The New York Times reports that on May 31 a federal judge ruled that the sound the Long Range Acoustic Devices used by New York City police against protesters emits a form of force. In effect, Judge Robert Sweet of the Federal District Court in Manhattan ruled that the LRADs are weapons as well as communication devices. Police use them sometimes as loudspeakers, to make announcements to protesters. But at 1 a.m. on Dec. 5, 2014, the police used a 100X Long Range Acoustic Device to make a series of sharp, piercing beeps directed at the Black Lives Matter protest in Manhattan. Use of the device, “as a projector of powerfully amplified sound is no different than other tools in law enforcement’s arsenal that have the potential to be used either safely or harmfully, one example being distraction devices — items like stun grenade, flash bang, or concussion grenades,” Judge Robert Sweet of Federal District Court in Manhattan wrote, adding, “It can be plausibly inferred that the use of a high-powered sound magnifier in ‘close proximity’ to plaintiffs was not appropriate.” The judge did agree with New York City's lawyers that the use of the device did not violate First and Fourth Amendment rights. Instead the judge said the protesters had a “cognizable claim” that the excessive use of force violated their 14th Amendment rights, so their suit against the city and two members of the Police Department’s Disorder Control Unit will continue.

Radio Caroline, perhaps the world's most famous pirate radio operator, has been granted an AM license from Ofcom, the British agency that regulates the airwaves. It was 50 years ago when the British Parliament passed the 1967 Marine Broadcasting Offences Act after Radio Caroline skirted UK regulations by broadcasting from a boat. Peter Moore, who runs Radio Caroline, said the station plans to broadcast from the ship the MV Ross Revenge on the River Blackwater in Essex, with a signal covering Suffolk and northern parts of Essex. “It’s our intention to broadcast to the same people we used to when we had the ships off the Essex coast,” Moore said. “It will be the same sort of service they would have heard in the past delivered in the same way and presented in many cases by the same people as before.... It’s like a living time capsule.” Radio Caroline began to play pop music the BBC would not in 1964. The station has been immortalized in the film "Pirate Radio" with Phillip Seymour Hoffman. Radio Caroline continued to broadcast until the Ross Revenge was shipwrecked off the Kent coast in 1991, according to the Sunday Post.

When a politician attacked a journalist on election eve in Montana May 24, stations across the country played the audio recording the reporter made while he was being "body-slammed," choked, and punched. But at least one station, NBC Montana affiliate KECI, refused to play the recording. Instead, the station, with a parent company recently bought by the conservative Sinclair Broadcast Group, released this statement: "NBC Montana takes pride in reporting only verifiable facts from independent reliable sources, officials and documents, regardless of what is reported by other media outlets. The only verifiable facts are what is being stated by the Gallatin County sheriff at this time." But Fox reporters in the room during the attack confirmed the journalist's account and explained the context of the audio recording. The audio recording, at that point in the story, was a verifiable fact. Tamy Wagner, KECI vice president and general manager, disagrees, telling the Huffington Post in an email that the station, “did not have specific instructions or any instruction from Sinclair,” in its handing of the story. “We do not put unverified information and audio tapes on the air in any case, political figure or not,” Wagner said.

Recode reports that as land-line phones are plagued with robo-calls from telemarketers, cell phones may soon be too. The Federal Communications Commission is considering allowing "ringless voicemail," a way for telemarketers to send voice mail messages to cell phones. Anyone getting one of these calls won't know it until checking their voicemail, which will be full of messages from telemarketers if the FCC approves the proposal. The Republican National Committee is supporting the measure, and using the First Amendment as a rallying cry for filling Americans phones with junk messages. “Political organizations like the RNC use all manner of communications to discuss political and governmental issues and to solicit donations — including direct-to-voicemail messages,” the RNC told the FCC in a public comment on the proposal. “The Commission should tread carefully so as not to burden constitutionally protected political speech without a compelling interest." A different "ringless voicemail" proposal was ignored by the FCC in 2014, but now a pro-business FCC may allow the proposal. See the proposal on the FCC website.

Inside Radio has a large, three-part series on the state of pirate radio in the United States that says little. The biggest news in the story may be how little the new Donald Trump-dominated Federal Communications Commission is doing about the scourge of illegal broadcasting on the nation's airwaves. So far field agents have issued only 20 official warnings to pirate radio operators in 2017 according to the FCC. Roughly four pirates per month, or one a week, are getting letters from the FCC since Donald Trump became president. But there is a statement from the new FCC chief Ajit Pai: “Chairman Pai has made clear that confronting pirate radio is an enforcement priority for the agency,” an FCC spokesperson said in an email to the magazine. “The chairman has asked the Bureau to review its policies related to pirate radio and work to find ways to further bolster the Commission’s capabilities on this front. The chairman and Bureau leadership have also worked closely with the FCC field office staff to reaffirm that essential part of the Commission’s enforcement mission.” Despite the lack of evidence, the broadcast industry lobby feels like the new administration is taking action. “They are definitely more interested in stopping pirate radio,” said Florida Association of Broadcasters president Pat Roberts. And in New York: “We’ve seen a real significant change in attitude at the FCC. There is now a real desire to try to eradicate this problem,” New York State Broadcasters Association president David Donovan said. “What I see is a determination by the Commission to go after this issue, which we have not seen for decades.” And, like the president, these lobbyists know how to talk both sides of the same issue. “Our estimates are there are hundreds of pirates in New York City alone and that number will increase dramatically during the summer,” Donovan said. And, writing letters to one illegal broadcaster per week should take care of that problem in no time.

