Acra, NY—Wave Farm announced today the artists and projects selected for the 2024 Wave Farm Transmission Arts Residency and Radio Art Fellowship Programs.
Since 2005, Wave Farm’s international artist-residency program has fostered new work in Transmission Arts. This year the program will emphasize “Live Performance for an Expanded Studio Audience.” Each residency will conclude with a public event at Wave Farm, which is also a live radio broadcast on Wave Farm Radio: WGXC 90.7-FM Radio for Open Ears in NY’s Upper Hudson Valley. Since 2019, the Wave Farm Radio Art Fellowship program has supported community workshops and the creation of an online archive and weekly radio series celebrating noteworthy historic and contemporary radio artworks.
In 2024, Wave Farm welcomes Sally Ann McIntyre / radio cegeste (Aotearoa/New Zealand and Naarm/Melbourne, Australia), Austin T. Richey (Detroit, MI), Ginebra Raventós with Emilio Marx (Barcelona, Spain), Caroline Preziosi (Baltimore, MD / Callicoon, NY), Daniel Neumann (Brooklyn, New York), Fabian Lanzmaier and Andreas Zißler (Vienna, Austria / Germany), Kamari Carter and Gladstone Deluxe (New York, NY), Celeste Oram (New York, NY), ANANSI Revolutionary Collective with SUNJIR0 (Internationally Distributed / Nairobi, Kenya) and, Hans Kuzmich (Los Angeles, CA).
The 2024 program also inaugurates a new partnership with CU Boulder. In this exchange, the first five days of the residency will take place at Wave Farm and consist of research and early project development. The resident will then travel to Boulder where they will further develop their project in advance of a multi-channel public presentation there as well as produce a binaural mix prepared for stereo FM broadcast on Wave Farm Radio. This year also marks the second annual Rising Tide Award, which provides additional financial support to an applicant with a multidimensional life and background whose work is rooted in process, to further the pursuit of new ideas, experiments, and uncertainties.
The 2024 Wave Farm Residency and Fellowship Program received 258 proposals, originating from 28 countries and 29 U.S. states. Each artist or duo will live and work on-site at the Wave Farm Study Center for ten days during the program season, which spans June through October. Radio Art Fellows will continue their work remotely in conjunction with their one-month Fellowship engagement.
WAVE FARM RESIDENCY + FELLOWSHIP PROGRAM SELECTED ARTISTS AND PROJECTS 2024
(In chronological order)
Sally Ann McIntyre / radio cegeste (Aotearoa/New Zealand and Naarm/Melbourne, Australia) – ion and bird: a transmission for the Atlantic flyway
June 7 - 16, 2024. Public event: June 15.
Radio is sky. It sings through the mouths of birds on their journeys who navigate by infrasound and listen to the aurora as the sound of the lightning.
Radio is terrestrial. It is in the rocks, in the earthquake prone and mountainous zones of Te Wai Pounamu the South Island of Aotearoa New Zealand where the small birds called pīwauwau, or Rock wrens, speak a language that is almost too high for human hearing.
Migratory birds use magnetoreception, detecting the Earth’s magnetic field, as one of their tools to navigate on their long-distance journeys. With a frequency range of hearing considerably lower than human listening, certain species also orient through low-frequency infrasound, along coastline and oceanic landmarks that may serve as orientation beacons. ion and bird considers the links between this still indeterminate set of techniques within the embodied senses of birds, known since the nineteenth century and once mythicized as the “sixth sense,” and the sonic expression of bird songs and calls. In tuning in to less audible sky narratives and correspondences, it considers collaboration and communication with non-human species, intelligence beyond human perception, multispecies media histories, and radio as translation between worlds. As the VLF radio receiver converts the aurora's radio waves into a frequency audible to the human listener, and the crystal radio set harnesses tiny crystals of the minerals pyrite and galena within the simplest type of functional radio receiver, so may the navigational abilities of birds, emerging in part from magnetite-based receptors in beaks, or quantum sensing in avian eyes and ears, be understood to make audible a vibratory, embodied strata of forces that normally remains inaudible.
