11 a.m. and Friday nights from 8 p.m. to 12 a.m. or 10 a.m. to 12 a.m., as well as many other times throughout the WGXC program schedule.

Send your files for airplay on WGXC 90.7-FM: Radio for Open Ears! Put "LOCAL WAVES" in the subject line of the email to music@wgxc.org and include a Bandcamp link with download code or mp3s (320 kbps).

Bill Corrigan is a sound archivist, musician, researcher and writer. Starting as a freeform DJ at Ann Arbor’s WCBN-FM, he has been digging into radio stations and archives across the United States, from Detroit’s WDET to Charlottesville’s WTJU, and has undertaken research and preservation activities at the Pacifica Radio Archives and the Library of Congress. He has made sounds for interdisciplinary ensembles Underword and the Llano Estacado Monad Band, and currently performs duets within the Resuscianne group. He is presently puzzling over the aesthetics of democratic participation, the rhetorics and putative realities of archival neutrality, and the fictive dimensions of documentary recordings. His work for Wave Farm promises to provide an instruction in navigation through the airwaves via the not-entirely-metaphorical medium of water.

As a Radio Art Research Fellow, Luna Galassini will contribute works of transmissions art originating in New Mexico and the broader Southwest. She will continue archival research that began as an exploration of mining and labor history in New Mexico, and soon expanded to include extant audio archives of historic field recordings, public radio interviews with downwinders and from inside the American Indian Movement's occupation of the Shiprock semiconductor plant, and educational radio programs on New Mexico's rivers, water rights, and land grants. She will focus especially on KUNM's Radio Performance Project, initiated and curated by Ned Sublette, a collection spanning documentary, radio play, long-form field recording, and experimental composition--including a 1979 performance of Alvin Lucier's "Music on a Long Thin Wire," broadcast for five straight days and nights from the roof of the Winrock Shopping Center in Albuquerque. Galassini will also contribute contemporary works to Wave Farm's archive, including artists working with shortwave transmission, low-power community radio, tape collage, performance works using analog broadcast equipment, and contributions from the DIY community of Very Low Frequency enthusiasts drawn to New Mexico's dark sky parks and quiet expanses.

Luna Galassini is a musician and artist based in Santa Fe, New Mexico. Her performances explore the somatic qualities of sound and the vernacular range of the voice through improvisation with found objects, handmade oscillators and receivers, and traditional instruments exploited for their resonant potential as speaker objects. As an independent researcher, she is interested in the translation of the electromagnetic spectrum into audible tones; in the nature of energy work and vibrational healing, particularly as it intersects with her day job as a bodyworker; and in the ecology and history unique to New Mexico, including its vast rural expanses, its troubled sites of extraction, and the aesthetic mythologies that obscure its political and cultural complexity. She has performed both solo and in ensembles at Cocoon (Santa Fe), Wave Archive (Tucson), High Desert Soundings, CO-OPt (Lubbock TX), ICA Santa Fe, the New Mexico Museum of Art, Human Resources, No Name Cinema (Santa Fe), Coaxial, and The Box (Los Angeles). Her video work has been exhibited at No Name Cinema, Currents 826, and REDCAT. She is a co-founder of Santa Fe Noise Ordinance, an experimental concert series that has hosted the Chacon/Nakatani/Santisteven trio, White Boy Scream, Twig Harper, Zachary James Watkins, and the Santa Fe Intertribal Noise Symposium, among many others.

Attention Hudson Valley, Capital Region, and Western Mass Musicians and Sound Artists! Send in your tracks for WGXC airplay!

We are pleased to announce our second Local Waves call for local music and sounds to air on WGXC 90.7-FM. Wave Farm is working with Chosen Family to deepen our local music library for on-air use. Tracks air during the weekly "Local Waves" show on Thursdays from 10 a.m. to 11 a.m. and Friday nights from 8 p.m. to 12 a.m. or 10 a.m. to 12 a.m., as well as many other times throughout the WGXC program schedule.

Send your files for airplay on WGXC 90.7-FM: Radio for Open Ears! Put "LOCAL WAVES" in the subject line of the email to music@wgxc.org and include a Bandcamp link with download code or mp3s (320 kbps).

Bill Corrigan is a sound archivist, musician, researcher and writer. Starting as a freeform DJ at Ann Arbor’s WCBN-FM, he has been digging into radio stations and archives across the United States, from Detroit’s WDET to Charlottesville’s WTJU, and has undertaken research and preservation activities at the Pacifica Radio Archives and the Library of Congress. He has made sounds for interdisciplinary ensembles Underword and the Llano Estacado Monad Band, and currently performs duets within the Resuscianne group. He is presently puzzling over the aesthetics of democratic participation, the rhetorics and putative realities of archival neutrality, and the fictive dimensions of documentary recordings. His work for Wave Farm promises to provide an instruction in navigation through the airwaves via the not-entirely-metaphorical medium of water.

As a Radio Art Research Fellow, Luna Galassini will contribute works of transmissions art originating in New Mexico and the broader Southwest. She will continue archival research that began as an exploration of mining and labor history in New Mexico, and soon expanded to include extant audio archives of historic field recordings, public radio interviews with downwinders and from inside the American Indian Movement's occupation of the Shiprock semiconductor plant, and educational radio programs on New Mexico's rivers, water rights, and land grants. She will focus especially on KUNM's Radio Performance Project, initiated and curated by Ned Sublette, a collection spanning documentary, radio play, long-form field recording, and experimental composition--including a 1979 performance of Alvin Lucier's "Music on a Long Thin Wire," broadcast for five straight days and nights from the roof of the Winrock Shopping Center in Albuquerque. Galassini will also contribute contemporary works to Wave Farm's archive, including artists working with shortwave transmission, low-power community radio, tape collage, performance works using analog broadcast equipment, and contributions from the DIY community of Very Low Frequency enthusiasts drawn to New Mexico's dark sky parks and quiet expanses.

Luna Galassini is a musician and artist based in Santa Fe, New Mexico. Her performances explore the somatic qualities of sound and the vernacular range of the voice through improvisation with found objects, handmade oscillators and receivers, and traditional instruments exploited for their resonant potential as speaker objects. As an independent researcher, she is interested in the translation of the electromagnetic spectrum into audible tones; in the nature of energy work and vibrational healing, particularly as it intersects with her day job as a bodyworker; and in the ecology and history unique to New Mexico, including its vast rural expanses, its troubled sites of extraction, and the aesthetic mythologies that obscure its political and cultural complexity. She has performed both solo and in ensembles at Cocoon (Santa Fe), Wave Archive (Tucson), High Desert Soundings, CO-OPt (Lubbock TX), ICA Santa Fe, the New Mexico Museum of Art, Human Resources, No Name Cinema (Santa Fe), Coaxial, and The Box (Los Angeles). Her video work has been exhibited at No Name Cinema, Currents 826, and REDCAT. She is a co-founder of Santa Fe Noise Ordinance, an experimental concert series that has hosted the Chacon/Nakatani/Santisteven trio, White Boy Scream, Twig Harper, Zachary James Watkins, and the Santa Fe Intertribal Noise Symposium, among many others.

Attention Hudson Valley, Capital Region, and Western Mass Musicians and Sound Artists! Send in your tracks for WGXC airplay!

We are pleased to announce our second Local Waves call for local music and sounds to air on WGXC 90.7-FM. Wave Farm is working with Chosen Family to deepen our local music library for on-air use. Tracks air during the weekly "Local Waves" show on Thursdays from 10 a.m. to 11 a.m. and Friday nights from 8 p.m. to 12 a.m. or 10 a.m. to 12 a.m., as well as many other times throughout the WGXC program schedule.

Send your files for airplay on WGXC 90.7-FM: Radio for Open Ears! Put "LOCAL WAVES" in the subject line of the email to music@wgxc.org and include a Bandcamp link with download code or mp3s (320 kbps).

Bill Corrigan is a sound archivist, musician, researcher and writer. Starting as a freeform DJ at Ann Arbor’s WCBN-FM, he has been digging into radio stations and archives across the United States, from Detroit’s WDET to Charlottesville’s WTJU, and has undertaken research and preservation activities at the Pacifica Radio Archives and the Library of Congress. He has made sounds for interdisciplinary ensembles Underword and the Llano Estacado Monad Band, and currently performs duets within the Resuscianne group. He is presently puzzling over the aesthetics of democratic participation, the rhetorics and putative realities of archival neutrality, and the fictive dimensions of documentary recordings. His work for Wave Farm promises to provide an instruction in navigation through the airwaves via the not-entirely-metaphorical medium of water.

As a Radio Art Research Fellow, Luna Galassini will contribute works of transmissions art originating in New Mexico and the broader Southwest. She will continue archival research that began as an exploration of mining and labor history in New Mexico, and soon expanded to include extant audio archives of historic field recordings, public radio interviews with downwinders and from inside the American Indian Movement's occupation of the Shiprock semiconductor plant, and educational radio programs on New Mexico's rivers, water rights, and land grants. She will focus especially on KUNM's Radio Performance Project, initiated and curated by Ned Sublette, a collection spanning documentary, radio play, long-form field recording, and experimental composition--including a 1979 performance of Alvin Lucier's "Music on a Long Thin Wire," broadcast for five straight days and nights from the roof of the Winrock Shopping Center in Albuquerque. Galassini will also contribute contemporary works to Wave Farm's archive, including artists working with shortwave transmission, low-power community radio, tape collage, performance works using analog broadcast equipment, and contributions from the DIY community of Very Low Frequency enthusiasts drawn to New Mexico's dark sky parks and quiet expanses.

Luna Galassini is a musician and artist based in Santa Fe, New Mexico. Her performances explore the somatic qualities of sound and the vernacular range of the voice through improvisation with found objects, handmade oscillators and receivers, and traditional instruments exploited for their resonant potential as speaker objects. As an independent researcher, she is interested in the translation of the electromagnetic spectrum into audible tones; in the nature of energy work and vibrational healing, particularly as it intersects with her day job as a bodyworker; and in the ecology and history unique to New Mexico, including its vast rural expanses, its troubled sites of extraction, and the aesthetic mythologies that obscure its political and cultural complexity. She has performed both solo and in ensembles at Cocoon (Santa Fe), Wave Archive (Tucson), High Desert Soundings, CO-OPt (Lubbock TX), ICA Santa Fe, the New Mexico Museum of Art, Human Resources, No Name Cinema (Santa Fe), Coaxial, and The Box (Los Angeles). Her video work has been exhibited at No Name Cinema, Currents 826, and REDCAT. She is a co-founder of Santa Fe Noise Ordinance, an experimental concert series that has hosted the Chacon/Nakatani/Santisteven trio, White Boy Scream, Twig Harper, Zachary James Watkins, and the Santa Fe Intertribal Noise Symposium, among many others.

Attention Hudson Valley, Capital Region, and Western Mass Musicians and Sound Artists! Send in your tracks for WGXC airplay!