ZDNet reports that the Federal Communication Commission won't reveal evidence of an alleged distributed denial-of-service attack against the radio regulating agency. The hack on the FCC's website is said to have prevented many people from commenting on the FCC's website in support of net neutrality. The attack came a few weeks ago just after John Oliver's latest rant about net neutrality on HBO. Oliver set up his own website, gofccyourself.com, to get around the FCC's now-more-complicated online commenting process, and urged viewers to make public comments to save net neutrality. Just then, ZDNet and others have reported, unknown anti-net neutrality spammers posted hundreds of thousands of the same messages to the FCC's website commenting about the net neutrality issue. The FCC voted last week to begin the process of rolling back the net neutrality regulations, which will allow a handful of internet companies to create "fast lanes" on the internet for those with money to spend. Evan Greer, campaign director at Fight for the Future, a non-profit group promoting internet freedoms, said the FCC should be able to figure out who was behind the attack on its website. "If the fake comments -- many of which are using real people's names and addresses without their permission -- were submitted using the FCC's API, that means they should absolutely have information about who is committing this act of fraud," she said. Two senators, Ron Wyden and Brian Schatz, have written to the FCC to inquire about the agency's claims it was attacked by an "external party."

The Hill reports that the Federal Communications Commission voted 2-1 May 18 to begin the process of ending net neutrality rules which currently make the internet an even playing field. FCC chief Ajit Pai’s proposal "Restoring Internet Freedom" would allow corporations to give higher paying customers better internet access, creating so-called "fast lanes" for the rich and "slow lanes" for everyone else. Protesters made FCC commissioners clear they were angry about the vote, and FCC plainclothes security guards manhandled a journalist for CQ Roll. The New York Daily News reported that, "Reporter John Donnelly said he asked FCC Commissioner Michael O’Rielly questions when the official was not in front of the podium — causing security guards to allegedly shadow him, wait for him outside a men’s room and pin him against a wall as the commissioner passed by, according to a release from the National Press Club."

The Federal Communications Commission admitted May 12 that it has allowed an unlicensed low-power television station to operate in Morehead, Kentucky for 19 years. The FCC is proposing a $144,344 fine against Vearl Pennington and Michael Williamson for the pirate operation. The FCC's press release explains how the station has been ignored by the agency for so long. "In 1990, Mr. Pennington was granted an FCC license to operate low-power television station DW10BM in Morehead, Kentucky. Mr. Pennington renewed the station's license in 1993 but failed to do so again in 1998. In 2004, the FCC's Media Bureau wrote to Mr. Pennington to inquire if he had submitted a renewal request in 1998. Receiving no response, the Bureau canceled the license for DW10BM in 2004. Mr. Pennington, joined by Mr. Williamson, continued to operate the station despite their lack of FCC-issued license. After an unrelated FCC filing by another entity referenced the continued operation of DW10BM, the FCC's Media Bureau informed the Enforcement Bureau, which investigated through its Atlanta Field Office and found that the unlicensed station was indeed operating on Channel 10 in Morehead." The two men continued broadcasting during the investigation despite being told, "to cease operation, warned of possible enforcement actions, and issued an on-scene Notice of Unlicensed Radio Operation." Still, Pennington and Williamson persisted. So unhappy, Commissioner O'Rielly issued his own statement. O'Reilly has been the broadcast industry's champion constantly railing about a large pirate radio assault on the airwaves, and, in the face of such blatant incompetence, was apoplectic. "This case highlights how toothless the Commission's approach to broadcast pirates had become under past leadership. How could anyone get away with operating a pirate TV station for almost twenty years?," O'Reilly's statement reads. "No longer a fierce watchdog, the Commission had been reduced to a sometimes annoying, sometimes sleepy, but ultimately harmless Chihuahua when it came to protecting broadcast spectrum licenses. But all pirate operators should be put on notice that we can and we will turn that situation around. I support this Notice of Apparent Liability and look forward to seeing many more to come in this area, if our warnings are not heeded. With pirates crowding legitimate broadcasters out of the spectrum in several of our major metropolitan areas, we can no longer afford to rest. At the same time, the limitations outlined on the proposed forfeiture show that it would be helpful for Congress to revisit and restructure the penalties applicable to pirate broadcasting. More tools in the toolbox would come in handy as we implement a reenergized enforcement approach."