Using an expanded palette of electroacoustic and radiophonic instrumentation including bird-tracking telemetry systems used with migratory shorebirds on the Atlantic Flyway, and with an ear to more-than-human material histories of radio transmission, reception, and locality, ion and bird will tune into an aesthetic correspondence between bird vocalization and space weather, considering how the otherworldly chirps, crackles, and squeaks created by geomagnetic storms in the Earth’s ionosphere resemble the contact calls of migratory birds, and the phenomena referred to as the electromagnetic or auroral dawn chorus, sounds remarkably like birdsong. Mcintyre will be joined in-residence by her long-time partner and collaborator, film-maker and photographer Campbell Walker who will document the project in preparation for a standalone film.
Sally Ann McIntyre is an artist, writer, and expanded radio-maker from Aotearoa New Zealand/Lutruwita Tasmania living in Naarm Melbourne. Her research-led practice has paid increasing attention to sites where ecological and cultural narratives (recorded/transmitted signals/empiricism/documentary/zoologic museum collections) meet unheard, unremembered, untranscribed, or untranslated aspects of geographies (bad reception/pseudoscience/silence/extinction/electromagnetism/noise). Often working critically with the sonic representation of environments, the one-way collecting drives of the practice of field recording, conceived as a form of technologized “voluntary memory,” meet a contrasting, liminal “involuntary memory” often gleaned from the practice of small-scale radio transmission as a form of two-way, site-receptive “fieldwork” and an associated focus on revealing the chaotic nature of the inaudible energy spectrum. McIntyre teaches at the University of Melbourne, Monash University, and Deakin University in Media and Communications, Literary Studies and the Creative Arts. https://radiocegeste.blogspot.com/
Austin T. Richey (Detroit, MI) – Research Radio Art Fellow
June 21 - July 19, 2024
As Wave Farm's 2024 Radio Art Research Fellow, Austin T. Richey will contribute five new artists and works to the Broadcast Radio Art Archive. Richey's research will focus on artists who utilize new interfaces to develop an emergent soundscape or hide themselves within the sonic textures. The cohort will include Zimbabwean radio and sculpture artist Masimba Hwati, whose performances connect Shona ritual and contemporary diasporic African life, and Martin Freeman, a New York-based instrument maker who builds and leads workshops around solar-powered synthesis. Richey's interest in diasporic frequencies and environmental modulation developed from his own performance practice. Each Fellowship commences with a 10-day on-site residency. In addition to using this time on-site to inform his research, Richey will sound out Wave Farm through broadcast recordings of his own solar instruments, placed throughout the campus. These sounders will be complemented by a set of instruments—specifically built for his time at Wave Farm—that are only audible through EMF detectors.
Austin T. Richey is a musician, multimedia artist, and ethnomusicologist based in Detroit, Michigan, where he explores the resonances between diasporic African musical, dance, and visual arts and Detroit-specific genres such as Motown and techno. Richey’s current sonic practice reclaims public spaces through community-oriented DIY synthesizer-making workshops and site-specific, historically and environmentally informed sound installation. Through these workshops, Richey connects young sound makers to their environment via deep listening practices while teaching skills like electrical engineering, encouraging them to experiment with self-designed sonic expressions.
Richey has published original research in African Music, Opioid Aesthetics, and Sonic Signatures, has contributed research to the Public Broadcasting Service digital series Sound Field, and is currently turning his dissertation on experimental community music-making and griots in Detroit into a manuscript. His research is supported by the Frederick Douglass Institute, the Society for American Music, Humanities New York, the Knight Foundation, and the Presser Foundation. Collaborations include work with Sō Percussion, Bora Yoon, and extensive live sound installation and performance with Maritza Garibay as the duo Dominant Hand. He earned a Ph.D. from Eastman School of Music in 2023, is an instructor at Western Michigan University's Gilmore School of Music, and is the current Storyteller for Detroit Opera. https://austinrichey.com/
Ginebra Raventós with Emilio Marx (Barcelona, Spain) – Voices_in_Transmission: _Immersive_Radio_Phantom_Words
July 5 - 13, 2024. Public event: July 13.