We are pleased to announce our second Local Waves call for local music and sounds to air on WGXC 90.7-FM. Wave Farm is working with Chosen Family to deepen our local music library for on-air use. Tracks air during the weekly "Local Waves" show on Thursdays from 10 a.m. to 11 a.m. and Friday nights from 8 p.m. to 12 a.m. or 10 a.m. to 12 a.m., as well as many other times throughout the WGXC program schedule.

Send your files for airplay on WGXC 90.7-FM: Radio for Open Ears! Put "LOCAL WAVES" in the subject line of the email to music@wgxc.org and include a Bandcamp link with download code or mp3s (320 kbps).

Bill Corrigan is a sound archivist, musician, researcher and writer. Starting as a freeform DJ at Ann Arbor’s WCBN-FM, he has been digging into radio stations and archives across the United States, from Detroit’s WDET to Charlottesville’s WTJU, and has undertaken research and preservation activities at the Pacifica Radio Archives and the Library of Congress. He has made sounds for interdisciplinary ensembles Underword and the Llano Estacado Monad Band, and currently performs duets within the Resuscianne group. He is presently puzzling over the aesthetics of democratic participation, the rhetorics and putative realities of archival neutrality, and the fictive dimensions of documentary recordings. His work for Wave Farm promises to provide an instruction in navigation through the airwaves via the not-entirely-metaphorical medium of water.

As a Radio Art Research Fellow, Luna Galassini will contribute works of transmissions art originating in New Mexico and the broader Southwest. She will continue archival research that began as an exploration of mining and labor history in New Mexico, and soon expanded to include extant audio archives of historic field recordings, public radio interviews with downwinders and from inside the American Indian Movement's occupation of the Shiprock semiconductor plant, and educational radio programs on New Mexico's rivers, water rights, and land grants. She will focus especially on KUNM's Radio Performance Project, initiated and curated by Ned Sublette, a collection spanning documentary, radio play, long-form field recording, and experimental composition--including a 1979 performance of Alvin Lucier's "Music on a Long Thin Wire," broadcast for five straight days and nights from the roof of the Winrock Shopping Center in Albuquerque. Galassini will also contribute contemporary works to Wave Farm's archive, including artists working with shortwave transmission, low-power community radio, tape collage, performance works using analog broadcast equipment, and contributions from the DIY community of Very Low Frequency enthusiasts drawn to New Mexico's dark sky parks and quiet expanses.

Luna Galassini is a musician and artist based in Santa Fe, New Mexico. Her performances explore the somatic qualities of sound and the vernacular range of the voice through improvisation with found objects, handmade oscillators and receivers, and traditional instruments exploited for their resonant potential as speaker objects. As an independent researcher, she is interested in the translation of the electromagnetic spectrum into audible tones; in the nature of energy work and vibrational healing, particularly as it intersects with her day job as a bodyworker; and in the ecology and history unique to New Mexico, including its vast rural expanses, its troubled sites of extraction, and the aesthetic mythologies that obscure its political and cultural complexity. She has performed both solo and in ensembles at Cocoon (Santa Fe), Wave Archive (Tucson), High Desert Soundings, CO-OPt (Lubbock TX), ICA Santa Fe, the New Mexico Museum of Art, Human Resources, No Name Cinema (Santa Fe), Coaxial, and The Box (Los Angeles). Her video work has been exhibited at No Name Cinema, Currents 826, and REDCAT. She is a co-founder of Santa Fe Noise Ordinance, an experimental concert series that has hosted the Chacon/Nakatani/Santisteven trio, White Boy Scream, Twig Harper, Zachary James Watkins, and the Santa Fe Intertribal Noise Symposium, among many others.

Attention Hudson Valley, Capital Region, and Western Mass Musicians and Sound Artists! Send in your tracks for WGXC airplay!

We are pleased to announce our second Local Waves call for local music and sounds to air on WGXC 90.7-FM. Wave Farm is working with Chosen Family to deepen our local music library for on-air use. Tracks air during the weekly "Local Waves" show on Thursdays from 10 a.m. to 11 a.m. and Friday nights from 8 p.m. to 12 a.m. or 10 a.m. to 12 a.m., as well as many other times throughout the WGXC program schedule.

Send your files for airplay on WGXC 90.7-FM: Radio for Open Ears! Put "LOCAL WAVES" in the subject line of the email to music@wgxc.org and include a Bandcamp link with download code or mp3s (320 kbps).

Bill Corrigan is a sound archivist, musician, researcher and writer. Starting as a freeform DJ at Ann Arbor’s WCBN-FM, he has been digging into radio stations and archives across the United States, from Detroit’s WDET to Charlottesville’s WTJU, and has undertaken research and preservation activities at the Pacifica Radio Archives and the Library of Congress. He has made sounds for interdisciplinary ensembles Underword and the Llano Estacado Monad Band, and currently performs duets within the Resuscianne group. He is presently puzzling over the aesthetics of democratic participation, the rhetorics and putative realities of archival neutrality, and the fictive dimensions of documentary recordings. His work for Wave Farm promises to provide an instruction in navigation through the airwaves via the not-entirely-metaphorical medium of water.

As a Radio Art Research Fellow, Luna Galassini will contribute works of transmissions art originating in New Mexico and the broader Southwest. She will continue archival research that began as an exploration of mining and labor history in New Mexico, and soon expanded to include extant audio archives of historic field recordings, public radio interviews with downwinders and from inside the American Indian Movement's occupation of the Shiprock semiconductor plant, and educational radio programs on New Mexico's rivers, water rights, and land grants. She will focus especially on KUNM's Radio Performance Project, initiated and curated by Ned Sublette, a collection spanning documentary, radio play, long-form field recording, and experimental composition--including a 1979 performance of Alvin Lucier's "Music on a Long Thin Wire," broadcast for five straight days and nights from the roof of the Winrock Shopping Center in Albuquerque. Galassini will also contribute contemporary works to Wave Farm's archive, including artists working with shortwave transmission, low-power community radio, tape collage, performance works using analog broadcast equipment, and contributions from the DIY community of Very Low Frequency enthusiasts drawn to New Mexico's dark sky parks and quiet expanses.

Luna Galassini is a musician and artist based in Santa Fe, New Mexico. Her performances explore the somatic qualities of sound and the vernacular range of the voice through improvisation with found objects, handmade oscillators and receivers, and traditional instruments exploited for their resonant potential as speaker objects. As an independent researcher, she is interested in the translation of the electromagnetic spectrum into audible tones; in the nature of energy work and vibrational healing, particularly as it intersects with her day job as a bodyworker; and in the ecology and history unique to New Mexico, including its vast rural expanses, its troubled sites of extraction, and the aesthetic mythologies that obscure its political and cultural complexity. She has performed both solo and in ensembles at Cocoon (Santa Fe), Wave Archive (Tucson), High Desert Soundings, CO-OPt (Lubbock TX), ICA Santa Fe, the New Mexico Museum of Art, Human Resources, No Name Cinema (Santa Fe), Coaxial, and The Box (Los Angeles). Her video work has been exhibited at No Name Cinema, Currents 826, and REDCAT. She is a co-founder of Santa Fe Noise Ordinance, an experimental concert series that has hosted the Chacon/Nakatani/Santisteven trio, White Boy Scream, Twig Harper, Zachary James Watkins, and the Santa Fe Intertribal Noise Symposium, among many others.

Attention Hudson Valley, Capital Region, and Western Mass Musicians and Sound Artists! Send in your tracks for WGXC airplay!

We are pleased to announce our second Local Waves call for local music and sounds to air on WGXC 90.7-FM. Wave Farm is working with Chosen Family to deepen our local music library for on-air use. Tracks air during the weekly "Local Waves" show on Thursdays from 10 a.m. to 11 a.m. and Friday nights from 8 p.m. to 12 a.m. or 10 a.m. to 12 a.m., as well as many other times throughout the WGXC program schedule.

Send your files for airplay on WGXC 90.7-FM: Radio for Open Ears! Put "LOCAL WAVES" in the subject line of the email to music@wgxc.org and include a Bandcamp link with download code or mp3s (320 kbps).

As a 2025 Wave Farm Radio Art Fellow, Fabiana writes: "Streaming from an intimate interest in Alien Sound, drawing on what Kodwo Eshun discusses in More Brilliant Than the Sun as Alien Music, I propose writing an essay, culminating on a short book, that uses Tendayi Sithole’s The Black Register, Sun Ra’s MythScience, and Eshun’s concept of Alien Music as an experimental lens to explore how sonic practices articulate modes of Black and Indigenous aesthetic-world-making through vibration as epistemology, transmission, and formless formation. I will focus on the works of Kamari Carter and Gladstone Deluxe (Codes), the ANANSI Revolutionary Collective and SUNJIR0, and Celeste Oram’s TERRA RADIA workshop—all of whom engage with sound as an insurgent force that unsettles hegemonic temporal structures of listening, technology, and registry. Throughout this article, I will explore the breaks where Alien Sound is transmitted (and listened to, dislocated, created, destroyed)—where nothing is fixed in tradition, space, or temporality, but instead dislocated from any origin—proposing sound as a fugitive method of synthetic recombination."

Fabiana Gibim is a performance artist, editor, and curator from the border of Brazil and Paraguay, born into the Guarani-Kaiowá Indigenous Nation. Her work explores concepts of sonic art in relation to the epistemology of vibration. She is interested in radical archives—both sound and printed matter—and dedicates herself to creating imaginary archives that experiment with the concept of “formless formation.” She is also the editor and founder of the São Paulo-based radical press, Sobinfluencia, working collaboratively with over 200 contributors and having published over 40 books and more than 50 mixed-media posters. She is co-founder of the Nocturnal Lab, laboratory of investigations on sound and night.

Fabiana was a special curator at the Beinecke Rare Book and Manuscript Library at Yale, where she received the prestigious John D. and Rose H. Jackson Award for outstanding work in artistic curation. Her efforts culminated in curating the exhibition “Art, Protest & The Archives” at Yale from 2023 to 2024. In 2023, she was a finalist for the Prêmio Jabuti (the "Tortoise Prize"), the most traditional literary award in Brazil, given by the Brazilian Book Chamber (CBL), for her work as the editor of the first book ever written in history, the Mesopotamian long poem “Inana.” Currently, Fabiana lives between Brazil and New York, investigating sound, collage, radio work, and writing about sonic experimentalism.

As a 2025 Wave Farm Radio Art Fellow, Fabiana writes: "Streaming from an intimate interest in Alien Sound, drawing on what Kodwo Eshun discusses in More Brilliant Than the Sun as Alien Music, I propose writing an essay, culminating on a short book, that uses Tendayi Sithole’s The Black Register, Sun Ra’s MythScience, and Eshun’s concept of Alien Music as an experimental lens to explore how sonic practices articulate modes of Black and Indigenous aesthetic-world-making through vibration as epistemology, transmission, and formless formation. I will focus on the works of Kamari Carter and Gladstone Deluxe (Codes), the ANANSI Revolutionary Collective and SUNJIR0, and Celeste Oram’s TERRA RADIA workshop—all of whom engage with sound as an insurgent force that unsettles hegemonic temporal structures of listening, technology, and registry. Throughout this article, I will explore the breaks where Alien Sound is transmitted (and listened to, dislocated, created, destroyed)—where nothing is fixed in tradition, space, or temporality, but instead dislocated from any origin—proposing sound as a fugitive method of synthetic recombination."

Fabiana Gibim is a performance artist, editor, and curator from the border of Brazil and Paraguay, born into the Guarani-Kaiowá Indigenous Nation. Her work explores concepts of sonic art in relation to the epistemology of vibration. She is interested in radical archives—both sound and printed matter—and dedicates herself to creating imaginary archives that experiment with the concept of “formless formation.” She is also the editor and founder of the São Paulo-based radical press, Sobinfluencia, working collaboratively with over 200 contributors and having published over 40 books and more than 50 mixed-media posters. She is co-founder of the Nocturnal Lab, laboratory of investigations on sound and night.

Fabiana was a special curator at the Beinecke Rare Book and Manuscript Library at Yale, where she received the prestigious John D. and Rose H. Jackson Award for outstanding work in artistic curation. Her efforts culminated in curating the exhibition “Art, Protest & The Archives” at Yale from 2023 to 2024. In 2023, she was a finalist for the Prêmio Jabuti (the "Tortoise Prize"), the most traditional literary award in Brazil, given by the Brazilian Book Chamber (CBL), for her work as the editor of the first book ever written in history, the Mesopotamian long poem “Inana.” Currently, Fabiana lives between Brazil and New York, investigating sound, collage, radio work, and writing about sonic experimentalism.

As a 2025 Wave Farm Radio Art Fellow, Fabiana writes: "Streaming from an intimate interest in Alien Sound, drawing on what Kodwo Eshun discusses in More Brilliant Than the Sun as Alien Music, I propose writing an essay, culminating on a short book, that uses Tendayi Sithole’s The Black Register, Sun Ra’s MythScience, and Eshun’s concept of Alien Music as an experimental lens to explore how sonic practices articulate modes of Black and Indigenous aesthetic-world-making through vibration as epistemology, transmission, and formless formation. I will focus on the works of Kamari Carter and Gladstone Deluxe (Codes), the ANANSI Revolutionary Collective and SUNJIR0, and Celeste Oram’s TERRA RADIA workshop—all of whom engage with sound as an insurgent force that unsettles hegemonic temporal structures of listening, technology, and registry. Throughout this article, I will explore the breaks where Alien Sound is transmitted (and listened to, dislocated, created, destroyed)—where nothing is fixed in tradition, space, or temporality, but instead dislocated from any origin—proposing sound as a fugitive method of synthetic recombination."

Fabiana Gibim is a performance artist, editor, and curator from the border of Brazil and Paraguay, born into the Guarani-Kaiowá Indigenous Nation. Her work explores concepts of sonic art in relation to the epistemology of vibration. She is interested in radical archives—both sound and printed matter—and dedicates herself to creating imaginary archives that experiment with the concept of “formless formation.” She is also the editor and founder of the São Paulo-based radical press, Sobinfluencia, working collaboratively with over 200 contributors and having published over 40 books and more than 50 mixed-media posters. She is co-founder of the Nocturnal Lab, laboratory of investigations on sound and night.

Fabiana was a special curator at the Beinecke Rare Book and Manuscript Library at Yale, where she received the prestigious John D. and Rose H. Jackson Award for outstanding work in artistic curation. Her efforts culminated in curating the exhibition “Art, Protest & The Archives” at Yale from 2023 to 2024. In 2023, she was a finalist for the Prêmio Jabuti (the "Tortoise Prize"), the most traditional literary award in Brazil, given by the Brazilian Book Chamber (CBL), for her work as the editor of the first book ever written in history, the Mesopotamian long poem “Inana.” Currently, Fabiana lives between Brazil and New York, investigating sound, collage, radio work, and writing about sonic experimentalism.

As a 2025 Wave Farm Radio Art Fellow, Fabiana writes: "Streaming from an intimate interest in Alien Sound, drawing on what Kodwo Eshun discusses in More Brilliant Than the Sun as Alien Music, I propose writing an essay, culminating on a short book, that uses Tendayi Sithole’s The Black Register, Sun Ra’s MythScience, and Eshun’s concept of Alien Music as an experimental lens to explore how sonic practices articulate modes of Black and Indigenous aesthetic-world-making through vibration as epistemology, transmission, and formless formation. I will focus on the works of Kamari Carter and Gladstone Deluxe (Codes), the ANANSI Revolutionary Collective and SUNJIR0, and Celeste Oram’s TERRA RADIA workshop—all of whom engage with sound as an insurgent force that unsettles hegemonic temporal structures of listening, technology, and registry. Throughout this article, I will explore the breaks where Alien Sound is transmitted (and listened to, dislocated, created, destroyed)—where nothing is fixed in tradition, space, or temporality, but instead dislocated from any origin—proposing sound as a fugitive method of synthetic recombination."

Fabiana Gibim is a performance artist, editor, and curator from the border of Brazil and Paraguay, born into the Guarani-Kaiowá Indigenous Nation. Her work explores concepts of sonic art in relation to the epistemology of vibration. She is interested in radical archives—both sound and printed matter—and dedicates herself to creating imaginary archives that experiment with the concept of “formless formation.” She is also the editor and founder of the São Paulo-based radical press, Sobinfluencia, working collaboratively with over 200 contributors and having published over 40 books and more than 50 mixed-media posters. She is co-founder of the Nocturnal Lab, laboratory of investigations on sound and night.

Fabiana was a special curator at the Beinecke Rare Book and Manuscript Library at Yale, where she received the prestigious John D. and Rose H. Jackson Award for outstanding work in artistic curation. Her efforts culminated in curating the exhibition “Art, Protest & The Archives” at Yale from 2023 to 2024. In 2023, she was a finalist for the Prêmio Jabuti (the "Tortoise Prize"), the most traditional literary award in Brazil, given by the Brazilian Book Chamber (CBL), for her work as the editor of the first book ever written in history, the Mesopotamian long poem “Inana.” Currently, Fabiana lives between Brazil and New York, investigating sound, collage, radio work, and writing about sonic experimentalism.

As a 2025 Wave Farm Radio Art Fellow, Fabiana writes: "Streaming from an intimate interest in Alien Sound, drawing on what Kodwo Eshun discusses in More Brilliant Than the Sun as Alien Music, I propose writing an essay, culminating on a short book, that uses Tendayi Sithole’s The Black Register, Sun Ra’s MythScience, and Eshun’s concept of Alien Music as an experimental lens to explore how sonic practices articulate modes of Black and Indigenous aesthetic-world-making through vibration as epistemology, transmission, and formless formation. I will focus on the works of Kamari Carter and Gladstone Deluxe (Codes), the ANANSI Revolutionary Collective and SUNJIR0, and Celeste Oram’s TERRA RADIA workshop—all of whom engage with sound as an insurgent force that unsettles hegemonic temporal structures of listening, technology, and registry. Throughout this article, I will explore the breaks where Alien Sound is transmitted (and listened to, dislocated, created, destroyed)—where nothing is fixed in tradition, space, or temporality, but instead dislocated from any origin—proposing sound as a fugitive method of synthetic recombination."

Fabiana Gibim is a performance artist, editor, and curator from the border of Brazil and Paraguay, born into the Guarani-Kaiowá Indigenous Nation. Her work explores concepts of sonic art in relation to the epistemology of vibration. She is interested in radical archives—both sound and printed matter—and dedicates herself to creating imaginary archives that experiment with the concept of “formless formation.” She is also the editor and founder of the São Paulo-based radical press, Sobinfluencia, working collaboratively with over 200 contributors and having published over 40 books and more than 50 mixed-media posters. She is co-founder of the Nocturnal Lab, laboratory of investigations on sound and night.

Fabiana was a special curator at the Beinecke Rare Book and Manuscript Library at Yale, where she received the prestigious John D. and Rose H. Jackson Award for outstanding work in artistic curation. Her efforts culminated in curating the exhibition “Art, Protest & The Archives” at Yale from 2023 to 2024. In 2023, she was a finalist for the Prêmio Jabuti (the "Tortoise Prize"), the most traditional literary award in Brazil, given by the Brazilian Book Chamber (CBL), for her work as the editor of the first book ever written in history, the Mesopotamian long poem “Inana.” Currently, Fabiana lives between Brazil and New York, investigating sound, collage, radio work, and writing about sonic experimentalism.

As a 2025 Wave Farm Radio Art Fellow, Fabiana writes: "Streaming from an intimate interest in Alien Sound, drawing on what Kodwo Eshun discusses in More Brilliant Than the Sun as Alien Music, I propose writing an essay, culminating on a short book, that uses Tendayi Sithole’s The Black Register, Sun Ra’s MythScience, and Eshun’s concept of Alien Music as an experimental lens to explore how sonic practices articulate modes of Black and Indigenous aesthetic-world-making through vibration as epistemology, transmission, and formless formation. I will focus on the works of Kamari Carter and Gladstone Deluxe (Codes), the ANANSI Revolutionary Collective and SUNJIR0, and Celeste Oram’s TERRA RADIA workshop—all of whom engage with sound as an insurgent force that unsettles hegemonic temporal structures of listening, technology, and registry. Throughout this article, I will explore the breaks where Alien Sound is transmitted (and listened to, dislocated, created, destroyed)—where nothing is fixed in tradition, space, or temporality, but instead dislocated from any origin—proposing sound as a fugitive method of synthetic recombination."

Fabiana Gibim is a performance artist, editor, and curator from the border of Brazil and Paraguay, born into the Guarani-Kaiowá Indigenous Nation. Her work explores concepts of sonic art in relation to the epistemology of vibration. She is interested in radical archives—both sound and printed matter—and dedicates herself to creating imaginary archives that experiment with the concept of “formless formation.” She is also the editor and founder of the São Paulo-based radical press, Sobinfluencia, working collaboratively with over 200 contributors and having published over 40 books and more than 50 mixed-media posters. She is co-founder of the Nocturnal Lab, laboratory of investigations on sound and night.

Fabiana was a special curator at the Beinecke Rare Book and Manuscript Library at Yale, where she received the prestigious John D. and Rose H. Jackson Award for outstanding work in artistic curation. Her efforts culminated in curating the exhibition “Art, Protest & The Archives” at Yale from 2023 to 2024. In 2023, she was a finalist for the Prêmio Jabuti (the "Tortoise Prize"), the most traditional literary award in Brazil, given by the Brazilian Book Chamber (CBL), for her work as the editor of the first book ever written in history, the Mesopotamian long poem “Inana.” Currently, Fabiana lives between Brazil and New York, investigating sound, collage, radio work, and writing about sonic experimentalism.