Voices_in_Transmission: _Immersive_Radio_Phantom_Words aims to expand on Diana Deutsch's psychoacoustic phenomenon "Phantom Words" incorporating spatiality, multi-channeling, diverse languages, voices, and syllables into the exploration. The primary goal is to create a comprehensive sound bank using recordings exclusively from local radio stations to investigate the radio's role in auditory perception and neurological responses in the creation of phantom words. The project will explore how radio samples, including background music and sound effects, contribute to the perception of phantom words. Additionally, the project will enhance spatiality by incorporating several radio receivers and examining the electro-acoustic chain's impact on perception. Raventós will be joined in-residence with her Acoustic Heritage Collective collaborator, Emilio Marx who will contribute as a sound producer and technician. Trained in acoustic engineering, with an interest in acoustic heritage, Marx frequently uses his theoretical background to implement technology that enhances spatial translations.
Ginebra Raventós is a poet and sound artist. Her field of research crosses the voice, word, collective unconscious, and psychoacoustics through sound, space, and the moving image. She investigates the possibilities of expanding the field of action of poetry beyond the word in the text. In her pieces, Raventós displays her poetic universe, where voice, action, sound, image, space, and text are intermingled in an indispensable whole. She also explores the idea of repetition and trance, that is, the alteration of consciousness understood as the displacement to a new mental space and perceptual world. https://linktr.ee/Ginebraraventos
Caroline Preziosi (Baltimore, MD / Callicoon, NY) – Arts Writing Radio Art Fellow
July 19 - August 16, 2024
The Arts Writing Fellow is a critic and/or curator who will produce an essay about selected Wave Farm artists-in-residence work, including artist interviews. In this newly established Fellowship opportunity, Preziosi will consider the work of past residents whose projects implicate questions of climate change and human responsibility through intimate studies of biodiverse habitats, weather forecasting, insects, and machines. Preziosi's essay will explore possibilities of transmission as translation–between image and sound, between human and non-human language—in order to create bridges between ourselves and our precarious environment.
Caroline Preziosi is a writer, artist, and educator in Baltimore, MD and Callicoon, NY. She works in language, photography, sound, and installation. She has a BA in Writing from Johns Hopkins University, an MFA from School of the Art Institute of Chicago, and serves as a board member with ENGN Civic Creative Center, a 501(c)3 educational non-profit in NY. https://carolinepreziosi.com/
Daniel Neumann (Brooklyn, New York) – TONE FIELD HORIZON
August 2 - 11, 2024. Public event: August 10.
TONE FIELD HORIZON is a performance-installation for the Wave Farm Art Park, as well as a simultaneous radio transmission mixed live from the various points that make up the field. The project uses the Art Park as a spatial instrument. Neumann will install five remote stations, each consisting of a loudspeaker and a microphone. He will use his software instrument Room Tone Generator [RTG] to generate finely tuned tonalities that blend into the nearfield environment. During a culminating public program, on-site audiences will experience the tones in the environment (RTG within an ecosystem) expanding spatiality. Listening gets a tonal anchor for focusing attention as the visitors move through the different acoustic arenas. As visitors walk around the Wave Farm Art Park they experience the shifting acoustic horizon in relation to how close or far they are from the various RTG speakers. The microphones will pick up the altered environment. For off-site radio audiences, all five feeds will be mixed together and output for stereo broadcast over WGXC 90.7-FM and wavefarm.org/listen. This tele-audience will experience a very different acoustic horizon, an all-at-once conglomerate from the different locations.