As a 2025 Wave Farm Radio Art Fellow, Fabiana writes: "Streaming from an intimate interest in Alien Sound, drawing on what Kodwo Eshun discusses in More Brilliant Than the Sun as Alien Music, I propose writing an essay, culminating on a short book, that uses Tendayi Sithole’s The Black Register, Sun Ra’s MythScience, and Eshun’s concept of Alien Music as an experimental lens to explore how sonic practices articulate modes of Black and Indigenous aesthetic-world-making through vibration as epistemology, transmission, and formless formation. I will focus on the works of Kamari Carter and Gladstone Deluxe (Codes), the ANANSI Revolutionary Collective and SUNJIR0, and Celeste Oram’s TERRA RADIA workshop—all of whom engage with sound as an insurgent force that unsettles hegemonic temporal structures of listening, technology, and registry. Throughout this article, I will explore the breaks where Alien Sound is transmitted (and listened to, dislocated, created, destroyed)—where nothing is fixed in tradition, space, or temporality, but instead dislocated from any origin—proposing sound as a fugitive method of synthetic recombination."

Fabiana Gibim is a performance artist, editor, and curator from the border of Brazil and Paraguay, born into the Guarani-Kaiowá Indigenous Nation. Her work explores concepts of sonic art in relation to the epistemology of vibration. She is interested in radical archives—both sound and printed matter—and dedicates herself to creating imaginary archives that experiment with the concept of “formless formation.” She is also the editor and founder of the São Paulo-based radical press, Sobinfluencia, working collaboratively with over 200 contributors and having published over 40 books and more than 50 mixed-media posters. She is co-founder of the Nocturnal Lab, laboratory of investigations on sound and night.

Fabiana was a special curator at the Beinecke Rare Book and Manuscript Library at Yale, where she received the prestigious John D. and Rose H. Jackson Award for outstanding work in artistic curation. Her efforts culminated in curating the exhibition “Art, Protest & The Archives” at Yale from 2023 to 2024. In 2023, she was a finalist for the Prêmio Jabuti (the "Tortoise Prize"), the most traditional literary award in Brazil, given by the Brazilian Book Chamber (CBL), for her work as the editor of the first book ever written in history, the Mesopotamian long poem “Inana.” Currently, Fabiana lives between Brazil and New York, investigating sound, collage, radio work, and writing about sonic experimentalism.

As a 2025 Wave Farm Radio Art Fellow, Fabiana writes: "Streaming from an intimate interest in Alien Sound, drawing on what Kodwo Eshun discusses in More Brilliant Than the Sun as Alien Music, I propose writing an essay, culminating on a short book, that uses Tendayi Sithole’s The Black Register, Sun Ra’s MythScience, and Eshun’s concept of Alien Music as an experimental lens to explore how sonic practices articulate modes of Black and Indigenous aesthetic-world-making through vibration as epistemology, transmission, and formless formation. I will focus on the works of Kamari Carter and Gladstone Deluxe (Codes), the ANANSI Revolutionary Collective and SUNJIR0, and Celeste Oram’s TERRA RADIA workshop—all of whom engage with sound as an insurgent force that unsettles hegemonic temporal structures of listening, technology, and registry. Throughout this article, I will explore the breaks where Alien Sound is transmitted (and listened to, dislocated, created, destroyed)—where nothing is fixed in tradition, space, or temporality, but instead dislocated from any origin—proposing sound as a fugitive method of synthetic recombination."

Fabiana Gibim is a performance artist, editor, and curator from the border of Brazil and Paraguay, born into the Guarani-Kaiowá Indigenous Nation. Her work explores concepts of sonic art in relation to the epistemology of vibration. She is interested in radical archives—both sound and printed matter—and dedicates herself to creating imaginary archives that experiment with the concept of “formless formation.” She is also the editor and founder of the São Paulo-based radical press, Sobinfluencia, working collaboratively with over 200 contributors and having published over 40 books and more than 50 mixed-media posters. She is co-founder of the Nocturnal Lab, laboratory of investigations on sound and night.

Fabiana was a special curator at the Beinecke Rare Book and Manuscript Library at Yale, where she received the prestigious John D. and Rose H. Jackson Award for outstanding work in artistic curation. Her efforts culminated in curating the exhibition “Art, Protest & The Archives” at Yale from 2023 to 2024. In 2023, she was a finalist for the Prêmio Jabuti (the "Tortoise Prize"), the most traditional literary award in Brazil, given by the Brazilian Book Chamber (CBL), for her work as the editor of the first book ever written in history, the Mesopotamian long poem “Inana.” Currently, Fabiana lives between Brazil and New York, investigating sound, collage, radio work, and writing about sonic experimentalism.

As a 2025 Wave Farm Radio Art Fellow, Fabiana writes: "Streaming from an intimate interest in Alien Sound, drawing on what Kodwo Eshun discusses in More Brilliant Than the Sun as Alien Music, I propose writing an essay, culminating on a short book, that uses Tendayi Sithole’s The Black Register, Sun Ra’s MythScience, and Eshun’s concept of Alien Music as an experimental lens to explore how sonic practices articulate modes of Black and Indigenous aesthetic-world-making through vibration as epistemology, transmission, and formless formation. I will focus on the works of Kamari Carter and Gladstone Deluxe (Codes), the ANANSI Revolutionary Collective and SUNJIR0, and Celeste Oram’s TERRA RADIA workshop—all of whom engage with sound as an insurgent force that unsettles hegemonic temporal structures of listening, technology, and registry. Throughout this article, I will explore the breaks where Alien Sound is transmitted (and listened to, dislocated, created, destroyed)—where nothing is fixed in tradition, space, or temporality, but instead dislocated from any origin—proposing sound as a fugitive method of synthetic recombination."

Fabiana Gibim is a performance artist, editor, and curator from the border of Brazil and Paraguay, born into the Guarani-Kaiowá Indigenous Nation. Her work explores concepts of sonic art in relation to the epistemology of vibration. She is interested in radical archives—both sound and printed matter—and dedicates herself to creating imaginary archives that experiment with the concept of “formless formation.” She is also the editor and founder of the São Paulo-based radical press, Sobinfluencia, working collaboratively with over 200 contributors and having published over 40 books and more than 50 mixed-media posters. She is co-founder of the Nocturnal Lab, laboratory of investigations on sound and night.

Fabiana was a special curator at the Beinecke Rare Book and Manuscript Library at Yale, where she received the prestigious John D. and Rose H. Jackson Award for outstanding work in artistic curation. Her efforts culminated in curating the exhibition “Art, Protest & The Archives” at Yale from 2023 to 2024. In 2023, she was a finalist for the Prêmio Jabuti (the "Tortoise Prize"), the most traditional literary award in Brazil, given by the Brazilian Book Chamber (CBL), for her work as the editor of the first book ever written in history, the Mesopotamian long poem “Inana.” Currently, Fabiana lives between Brazil and New York, investigating sound, collage, radio work, and writing about sonic experimentalism.

As a 2025 Wave Farm Radio Art Fellow, Fabiana writes: "Streaming from an intimate interest in Alien Sound, drawing on what Kodwo Eshun discusses in More Brilliant Than the Sun as Alien Music, I propose writing an essay, culminating on a short book, that uses Tendayi Sithole’s The Black Register, Sun Ra’s MythScience, and Eshun’s concept of Alien Music as an experimental lens to explore how sonic practices articulate modes of Black and Indigenous aesthetic-world-making through vibration as epistemology, transmission, and formless formation. I will focus on the works of Kamari Carter and Gladstone Deluxe (Codes), the ANANSI Revolutionary Collective and SUNJIR0, and Celeste Oram’s TERRA RADIA workshop—all of whom engage with sound as an insurgent force that unsettles hegemonic temporal structures of listening, technology, and registry. Throughout this article, I will explore the breaks where Alien Sound is transmitted (and listened to, dislocated, created, destroyed)—where nothing is fixed in tradition, space, or temporality, but instead dislocated from any origin—proposing sound as a fugitive method of synthetic recombination."

Fabiana Gibim is a performance artist, editor, and curator from the border of Brazil and Paraguay, born into the Guarani-Kaiowá Indigenous Nation. Her work explores concepts of sonic art in relation to the epistemology of vibration. She is interested in radical archives—both sound and printed matter—and dedicates herself to creating imaginary archives that experiment with the concept of “formless formation.” She is also the editor and founder of the São Paulo-based radical press, Sobinfluencia, working collaboratively with over 200 contributors and having published over 40 books and more than 50 mixed-media posters. She is co-founder of the Nocturnal Lab, laboratory of investigations on sound and night.

Fabiana was a special curator at the Beinecke Rare Book and Manuscript Library at Yale, where she received the prestigious John D. and Rose H. Jackson Award for outstanding work in artistic curation. Her efforts culminated in curating the exhibition “Art, Protest & The Archives” at Yale from 2023 to 2024. In 2023, she was a finalist for the Prêmio Jabuti (the "Tortoise Prize"), the most traditional literary award in Brazil, given by the Brazilian Book Chamber (CBL), for her work as the editor of the first book ever written in history, the Mesopotamian long poem “Inana.” Currently, Fabiana lives between Brazil and New York, investigating sound, collage, radio work, and writing about sonic experimentalism.

As a 2025 Wave Farm Radio Art Fellow, Fabiana writes: "Streaming from an intimate interest in Alien Sound, drawing on what Kodwo Eshun discusses in More Brilliant Than the Sun as Alien Music, I propose writing an essay, culminating on a short book, that uses Tendayi Sithole’s The Black Register, Sun Ra’s MythScience, and Eshun’s concept of Alien Music as an experimental lens to explore how sonic practices articulate modes of Black and Indigenous aesthetic-world-making through vibration as epistemology, transmission, and formless formation. I will focus on the works of Kamari Carter and Gladstone Deluxe (Codes), the ANANSI Revolutionary Collective and SUNJIR0, and Celeste Oram’s TERRA RADIA workshop—all of whom engage with sound as an insurgent force that unsettles hegemonic temporal structures of listening, technology, and registry. Throughout this article, I will explore the breaks where Alien Sound is transmitted (and listened to, dislocated, created, destroyed)—where nothing is fixed in tradition, space, or temporality, but instead dislocated from any origin—proposing sound as a fugitive method of synthetic recombination."

Fabiana Gibim is a performance artist, editor, and curator from the border of Brazil and Paraguay, born into the Guarani-Kaiowá Indigenous Nation. Her work explores concepts of sonic art in relation to the epistemology of vibration. She is interested in radical archives—both sound and printed matter—and dedicates herself to creating imaginary archives that experiment with the concept of “formless formation.” She is also the editor and founder of the São Paulo-based radical press, Sobinfluencia, working collaboratively with over 200 contributors and having published over 40 books and more than 50 mixed-media posters. She is co-founder of the Nocturnal Lab, laboratory of investigations on sound and night.

Fabiana was a special curator at the Beinecke Rare Book and Manuscript Library at Yale, where she received the prestigious John D. and Rose H. Jackson Award for outstanding work in artistic curation. Her efforts culminated in curating the exhibition “Art, Protest & The Archives” at Yale from 2023 to 2024. In 2023, she was a finalist for the Prêmio Jabuti (the "Tortoise Prize"), the most traditional literary award in Brazil, given by the Brazilian Book Chamber (CBL), for her work as the editor of the first book ever written in history, the Mesopotamian long poem “Inana.” Currently, Fabiana lives between Brazil and New York, investigating sound, collage, radio work, and writing about sonic experimentalism.