Daniel Neumann is a sound artist, organizer, and audio engineer. He holds a media art masters degree from the Academy of Visual Art Leipzig where he studied electronic music composition. Neumann’s main area of focus is how sound interacts with space and how space and spatial perception can be shaped by sound. He works in hybrid installation-performance formats and understands sound as an intersubjective field enabled by audio procedures. Neumann’s work has been presented internationally at venues including: Zona Maco CDMX, TEA Tenerife, Sinne Helsinki, Pinacoteca Bellas Artes Manizales Colombia, Espacios Resonantes Santiago de Chile, Loop Barcelona; Sculpture Center, etc. He is represented by Fridman Gallery, New York. Curatorially Neumann runs CT::SWaM, an ongoing series presenting spatial sound works, now under the umbrella of the organization New Ear, for which Neumann serves as a founding Board Member. As an audio engineer, he has worked for Diamanda Galás, BlankForms, Time:Spans, MoMA PS1, Meredith Monk, Kevin Beasley, Phill Niblock, Ellen Reid, Missy Mazzoli, David Guetta, ACME, Alarm Will Sound, and more. http://danielneumann.org
Fabian Lanzmaier and Andreas Zißler (Vienna, Austria / Germany) – transmitter2ears
August 16 - 25, 2024. Public event: August 24.
transmitter2ears is a live performance/installation with two parabolic speakers, binaural microphones, radio transmission, and a synthesizer. Together they form an audio-feedback loop, open to the sounds of the environment and a performer/musician interacting with the audio-field of the highly directive speakers. In the performance, Lanzmaier and Zißler and their collaborators actively blur the lines between performer, listener, musician, and landscape, turning the whole ecosystem of the site into an instrument.
Andreas Zißler and Fabian Lanzmaier are transdisciplinary artists based in Vienna. Coming from different backgrounds (architecture, fine arts, and sound/music) they share an interest in sound and its relation to space. Recently, they have collaborated on different site specific installations, working with feedback systems, parabolic sound reflectors, and spatial audio. https://www.fabianlanzmaier.com https://www.andreaszissler.com/
Kamari Carter and Gladstone Deluxe (New York, NY) – Codes
Wave Farm / CU Boulder Exchange Residency
Wave Farm: August 30 - September 3, 2024. CU Boulder: September 3 - 8, 2024.
Codes is a newly-founded collaboration between Kamari Carter and Gladstone Deluxe that features an audio-visual durational performance using data extracted from live police scanner transmissions as a primary material for musical exploration. Deriving from Carter’s research-oriented practice revolving heavily around policing, incarceration, Black aesthetics, and surveillance, and Deluxe’s haptic, Afrological and techno-inspired analog compositional strategies, Codes works towards a synthesis of both schools of thought, and seeks to elevate the obfuscated.
Kamari Carter is a New York-based artist primarily working with sound, video, installation, and performance. His practice circumvents materiality and familiarity through a variety of recording and amplification techniques to investigate notions such as space, systems of identity, oppression, control, and surveillance. Driven by the probative nature of perception and the concept of conversation and social science, he seeks to expand narrative structures through sonic stillness. Carter’s work has been exhibited at such venues as Automata Arts, MoMA, Mana Contemporary, RISD Museum, Flux Factory, Lenfest Center for the Arts, and Wave Hill and has been featured in a range of major publications including ArtNet, Precog Magazine, LevelGround, and WhiteWall. Carter holds a BFA in Music Technology from California Institute of the Arts and an MFA in Sound Art from Columbia University. Kamari Carter is represented by Microscope Gallery in New York City. https://www.kamaricarter.com
Gladstone Deluxe is a New York-based artist working with percussion and electronics. As a percussionist, Gladstone is interested in how conceptions and politics of time are embodied, and can bleed into the social topography of a culture through rhythmic performance. As a technologist, they develop systems for the augmentation and amplification of percussive messages. His experimental approach towards composition and interface design is a collision of the spiritual and the cybernetic. In 2023, Deluxe released EPs with Black Techno Matters and is / was. Films that Deluxe scored were shown at the British Film Institute, a STARZ television premiere, the Hawai’i International Film Festival, and more. He’s appeared in galleries like The Warhol Museum, Rubin Foundation, Chashama, the Carnegie Museum of Art, and clubs throughout the U.S. In 202,4 he will collaborate with Moog Synthesizers, Sō Percussion, Attacca Quartet, and more. Gladstone also keeps busy as the timbales player for Las Mariquitas, which was recently featured in Rolling Stone. https://www.gladstonebutler.com/
Celeste Oram (New York, NY) – Community Engagement Radio Art Fellow
September 9 - October 7, 2024
As Wave Farm’s Community Engagement Radio Art Fellow, Celeste Oram will conduct the workshop TERRA RADIA: the (De-)Territorialization of the Radio Spectrum. Presented in three parts, the workshop gathers radio enthusiasts to reflect on the territorialization of the electromagnetic spectrum: that is, the conceptual, legal, political, scientific, and aesthetic frames whereby radio is described as if it were space or territory. The workshop will pose and discuss questions including: But how apt are those analogies? What do they elide or misrepresent about radio properties and technology? What political mechanisms do they naturalize? By what other conceptual means might we navigate and manage electromagnetic properties?