As a 2025 Wave Farm Radio Art Fellow, Fabiana writes: "Streaming from an intimate interest in Alien Sound, drawing on what Kodwo Eshun discusses in More Brilliant Than the Sun as Alien Music, I propose writing an essay, culminating on a short book, that uses Tendayi Sithole’s The Black Register, Sun Ra’s MythScience, and Eshun’s concept of Alien Music as an experimental lens to explore how sonic practices articulate modes of Black and Indigenous aesthetic-world-making through vibration as epistemology, transmission, and formless formation. I will focus on the works of Kamari Carter and Gladstone Deluxe (Codes), the ANANSI Revolutionary Collective and SUNJIR0, and Celeste Oram’s TERRA RADIA workshop—all of whom engage with sound as an insurgent force that unsettles hegemonic temporal structures of listening, technology, and registry. Throughout this article, I will explore the breaks where Alien Sound is transmitted (and listened to, dislocated, created, destroyed)—where nothing is fixed in tradition, space, or temporality, but instead dislocated from any origin—proposing sound as a fugitive method of synthetic recombination."

Fabiana Gibim is a performance artist, editor, and curator from the border of Brazil and Paraguay, born into the Guarani-Kaiowá Indigenous Nation. Her work explores concepts of sonic art in relation to the epistemology of vibration. She is interested in radical archives—both sound and printed matter—and dedicates herself to creating imaginary archives that experiment with the concept of “formless formation.” She is also the editor and founder of the São Paulo-based radical press, Sobinfluencia, working collaboratively with over 200 contributors and having published over 40 books and more than 50 mixed-media posters. She is co-founder of the Nocturnal Lab, laboratory of investigations on sound and night.

Fabiana was a special curator at the Beinecke Rare Book and Manuscript Library at Yale, where she received the prestigious John D. and Rose H. Jackson Award for outstanding work in artistic curation. Her efforts culminated in curating the exhibition “Art, Protest & The Archives” at Yale from 2023 to 2024. In 2023, she was a finalist for the Prêmio Jabuti (the "Tortoise Prize"), the most traditional literary award in Brazil, given by the Brazilian Book Chamber (CBL), for her work as the editor of the first book ever written in history, the Mesopotamian long poem “Inana.” Currently, Fabiana lives between Brazil and New York, investigating sound, collage, radio work, and writing about sonic experimentalism.

As a 2025 Wave Farm Radio Art Fellow, Fabiana writes: "Streaming from an intimate interest in Alien Sound, drawing on what Kodwo Eshun discusses in More Brilliant Than the Sun as Alien Music, I propose writing an essay, culminating on a short book, that uses Tendayi Sithole’s The Black Register, Sun Ra’s MythScience, and Eshun’s concept of Alien Music as an experimental lens to explore how sonic practices articulate modes of Black and Indigenous aesthetic-world-making through vibration as epistemology, transmission, and formless formation. I will focus on the works of Kamari Carter and Gladstone Deluxe (Codes), the ANANSI Revolutionary Collective and SUNJIR0, and Celeste Oram’s TERRA RADIA workshop—all of whom engage with sound as an insurgent force that unsettles hegemonic temporal structures of listening, technology, and registry. Throughout this article, I will explore the breaks where Alien Sound is transmitted (and listened to, dislocated, created, destroyed)—where nothing is fixed in tradition, space, or temporality, but instead dislocated from any origin—proposing sound as a fugitive method of synthetic recombination."

Fabiana Gibim is a performance artist, editor, and curator from the border of Brazil and Paraguay, born into the Guarani-Kaiowá Indigenous Nation. Her work explores concepts of sonic art in relation to the epistemology of vibration. She is interested in radical archives—both sound and printed matter—and dedicates herself to creating imaginary archives that experiment with the concept of “formless formation.” She is also the editor and founder of the São Paulo-based radical press, Sobinfluencia, working collaboratively with over 200 contributors and having published over 40 books and more than 50 mixed-media posters. She is co-founder of the Nocturnal Lab, laboratory of investigations on sound and night.

Fabiana was a special curator at the Beinecke Rare Book and Manuscript Library at Yale, where she received the prestigious John D. and Rose H. Jackson Award for outstanding work in artistic curation. Her efforts culminated in curating the exhibition “Art, Protest & The Archives” at Yale from 2023 to 2024. In 2023, she was a finalist for the Prêmio Jabuti (the "Tortoise Prize"), the most traditional literary award in Brazil, given by the Brazilian Book Chamber (CBL), for her work as the editor of the first book ever written in history, the Mesopotamian long poem “Inana.” Currently, Fabiana lives between Brazil and New York, investigating sound, collage, radio work, and writing about sonic experimentalism.

As a 2025 Wave Farm Radio Art Fellow, Fabiana writes: "Streaming from an intimate interest in Alien Sound, drawing on what Kodwo Eshun discusses in More Brilliant Than the Sun as Alien Music, I propose writing an essay, culminating on a short book, that uses Tendayi Sithole’s The Black Register, Sun Ra’s MythScience, and Eshun’s concept of Alien Music as an experimental lens to explore how sonic practices articulate modes of Black and Indigenous aesthetic-world-making through vibration as epistemology, transmission, and formless formation. I will focus on the works of Kamari Carter and Gladstone Deluxe (Codes), the ANANSI Revolutionary Collective and SUNJIR0, and Celeste Oram’s TERRA RADIA workshop—all of whom engage with sound as an insurgent force that unsettles hegemonic temporal structures of listening, technology, and registry. Throughout this article, I will explore the breaks where Alien Sound is transmitted (and listened to, dislocated, created, destroyed)—where nothing is fixed in tradition, space, or temporality, but instead dislocated from any origin—proposing sound as a fugitive method of synthetic recombination."

Fabiana Gibim is a performance artist, editor, and curator from the border of Brazil and Paraguay, born into the Guarani-Kaiowá Indigenous Nation. Her work explores concepts of sonic art in relation to the epistemology of vibration. She is interested in radical archives—both sound and printed matter—and dedicates herself to creating imaginary archives that experiment with the concept of “formless formation.” She is also the editor and founder of the São Paulo-based radical press, Sobinfluencia, working collaboratively with over 200 contributors and having published over 40 books and more than 50 mixed-media posters. She is co-founder of the Nocturnal Lab, laboratory of investigations on sound and night.

Fabiana was a special curator at the Beinecke Rare Book and Manuscript Library at Yale, where she received the prestigious John D. and Rose H. Jackson Award for outstanding work in artistic curation. Her efforts culminated in curating the exhibition “Art, Protest & The Archives” at Yale from 2023 to 2024. In 2023, she was a finalist for the Prêmio Jabuti (the "Tortoise Prize"), the most traditional literary award in Brazil, given by the Brazilian Book Chamber (CBL), for her work as the editor of the first book ever written in history, the Mesopotamian long poem “Inana.” Currently, Fabiana lives between Brazil and New York, investigating sound, collage, radio work, and writing about sonic experimentalism.

As a 2025 Wave Farm Radio Art Fellow, Fabiana writes: "Streaming from an intimate interest in Alien Sound, drawing on what Kodwo Eshun discusses in More Brilliant Than the Sun as Alien Music, I propose writing an essay, culminating on a short book, that uses Tendayi Sithole’s The Black Register, Sun Ra’s MythScience, and Eshun’s concept of Alien Music as an experimental lens to explore how sonic practices articulate modes of Black and Indigenous aesthetic-world-making through vibration as epistemology, transmission, and formless formation. I will focus on the works of Kamari Carter and Gladstone Deluxe (Codes), the ANANSI Revolutionary Collective and SUNJIR0, and Celeste Oram’s TERRA RADIA workshop—all of whom engage with sound as an insurgent force that unsettles hegemonic temporal structures of listening, technology, and registry. Throughout this article, I will explore the breaks where Alien Sound is transmitted (and listened to, dislocated, created, destroyed)—where nothing is fixed in tradition, space, or temporality, but instead dislocated from any origin—proposing sound as a fugitive method of synthetic recombination."

Fabiana Gibim is a performance artist, editor, and curator from the border of Brazil and Paraguay, born into the Guarani-Kaiowá Indigenous Nation. Her work explores concepts of sonic art in relation to the epistemology of vibration. She is interested in radical archives—both sound and printed matter—and dedicates herself to creating imaginary archives that experiment with the concept of “formless formation.” She is also the editor and founder of the São Paulo-based radical press, Sobinfluencia, working collaboratively with over 200 contributors and having published over 40 books and more than 50 mixed-media posters. She is co-founder of the Nocturnal Lab, laboratory of investigations on sound and night.

Fabiana was a special curator at the Beinecke Rare Book and Manuscript Library at Yale, where she received the prestigious John D. and Rose H. Jackson Award for outstanding work in artistic curation. Her efforts culminated in curating the exhibition “Art, Protest & The Archives” at Yale from 2023 to 2024. In 2023, she was a finalist for the Prêmio Jabuti (the "Tortoise Prize"), the most traditional literary award in Brazil, given by the Brazilian Book Chamber (CBL), for her work as the editor of the first book ever written in history, the Mesopotamian long poem “Inana.” Currently, Fabiana lives between Brazil and New York, investigating sound, collage, radio work, and writing about sonic experimentalism.

As a 2025 Wave Farm Radio Art Fellow, Fabiana writes: "Streaming from an intimate interest in Alien Sound, drawing on what Kodwo Eshun discusses in More Brilliant Than the Sun as Alien Music, I propose writing an essay, culminating on a short book, that uses Tendayi Sithole’s The Black Register, Sun Ra’s MythScience, and Eshun’s concept of Alien Music as an experimental lens to explore how sonic practices articulate modes of Black and Indigenous aesthetic-world-making through vibration as epistemology, transmission, and formless formation. I will focus on the works of Kamari Carter and Gladstone Deluxe (Codes), the ANANSI Revolutionary Collective and SUNJIR0, and Celeste Oram’s TERRA RADIA workshop—all of whom engage with sound as an insurgent force that unsettles hegemonic temporal structures of listening, technology, and registry. Throughout this article, I will explore the breaks where Alien Sound is transmitted (and listened to, dislocated, created, destroyed)—where nothing is fixed in tradition, space, or temporality, but instead dislocated from any origin—proposing sound as a fugitive method of synthetic recombination."

Fabiana Gibim is a performance artist, editor, and curator from the border of Brazil and Paraguay, born into the Guarani-Kaiowá Indigenous Nation. Her work explores concepts of sonic art in relation to the epistemology of vibration. She is interested in radical archives—both sound and printed matter—and dedicates herself to creating imaginary archives that experiment with the concept of “formless formation.” She is also the editor and founder of the São Paulo-based radical press, Sobinfluencia, working collaboratively with over 200 contributors and having published over 40 books and more than 50 mixed-media posters. She is co-founder of the Nocturnal Lab, laboratory of investigations on sound and night.

Fabiana was a special curator at the Beinecke Rare Book and Manuscript Library at Yale, where she received the prestigious John D. and Rose H. Jackson Award for outstanding work in artistic curation. Her efforts culminated in curating the exhibition “Art, Protest & The Archives” at Yale from 2023 to 2024. In 2023, she was a finalist for the Prêmio Jabuti (the "Tortoise Prize"), the most traditional literary award in Brazil, given by the Brazilian Book Chamber (CBL), for her work as the editor of the first book ever written in history, the Mesopotamian long poem “Inana.” Currently, Fabiana lives between Brazil and New York, investigating sound, collage, radio work, and writing about sonic experimentalism.

As a 2025 Wave Farm Radio Art Fellow, Fabiana writes: "Streaming from an intimate interest in Alien Sound, drawing on what Kodwo Eshun discusses in More Brilliant Than the Sun as Alien Music, I propose writing an essay, culminating on a short book, that uses Tendayi Sithole’s The Black Register, Sun Ra’s MythScience, and Eshun’s concept of Alien Music as an experimental lens to explore how sonic practices articulate modes of Black and Indigenous aesthetic-world-making through vibration as epistemology, transmission, and formless formation. I will focus on the works of Kamari Carter and Gladstone Deluxe (Codes), the ANANSI Revolutionary Collective and SUNJIR0, and Celeste Oram’s TERRA RADIA workshop—all of whom engage with sound as an insurgent force that unsettles hegemonic temporal structures of listening, technology, and registry. Throughout this article, I will explore the breaks where Alien Sound is transmitted (and listened to, dislocated, created, destroyed)—where nothing is fixed in tradition, space, or temporality, but instead dislocated from any origin—proposing sound as a fugitive method of synthetic recombination."

Fabiana Gibim is a performance artist, editor, and curator from the border of Brazil and Paraguay, born into the Guarani-Kaiowá Indigenous Nation. Her work explores concepts of sonic art in relation to the epistemology of vibration. She is interested in radical archives—both sound and printed matter—and dedicates herself to creating imaginary archives that experiment with the concept of “formless formation.” She is also the editor and founder of the São Paulo-based radical press, Sobinfluencia, working collaboratively with over 200 contributors and having published over 40 books and more than 50 mixed-media posters. She is co-founder of the Nocturnal Lab, laboratory of investigations on sound and night.

Fabiana was a special curator at the Beinecke Rare Book and Manuscript Library at Yale, where she received the prestigious John D. and Rose H. Jackson Award for outstanding work in artistic curation. Her efforts culminated in curating the exhibition “Art, Protest & The Archives” at Yale from 2023 to 2024. In 2023, she was a finalist for the Prêmio Jabuti (the "Tortoise Prize"), the most traditional literary award in Brazil, given by the Brazilian Book Chamber (CBL), for her work as the editor of the first book ever written in history, the Mesopotamian long poem “Inana.” Currently, Fabiana lives between Brazil and New York, investigating sound, collage, radio work, and writing about sonic experimentalism.

As a 2025 Wave Farm Radio Art Fellow, Fabiana writes: "Streaming from an intimate interest in Alien Sound, drawing on what Kodwo Eshun discusses in More Brilliant Than the Sun as Alien Music, I propose writing an essay, culminating on a short book, that uses Tendayi Sithole’s The Black Register, Sun Ra’s MythScience, and Eshun’s concept of Alien Music as an experimental lens to explore how sonic practices articulate modes of Black and Indigenous aesthetic-world-making through vibration as epistemology, transmission, and formless formation. I will focus on the works of Kamari Carter and Gladstone Deluxe (Codes), the ANANSI Revolutionary Collective and SUNJIR0, and Celeste Oram’s TERRA RADIA workshop—all of whom engage with sound as an insurgent force that unsettles hegemonic temporal structures of listening, technology, and registry. Throughout this article, I will explore the breaks where Alien Sound is transmitted (and listened to, dislocated, created, destroyed)—where nothing is fixed in tradition, space, or temporality, but instead dislocated from any origin—proposing sound as a fugitive method of synthetic recombination."

Fabiana Gibim is a performance artist, editor, and curator from the border of Brazil and Paraguay, born into the Guarani-Kaiowá Indigenous Nation. Her work explores concepts of sonic art in relation to the epistemology of vibration. She is interested in radical archives—both sound and printed matter—and dedicates herself to creating imaginary archives that experiment with the concept of “formless formation.” She is also the editor and founder of the São Paulo-based radical press, Sobinfluencia, working collaboratively with over 200 contributors and having published over 40 books and more than 50 mixed-media posters. She is co-founder of the Nocturnal Lab, laboratory of investigations on sound and night.

Fabiana was a special curator at the Beinecke Rare Book and Manuscript Library at Yale, where she received the prestigious John D. and Rose H. Jackson Award for outstanding work in artistic curation. Her efforts culminated in curating the exhibition “Art, Protest & The Archives” at Yale from 2023 to 2024. In 2023, she was a finalist for the Prêmio Jabuti (the "Tortoise Prize"), the most traditional literary award in Brazil, given by the Brazilian Book Chamber (CBL), for her work as the editor of the first book ever written in history, the Mesopotamian long poem “Inana.” Currently, Fabiana lives between Brazil and New York, investigating sound, collage, radio work, and writing about sonic experimentalism.

As a 2025 Wave Farm Radio Art Fellow, Fabiana writes: "Streaming from an intimate interest in Alien Sound, drawing on what Kodwo Eshun discusses in More Brilliant Than the Sun as Alien Music, I propose writing an essay, culminating on a short book, that uses Tendayi Sithole’s The Black Register, Sun Ra’s MythScience, and Eshun’s concept of Alien Music as an experimental lens to explore how sonic practices articulate modes of Black and Indigenous aesthetic-world-making through vibration as epistemology, transmission, and formless formation. I will focus on the works of Kamari Carter and Gladstone Deluxe (Codes), the ANANSI Revolutionary Collective and SUNJIR0, and Celeste Oram’s TERRA RADIA workshop—all of whom engage with sound as an insurgent force that unsettles hegemonic temporal structures of listening, technology, and registry. Throughout this article, I will explore the breaks where Alien Sound is transmitted (and listened to, dislocated, created, destroyed)—where nothing is fixed in tradition, space, or temporality, but instead dislocated from any origin—proposing sound as a fugitive method of synthetic recombination."

Fabiana Gibim is a performance artist, editor, and curator from the border of Brazil and Paraguay, born into the Guarani-Kaiowá Indigenous Nation. Her work explores concepts of sonic art in relation to the epistemology of vibration. She is interested in radical archives—both sound and printed matter—and dedicates herself to creating imaginary archives that experiment with the concept of “formless formation.” She is also the editor and founder of the São Paulo-based radical press, Sobinfluencia, working collaboratively with over 200 contributors and having published over 40 books and more than 50 mixed-media posters. She is co-founder of the Nocturnal Lab, laboratory of investigations on sound and night.

Fabiana was a special curator at the Beinecke Rare Book and Manuscript Library at Yale, where she received the prestigious John D. and Rose H. Jackson Award for outstanding work in artistic curation. Her efforts culminated in curating the exhibition “Art, Protest & The Archives” at Yale from 2023 to 2024. In 2023, she was a finalist for the Prêmio Jabuti (the "Tortoise Prize"), the most traditional literary award in Brazil, given by the Brazilian Book Chamber (CBL), for her work as the editor of the first book ever written in history, the Mesopotamian long poem “Inana.” Currently, Fabiana lives between Brazil and New York, investigating sound, collage, radio work, and writing about sonic experimentalism.

As a 2025 Wave Farm Radio Art Fellow, Fabiana writes: "Streaming from an intimate interest in Alien Sound, drawing on what Kodwo Eshun discusses in More Brilliant Than the Sun as Alien Music, I propose writing an essay, culminating on a short book, that uses Tendayi Sithole’s The Black Register, Sun Ra’s MythScience, and Eshun’s concept of Alien Music as an experimental lens to explore how sonic practices articulate modes of Black and Indigenous aesthetic-world-making through vibration as epistemology, transmission, and formless formation. I will focus on the works of Kamari Carter and Gladstone Deluxe (Codes), the ANANSI Revolutionary Collective and SUNJIR0, and Celeste Oram’s TERRA RADIA workshop—all of whom engage with sound as an insurgent force that unsettles hegemonic temporal structures of listening, technology, and registry. Throughout this article, I will explore the breaks where Alien Sound is transmitted (and listened to, dislocated, created, destroyed)—where nothing is fixed in tradition, space, or temporality, but instead dislocated from any origin—proposing sound as a fugitive method of synthetic recombination."

Fabiana Gibim is a performance artist, editor, and curator from the border of Brazil and Paraguay, born into the Guarani-Kaiowá Indigenous Nation. Her work explores concepts of sonic art in relation to the epistemology of vibration. She is interested in radical archives—both sound and printed matter—and dedicates herself to creating imaginary archives that experiment with the concept of “formless formation.” She is also the editor and founder of the São Paulo-based radical press, Sobinfluencia, working collaboratively with over 200 contributors and having published over 40 books and more than 50 mixed-media posters. She is co-founder of the Nocturnal Lab, laboratory of investigations on sound and night.

Fabiana was a special curator at the Beinecke Rare Book and Manuscript Library at Yale, where she received the prestigious John D. and Rose H. Jackson Award for outstanding work in artistic curation. Her efforts culminated in curating the exhibition “Art, Protest & The Archives” at Yale from 2023 to 2024. In 2023, she was a finalist for the Prêmio Jabuti (the "Tortoise Prize"), the most traditional literary award in Brazil, given by the Brazilian Book Chamber (CBL), for her work as the editor of the first book ever written in history, the Mesopotamian long poem “Inana.” Currently, Fabiana lives between Brazil and New York, investigating sound, collage, radio work, and writing about sonic experimentalism.

As a 2025 Wave Farm Radio Art Fellow, Fabiana writes: "Streaming from an intimate interest in Alien Sound, drawing on what Kodwo Eshun discusses in More Brilliant Than the Sun as Alien Music, I propose writing an essay, culminating on a short book, that uses Tendayi Sithole’s The Black Register, Sun Ra’s MythScience, and Eshun’s concept of Alien Music as an experimental lens to explore how sonic practices articulate modes of Black and Indigenous aesthetic-world-making through vibration as epistemology, transmission, and formless formation. I will focus on the works of Kamari Carter and Gladstone Deluxe (Codes), the ANANSI Revolutionary Collective and SUNJIR0, and Celeste Oram’s TERRA RADIA workshop—all of whom engage with sound as an insurgent force that unsettles hegemonic temporal structures of listening, technology, and registry. Throughout this article, I will explore the breaks where Alien Sound is transmitted (and listened to, dislocated, created, destroyed)—where nothing is fixed in tradition, space, or temporality, but instead dislocated from any origin—proposing sound as a fugitive method of synthetic recombination."