And what is at stake in these reflections? Well, the spectrum is a proving ground for some of the most urgent political re-calibrations of our time: the rights and privileges of corporate bodies; the future of the nation-state; Indigenous sovereignty and decolonial governance; overlapping sovereignties within shared territorial environments.
Presented in a hybrid format, an introductory experimental lecture-recital will be followed by collaborative Zoom sessions open to an international audience of radionauts and anyone who wants to learn about the political underpinnings of how we apprehend natural phenomena.
Celeste Oram is a composer with equal investments in radiophonic and transmission art, as well as live musical performance in the experimental and classical realms. Oram’s work explores the histories and micro-cultures of musical practice itself, as well as its socio-political entanglements. Her radiophonic pieces employ radio technologies (sometimes DIY) as a musical instrument in the pursuit of richly contrapuntal sonic textures. Often Oram’s work engages with the histories and cultures of both public and amateur radio, and their entwined development with colonialism and nation-building—especially in her home country Aotearoa New Zealand. Recent compositions for live performance span instrumental and vocal concert music, polyphonic songs, music for period Baroque instruments, experimental music-theatre, and orchestral music for dance-theater. Much of Oram’s musical language is rooted in a studied investment in early music, revivifying historical musical languages via experimental approaches. http://celesteoram.com
ANANSI Revolutionary Collective with SUNJIR0 (Internationally Distributed / Nairobi, Kenya) – Ansible Realm Connector
Rising Tide Award Recipient
September 27 - October 6, 2024. Public event; October 5.
Ansible Realm Connector is an innovative live docu-fictional radio play and Arkestral tele-performance that unfolds the narrative of the (fictional) inter-dimensional ansible, I.D.A., and the genesis of the (real) ANANSI Revolutionary Collective. Envisioned as a global collaboration, musicians, sound artists, and thespians will synchronize from diverse locations using tele-midi and low-latency audio transfer technology. This interdisciplinary tele-performance aims to transcend physical distances, creating a shared experience for a global audience. SUNJIR0 (Nairobi, Kenya) will anchor the project on-site at Wave Farm.
ANANSI Revolutionary Collective is a Pan-African group of artists distributed throughout the world that collaborate with each other on art and work. We co-steward a commons, follow the ANANSI philosophy, experiment with collaborative practices, and are building a participatory governance model. We are artists, activists, anarchists, inventors, economists, guerrilla theorists, creatives, creators, and collaborators. We are distributed throughout the globe and step with ease between the many worlds we inhabit. https://anansi.site/
SUNJIR0 is a trans-disciplinary artist, designer, creative technologist, and the catalyst of the ANANSI Revolutionary Collective. As a solo audio artist, they create immersive soundscapes and docu-fictional work that exists in the realm of science-fiction, Afrofuturism, and techno-politics. https://kadallah.com/
Hans Kuzmich (Los Angeles, CA) – Three Transmissions from the Carceral State
October 11 - 20, 2024. Public event: October 19.
Three Transmissions from the Carceral State is a live performance and radio broadcast bringing together three sound archives connected to the history of imprisonment in Upstate New York. The first set of recordings derives from a practice of listening to the electromagnetic and acoustic environments of active and decommissioned prisons in Wave Farm’s vicinity. The second set draws on Wave Farm’s archive of radio programs highlighting the analysis of imprisoned people, their families, and communities. Finally, a third set of recordings engage with current abolitionist organizing in Upstate New York. The three sound archives will be mixed in real time to evoke the prison as a physical structure and a discursive site. Listening to its past, present, and future, the project seeks to contribute to the abolitionist imagining of imprisonment’s afterlife.
Hans Kuzmich is a Belarusian interdisciplinary artist and scholar whose work attends to gender as an interface between subjects and the state with the desire to unsettle their regulatory logics. Working from a trans, diasporic position, Kuzmich creates moving image and sound installations that foreground phenomena on the edges of visibility and audibility, such as infrared light and electromagnetic fields. Kuzmich is currently completing a hybrid doctoral dissertation in Film and Digital Media at the University of California, Santa Cruz. He received an MFA from the University of California, Los Angeles, a BFA from the Cooper Union, and attended the Whitney Independent Study Program. Kuzmich has been awarded artist residencies at the Vermont Studio Center, the Studios at MASS MoCA, and SOMA Summer. His work has been exhibited at Art in General, the Kitchen, the 8th Floor, Poetry Project at St. Marks Church, Performance Project at University Settlement, Temporary Agency, and Not An Alternative/No-Space (New York, NY); Underground Museum, New Wight Gallery, and Pacific Design Center (Los Angeles, CA); AS220 (Providence, RI); Beirut (Cairo, Egypt); and SOMA (Mexico City), among other venues. Kuzmich’s writing has appeared in journals (Theory, Culture & Society, Art Journal, and Native Strategies) and exhibition catalogs (Imagine Freedom: Art Works for Abolition, New Wight Biennial: Compassion Fatigue, and Sharon Hayes: There’s So Much I Want to Say to You). https://hanskuzmich.info/
About Wave Farm
Wave Farm is an international transmission arts organization driven by experimentation with the electromagnetic spectrum. We cultivate creative practices in radio and support artists and nonprofits in their cultural endeavors.
Based in New York’s Upper Hudson Valley, Wave Farm is a media arts center, media platform, and arts service organization. Wave Farm offers interdisciplinary outdoor installations, residencies and fellowships, and a research library. We operate FM radio station WGXC and host many online radio channels. Wave Farm provides fiscal sponsorship, consultation, and grants to artists and organizations.For more information, please visit wavefarm.org
About the Wave Farm / CU Boulder Exchange Opportunity @ Atlas B2
In 2024, Wave Farm and University of Colorado, Boulder will invite an artist from the Wave Farm Residency Cohort to split their residency between Wave Farm and CU Boulder. The first five days of the residency will be spent at Wave Farm and consist of research and early project development. The resident will then travel to Boulder where they will further develop their project, making use of the Atlas Institutes’ B2 Center for Media, Arts & Performance facility and equipment. (See https://www.colorado.edu/atlas/b2/facilities-equipment and https://github.com/MerkelAcoustics/ATLASBlackBox). The culmination of this residency will be a multi-channel public presentation in Boulder at B2, as well as a binaural mix prepared for stereo FM broadcast on Wave Farm Radio. This artist will receive a single stipend of $2,500 to be used for artist stipend, travel, and accommodation expenses.
About the Rising Tide Award
Established in 2023 with the generous proceeds received from LoVid's Tide Predictor, an Art Blocks Curated series of onchain generative NFTs, an additional $1,500 will be awarded to a single resident. The Rising Tide Award aims to support an applicant with a multidimensional life and background, whose work is rooted in process, to further the pursuit of new ideas, experiments, and uncertainties. Artists with special circumstances that require additional funds such as: parents, artists from out of state/country, collaborators, and artists with non-traditional art/career experiences are encouraged to apply.
Wave Farm programs are made possible, in part, by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature; the National Endowment for the Arts; the Greene County Legislature through the County Initiative Program, administered in Greene County by CREATE; the Alexander and Marjorie Hover Foundation; the T. Backer Fund; the Joseph Family Charitable Trust; and hundreds of other generous individual donors, including WGXC Sustaining Supporters, who provide critical monthly support to Wave Farm's radio station WGXC 90.7-FM.