Fabiana Gibim is a performance artist, editor, and curator from the border of Brazil and Paraguay, born into the Guarani-Kaiowá Indigenous Nation. Her work explores concepts of sonic art in relation to the epistemology of vibration. She is interested in radical archives—both sound and printed matter—and dedicates herself to creating imaginary archives that experiment with the concept of “formless formation.” She is also the editor and founder of the São Paulo-based radical press, Sobinfluencia, working collaboratively with over 200 contributors and having published over 40 books and more than 50 mixed-media posters. She is co-founder of the Nocturnal Lab, laboratory of investigations on sound and night.

Fabiana was a special curator at the Beinecke Rare Book and Manuscript Library at Yale, where she received the prestigious John D. and Rose H. Jackson Award for outstanding work in artistic curation. Her efforts culminated in curating the exhibition “Art, Protest & The Archives” at Yale from 2023 to 2024. In 2023, she was a finalist for the Prêmio Jabuti (the "Tortoise Prize"), the most traditional literary award in Brazil, given by the Brazilian Book Chamber (CBL), for her work as the editor of the first book ever written in history, the Mesopotamian long poem “Inana.” Currently, Fabiana lives between Brazil and New York, investigating sound, collage, radio work, and writing about sonic experimentalism.

As a 2025 Wave Farm Radio Art Fellow, Fabiana writes: "Streaming from an intimate interest in Alien Sound, drawing on what Kodwo Eshun discusses in More Brilliant Than the Sun as Alien Music, I propose writing an essay, culminating on a short book, that uses Tendayi Sithole’s The Black Register, Sun Ra’s MythScience, and Eshun’s concept of Alien Music as an experimental lens to explore how sonic practices articulate modes of Black and Indigenous aesthetic-world-making through vibration as epistemology, transmission, and formless formation. I will focus on the works of Kamari Carter and Gladstone Deluxe (Codes), the ANANSI Revolutionary Collective and SUNJIR0, and Celeste Oram’s TERRA RADIA workshop—all of whom engage with sound as an insurgent force that unsettles hegemonic temporal structures of listening, technology, and registry. Throughout this article, I will explore the breaks where Alien Sound is transmitted (and listened to, dislocated, created, destroyed)—where nothing is fixed in tradition, space, or temporality, but instead dislocated from any origin—proposing sound as a fugitive method of synthetic recombination."

Fabiana Gibim is a performance artist, editor, and curator from the border of Brazil and Paraguay, born into the Guarani-Kaiowá Indigenous Nation. Her work explores concepts of sonic art in relation to the epistemology of vibration. She is interested in radical archives—both sound and printed matter—and dedicates herself to creating imaginary archives that experiment with the concept of “formless formation.” She is also the editor and founder of the São Paulo-based radical press, Sobinfluencia, working collaboratively with over 200 contributors and having published over 40 books and more than 50 mixed-media posters. She is co-founder of the Nocturnal Lab, laboratory of investigations on sound and night.

Fabiana was a special curator at the Beinecke Rare Book and Manuscript Library at Yale, where she received the prestigious John D. and Rose H. Jackson Award for outstanding work in artistic curation. Her efforts culminated in curating the exhibition “Art, Protest & The Archives” at Yale from 2023 to 2024. In 2023, she was a finalist for the Prêmio Jabuti (the "Tortoise Prize"), the most traditional literary award in Brazil, given by the Brazilian Book Chamber (CBL), for her work as the editor of the first book ever written in history, the Mesopotamian long poem “Inana.” Currently, Fabiana lives between Brazil and New York, investigating sound, collage, radio work, and writing about sonic experimentalism.

As a 2025 Wave Farm Radio Art Fellow, Fabiana writes: "Streaming from an intimate interest in Alien Sound, drawing on what Kodwo Eshun discusses in More Brilliant Than the Sun as Alien Music, I propose writing an essay, culminating on a short book, that uses Tendayi Sithole’s The Black Register, Sun Ra’s MythScience, and Eshun’s concept of Alien Music as an experimental lens to explore how sonic practices articulate modes of Black and Indigenous aesthetic-world-making through vibration as epistemology, transmission, and formless formation. I will focus on the works of Kamari Carter and Gladstone Deluxe (Codes), the ANANSI Revolutionary Collective and SUNJIR0, and Celeste Oram’s TERRA RADIA workshop—all of whom engage with sound as an insurgent force that unsettles hegemonic temporal structures of listening, technology, and registry. Throughout this article, I will explore the breaks where Alien Sound is transmitted (and listened to, dislocated, created, destroyed)—where nothing is fixed in tradition, space, or temporality, but instead dislocated from any origin—proposing sound as a fugitive method of synthetic recombination."

Fabiana Gibim is a performance artist, editor, and curator from the border of Brazil and Paraguay, born into the Guarani-Kaiowá Indigenous Nation. Her work explores concepts of sonic art in relation to the epistemology of vibration. She is interested in radical archives—both sound and printed matter—and dedicates herself to creating imaginary archives that experiment with the concept of “formless formation.” She is also the editor and founder of the São Paulo-based radical press, Sobinfluencia, working collaboratively with over 200 contributors and having published over 40 books and more than 50 mixed-media posters. She is co-founder of the Nocturnal Lab, laboratory of investigations on sound and night.

Fabiana was a special curator at the Beinecke Rare Book and Manuscript Library at Yale, where she received the prestigious John D. and Rose H. Jackson Award for outstanding work in artistic curation. Her efforts culminated in curating the exhibition “Art, Protest & The Archives” at Yale from 2023 to 2024. In 2023, she was a finalist for the Prêmio Jabuti (the "Tortoise Prize"), the most traditional literary award in Brazil, given by the Brazilian Book Chamber (CBL), for her work as the editor of the first book ever written in history, the Mesopotamian long poem “Inana.” Currently, Fabiana lives between Brazil and New York, investigating sound, collage, radio work, and writing about sonic experimentalism.

As a 2025 Wave Farm Radio Art Fellow, Fabiana writes: "Streaming from an intimate interest in Alien Sound, drawing on what Kodwo Eshun discusses in More Brilliant Than the Sun as Alien Music, I propose writing an essay, culminating on a short book, that uses Tendayi Sithole’s The Black Register, Sun Ra’s MythScience, and Eshun’s concept of Alien Music as an experimental lens to explore how sonic practices articulate modes of Black and Indigenous aesthetic-world-making through vibration as epistemology, transmission, and formless formation. I will focus on the works of Kamari Carter and Gladstone Deluxe (Codes), the ANANSI Revolutionary Collective and SUNJIR0, and Celeste Oram’s TERRA RADIA workshop—all of whom engage with sound as an insurgent force that unsettles hegemonic temporal structures of listening, technology, and registry. Throughout this article, I will explore the breaks where Alien Sound is transmitted (and listened to, dislocated, created, destroyed)—where nothing is fixed in tradition, space, or temporality, but instead dislocated from any origin—proposing sound as a fugitive method of synthetic recombination."

Fabiana Gibim is a performance artist, editor, and curator from the border of Brazil and Paraguay, born into the Guarani-Kaiowá Indigenous Nation. Her work explores concepts of sonic art in relation to the epistemology of vibration. She is interested in radical archives—both sound and printed matter—and dedicates herself to creating imaginary archives that experiment with the concept of “formless formation.” She is also the editor and founder of the São Paulo-based radical press, Sobinfluencia, working collaboratively with over 200 contributors and having published over 40 books and more than 50 mixed-media posters. She is co-founder of the Nocturnal Lab, laboratory of investigations on sound and night.

Fabiana was a special curator at the Beinecke Rare Book and Manuscript Library at Yale, where she received the prestigious John D. and Rose H. Jackson Award for outstanding work in artistic curation. Her efforts culminated in curating the exhibition “Art, Protest & The Archives” at Yale from 2023 to 2024. In 2023, she was a finalist for the Prêmio Jabuti (the "Tortoise Prize"), the most traditional literary award in Brazil, given by the Brazilian Book Chamber (CBL), for her work as the editor of the first book ever written in history, the Mesopotamian long poem “Inana.” Currently, Fabiana lives between Brazil and New York, investigating sound, collage, radio work, and writing about sonic experimentalism.

As a 2025 Wave Farm Radio Art Fellow, Fabiana writes: "Streaming from an intimate interest in Alien Sound, drawing on what Kodwo Eshun discusses in More Brilliant Than the Sun as Alien Music, I propose writing an essay, culminating on a short book, that uses Tendayi Sithole’s The Black Register, Sun Ra’s MythScience, and Eshun’s concept of Alien Music as an experimental lens to explore how sonic practices articulate modes of Black and Indigenous aesthetic-world-making through vibration as epistemology, transmission, and formless formation. I will focus on the works of Kamari Carter and Gladstone Deluxe (Codes), the ANANSI Revolutionary Collective and SUNJIR0, and Celeste Oram’s TERRA RADIA workshop—all of whom engage with sound as an insurgent force that unsettles hegemonic temporal structures of listening, technology, and registry. Throughout this article, I will explore the breaks where Alien Sound is transmitted (and listened to, dislocated, created, destroyed)—where nothing is fixed in tradition, space, or temporality, but instead dislocated from any origin—proposing sound as a fugitive method of synthetic recombination."

Fabiana Gibim is a performance artist, editor, and curator from the border of Brazil and Paraguay, born into the Guarani-Kaiowá Indigenous Nation. Her work explores concepts of sonic art in relation to the epistemology of vibration. She is interested in radical archives—both sound and printed matter—and dedicates herself to creating imaginary archives that experiment with the concept of “formless formation.” She is also the editor and founder of the São Paulo-based radical press, Sobinfluencia, working collaboratively with over 200 contributors and having published over 40 books and more than 50 mixed-media posters. She is co-founder of the Nocturnal Lab, laboratory of investigations on sound and night.

Fabiana was a special curator at the Beinecke Rare Book and Manuscript Library at Yale, where she received the prestigious John D. and Rose H. Jackson Award for outstanding work in artistic curation. Her efforts culminated in curating the exhibition “Art, Protest & The Archives” at Yale from 2023 to 2024. In 2023, she was a finalist for the Prêmio Jabuti (the "Tortoise Prize"), the most traditional literary award in Brazil, given by the Brazilian Book Chamber (CBL), for her work as the editor of the first book ever written in history, the Mesopotamian long poem “Inana.” Currently, Fabiana lives between Brazil and New York, investigating sound, collage, radio work, and writing about sonic experimentalism.

As a 2025 Wave Farm Radio Art Fellow, Fabiana writes: "Streaming from an intimate interest in Alien Sound, drawing on what Kodwo Eshun discusses in More Brilliant Than the Sun as Alien Music, I propose writing an essay, culminating on a short book, that uses Tendayi Sithole’s The Black Register, Sun Ra’s MythScience, and Eshun’s concept of Alien Music as an experimental lens to explore how sonic practices articulate modes of Black and Indigenous aesthetic-world-making through vibration as epistemology, transmission, and formless formation. I will focus on the works of Kamari Carter and Gladstone Deluxe (Codes), the ANANSI Revolutionary Collective and SUNJIR0, and Celeste Oram’s TERRA RADIA workshop—all of whom engage with sound as an insurgent force that unsettles hegemonic temporal structures of listening, technology, and registry. Throughout this article, I will explore the breaks where Alien Sound is transmitted (and listened to, dislocated, created, destroyed)—where nothing is fixed in tradition, space, or temporality, but instead dislocated from any origin—proposing sound as a fugitive method of synthetic recombination."

Fabiana Gibim is a performance artist, editor, and curator from the border of Brazil and Paraguay, born into the Guarani-Kaiowá Indigenous Nation. Her work explores concepts of sonic art in relation to the epistemology of vibration. She is interested in radical archives—both sound and printed matter—and dedicates herself to creating imaginary archives that experiment with the concept of “formless formation.” She is also the editor and founder of the São Paulo-based radical press, Sobinfluencia, working collaboratively with over 200 contributors and having published over 40 books and more than 50 mixed-media posters. She is co-founder of the Nocturnal Lab, laboratory of investigations on sound and night.

Fabiana was a special curator at the Beinecke Rare Book and Manuscript Library at Yale, where she received the prestigious John D. and Rose H. Jackson Award for outstanding work in artistic curation. Her efforts culminated in curating the exhibition “Art, Protest & The Archives” at Yale from 2023 to 2024. In 2023, she was a finalist for the Prêmio Jabuti (the "Tortoise Prize"), the most traditional literary award in Brazil, given by the Brazilian Book Chamber (CBL), for her work as the editor of the first book ever written in history, the Mesopotamian long poem “Inana.” Currently, Fabiana lives between Brazil and New York, investigating sound, collage, radio work, and writing about sonic experimentalism.

As a 2025 Wave Farm Radio Art Fellow, Fabiana writes: "Streaming from an intimate interest in Alien Sound, drawing on what Kodwo Eshun discusses in More Brilliant Than the Sun as Alien Music, I propose writing an essay, culminating on a short book, that uses Tendayi Sithole’s The Black Register, Sun Ra’s MythScience, and Eshun’s concept of Alien Music as an experimental lens to explore how sonic practices articulate modes of Black and Indigenous aesthetic-world-making through vibration as epistemology, transmission, and formless formation. I will focus on the works of Kamari Carter and Gladstone Deluxe (Codes), the ANANSI Revolutionary Collective and SUNJIR0, and Celeste Oram’s TERRA RADIA workshop—all of whom engage with sound as an insurgent force that unsettles hegemonic temporal structures of listening, technology, and registry. Throughout this article, I will explore the breaks where Alien Sound is transmitted (and listened to, dislocated, created, destroyed)—where nothing is fixed in tradition, space, or temporality, but instead dislocated from any origin—proposing sound as a fugitive method of synthetic recombination."

Fabiana Gibim is a performance artist, editor, and curator from the border of Brazil and Paraguay, born into the Guarani-Kaiowá Indigenous Nation. Her work explores concepts of sonic art in relation to the epistemology of vibration. She is interested in radical archives—both sound and printed matter—and dedicates herself to creating imaginary archives that experiment with the concept of “formless formation.” She is also the editor and founder of the São Paulo-based radical press, Sobinfluencia, working collaboratively with over 200 contributors and having published over 40 books and more than 50 mixed-media posters. She is co-founder of the Nocturnal Lab, laboratory of investigations on sound and night.

Fabiana was a special curator at the Beinecke Rare Book and Manuscript Library at Yale, where she received the prestigious John D. and Rose H. Jackson Award for outstanding work in artistic curation. Her efforts culminated in curating the exhibition “Art, Protest & The Archives” at Yale from 2023 to 2024. In 2023, she was a finalist for the Prêmio Jabuti (the "Tortoise Prize"), the most traditional literary award in Brazil, given by the Brazilian Book Chamber (CBL), for her work as the editor of the first book ever written in history, the Mesopotamian long poem “Inana.” Currently, Fabiana lives between Brazil and New York, investigating sound, collage, radio work, and writing about sonic experimentalism.

As a 2025 Wave Farm Radio Art Fellow, Fabiana writes: "Streaming from an intimate interest in Alien Sound, drawing on what Kodwo Eshun discusses in More Brilliant Than the Sun as Alien Music, I propose writing an essay, culminating on a short book, that uses Tendayi Sithole’s The Black Register, Sun Ra’s MythScience, and Eshun’s concept of Alien Music as an experimental lens to explore how sonic practices articulate modes of Black and Indigenous aesthetic-world-making through vibration as epistemology, transmission, and formless formation. I will focus on the works of Kamari Carter and Gladstone Deluxe (Codes), the ANANSI Revolutionary Collective and SUNJIR0, and Celeste Oram’s TERRA RADIA workshop—all of whom engage with sound as an insurgent force that unsettles hegemonic temporal structures of listening, technology, and registry. Throughout this article, I will explore the breaks where Alien Sound is transmitted (and listened to, dislocated, created, destroyed)—where nothing is fixed in tradition, space, or temporality, but instead dislocated from any origin—proposing sound as a fugitive method of synthetic recombination."

Fabiana Gibim is a performance artist, editor, and curator from the border of Brazil and Paraguay, born into the Guarani-Kaiowá Indigenous Nation. Her work explores concepts of sonic art in relation to the epistemology of vibration. She is interested in radical archives—both sound and printed matter—and dedicates herself to creating imaginary archives that experiment with the concept of “formless formation.” She is also the editor and founder of the São Paulo-based radical press, Sobinfluencia, working collaboratively with over 200 contributors and having published over 40 books and more than 50 mixed-media posters. She is co-founder of the Nocturnal Lab, laboratory of investigations on sound and night.

Fabiana was a special curator at the Beinecke Rare Book and Manuscript Library at Yale, where she received the prestigious John D. and Rose H. Jackson Award for outstanding work in artistic curation. Her efforts culminated in curating the exhibition “Art, Protest & The Archives” at Yale from 2023 to 2024. In 2023, she was a finalist for the Prêmio Jabuti (the "Tortoise Prize"), the most traditional literary award in Brazil, given by the Brazilian Book Chamber (CBL), for her work as the editor of the first book ever written in history, the Mesopotamian long poem “Inana.” Currently, Fabiana lives between Brazil and New York, investigating sound, collage, radio work, and writing about sonic experimentalism.

As a 2025 Wave Farm Radio Art Fellow, Fabiana writes: "Streaming from an intimate interest in Alien Sound, drawing on what Kodwo Eshun discusses in More Brilliant Than the Sun as Alien Music, I propose writing an essay, culminating on a short book, that uses Tendayi Sithole’s The Black Register, Sun Ra’s MythScience, and Eshun’s concept of Alien Music as an experimental lens to explore how sonic practices articulate modes of Black and Indigenous aesthetic-world-making through vibration as epistemology, transmission, and formless formation. I will focus on the works of Kamari Carter and Gladstone Deluxe (Codes), the ANANSI Revolutionary Collective and SUNJIR0, and Celeste Oram’s TERRA RADIA workshop—all of whom engage with sound as an insurgent force that unsettles hegemonic temporal structures of listening, technology, and registry. Throughout this article, I will explore the breaks where Alien Sound is transmitted (and listened to, dislocated, created, destroyed)—where nothing is fixed in tradition, space, or temporality, but instead dislocated from any origin—proposing sound as a fugitive method of synthetic recombination."

Fabiana Gibim is a performance artist, editor, and curator from the border of Brazil and Paraguay, born into the Guarani-Kaiowá Indigenous Nation. Her work explores concepts of sonic art in relation to the epistemology of vibration. She is interested in radical archives—both sound and printed matter—and dedicates herself to creating imaginary archives that experiment with the concept of “formless formation.” She is also the editor and founder of the São Paulo-based radical press, Sobinfluencia, working collaboratively with over 200 contributors and having published over 40 books and more than 50 mixed-media posters. She is co-founder of the Nocturnal Lab, laboratory of investigations on sound and night.

Fabiana was a special curator at the Beinecke Rare Book and Manuscript Library at Yale, where she received the prestigious John D. and Rose H. Jackson Award for outstanding work in artistic curation. Her efforts culminated in curating the exhibition “Art, Protest & The Archives” at Yale from 2023 to 2024. In 2023, she was a finalist for the Prêmio Jabuti (the "Tortoise Prize"), the most traditional literary award in Brazil, given by the Brazilian Book Chamber (CBL), for her work as the editor of the first book ever written in history, the Mesopotamian long poem “Inana.” Currently, Fabiana lives between Brazil and New York, investigating sound, collage, radio work, and writing about sonic experimentalism.

As a 2025 Wave Farm Radio Art Fellow, Fabiana writes: "Streaming from an intimate interest in Alien Sound, drawing on what Kodwo Eshun discusses in More Brilliant Than the Sun as Alien Music, I propose writing an essay, culminating on a short book, that uses Tendayi Sithole’s The Black Register, Sun Ra’s MythScience, and Eshun’s concept of Alien Music as an experimental lens to explore how sonic practices articulate modes of Black and Indigenous aesthetic-world-making through vibration as epistemology, transmission, and formless formation. I will focus on the works of Kamari Carter and Gladstone Deluxe (Codes), the ANANSI Revolutionary Collective and SUNJIR0, and Celeste Oram’s TERRA RADIA workshop—all of whom engage with sound as an insurgent force that unsettles hegemonic temporal structures of listening, technology, and registry. Throughout this article, I will explore the breaks where Alien Sound is transmitted (and listened to, dislocated, created, destroyed)—where nothing is fixed in tradition, space, or temporality, but instead dislocated from any origin—proposing sound as a fugitive method of synthetic recombination."

Fabiana Gibim is a performance artist, editor, and curator from the border of Brazil and Paraguay, born into the Guarani-Kaiowá Indigenous Nation. Her work explores concepts of sonic art in relation to the epistemology of vibration. She is interested in radical archives—both sound and printed matter—and dedicates herself to creating imaginary archives that experiment with the concept of “formless formation.” She is also the editor and founder of the São Paulo-based radical press, Sobinfluencia, working collaboratively with over 200 contributors and having published over 40 books and more than 50 mixed-media posters. She is co-founder of the Nocturnal Lab, laboratory of investigations on sound and night.

Fabiana was a special curator at the Beinecke Rare Book and Manuscript Library at Yale, where she received the prestigious John D. and Rose H. Jackson Award for outstanding work in artistic curation. Her efforts culminated in curating the exhibition “Art, Protest & The Archives” at Yale from 2023 to 2024. In 2023, she was a finalist for the Prêmio Jabuti (the "Tortoise Prize"), the most traditional literary award in Brazil, given by the Brazilian Book Chamber (CBL), for her work as the editor of the first book ever written in history, the Mesopotamian long poem “Inana.” Currently, Fabiana lives between Brazil and New York, investigating sound, collage, radio work, and writing about sonic experimentalism.