Radio World reports the Federal Communications Commission will take the first steps to eliminate American broadcasting’s longstanding main studio rule. Currently, U.S. radio and television stations are required to have a main studio in or near their city of license, instead of just beaming signals in from Los Angeles or New York. Many stations still broadcast much, or all, of their programming from afar, but the handful of companies that own most stations would like to eliminate some of the rents costs from their bottom line. At the FCC's May meeting the commission will most likely begin a Notice of Proposed Rule Making on the issue. “The commission will consider a Notice of Proposed Rulemaking that would propose to eliminate the commission’s main studio rule, based on a tentative finding that the rule is now outdated and unnecessarily burdensome for broadcast stations,” the FCC announced in a draft agenda of its May meeting. A handful of companies will probably get their way unless the public floods the FCC with letters against the proposal.

The New York Times and others report that Sinclair Broadcasting bought Tribune Media for $3.9 billion. That adds 42 more stations to the largest owner of local television stations in the United States, currently with 173 stations in 81 markets (including WRGB Channel 6 and WCWN 45 in Albany). Most notably, though, the deal includes WGN, the Chicago superstation which is carried by many cable packages nationwide. The New York Times writes that, "Sinclair has shown a willingness to use its 173 stations to advance a conservative-leaning agenda." With WGN and all those local stations, Sinclair could now create a rival conservative news network to compete against the suddenly struggling Fox News Channel.

The Hill reported last week that the Federal Communications Commission is launching an investigation into late night talk show host Stephen Colbert’s joke about President Trump and a certain body part of Russian President Vladimir Putin. That's a bit of an exxageration -- the FCC investigates anytime anyone complains about anything on the nation's airwaves. FCC Chairman Ajit Pai promised to “take the appropriate action” in an interview on Talk Radio 1210 WPHT May 4. “We are going to take the facts that we find and we are going to apply the law as it’s been set out by the Supreme Court and other courts and we’ll take the appropriate action,” the FCC commissioner said on the air. But, again, that comment could apply to any complaint the FCC receives. Colbert's comment is allowed to be "indecent" after 10 p.m. His joke will only garner a fine if it is deemed "obscene." To be obscene, according to the Supreme Court, “It must appeal to an average person’s prurient interest; depict or describe sexual conduct in a ‘patently offensive’ way; and, taken as a whole, lack serious literary, artistic, political or scientific value,” it reads. By most readings, Colbert was making a political joke, reacting with anger to the way Trump treated CBS journalist John Dickerson. Plus, CBS, Colbert's network, bleeped his joke and blurred his mouth. “I don’t regret that,” he said. “[Trump], I believe, can take care of himself. I have jokes; he has the launch codes. So, it’s a fair fight."

Durational Broadcast (4/29-4/30): 24-HOUR DRONE

The third 24-HOUR DRONE at Basilica Hudson takes place Saturday April 29, 12 p.m. - Sunday April 30, 12 p.m. An immersive and all-encompassing experience featuring artists experimenting within the multimedia spectrum of drone.

Wave Farm is pleased to stream the entire 24-HOUR DRONE event on Wave Farm Radio wavefarm.org/listen, as well as broadcast on Wave Farm's WGXC 90.7-FM.

Featuring: IVA BITTOVA // BRIAN DEGRAW (GANG GANG DANCE) + TIM KOH (HAUNTED GRAFFITI) // CEP (CAROLINE POLACHEK OF CHAIRLIFT) // LEE RANALDO // JON GIBSON PERFORMS VISITATIONS WITH JEREMY GIBSON // BRIAN CHASE AND YONATAN GAT // NAG & A PICTURESQUE VENUS TRANSIT // HUBBLE // BRIAN DEWAN // EZRA FEINBERG // JESUS CACTUS // BEN SHEMIE // SHILPA RAY // RODDY BOTTUM // VEENA CHANDRA // PHIL KLINE // BONNIE KANE // IIVII // VISION CONTROL // LOGAN R. VISSCHER // LIGATURE (PRESENTED BY TINNITUS) // KARMA TRIYANA DHARMACHAKRA CHOIR // DAVID GARLAND & ENSEMBLE WITH ARONE DYER AND IVA BITTOVA // QUELQUE SHOW MONTREAL BLOCK CURATED BY JESSICA MOSS FEATURING BIG | BRAVE, JR + MS, AND MORE // VICTORIA KEDDIE + UNIT 11 RESIDENCY PROJECT FEATURING KATHERINE BAUER, WITH ROSE KALLAL AND SCOTT KIERNAN // VISUAL INSTALLATION BY TROUBLE // PROJECTIONS BY CHARLES G. WALDMAN // ENDURANCE READING OF THE 1816 TESTIMONIES OF MOTHER ANN LEE PRESENTED BY SHAKER MUSEUM | MOUNT LEBANON

Organized by Basilica Hudson, 24-HOUR DRONE is co-presented by the Dutch mainstay music festival Le Guess Who? and in collaboration with Second Ward Foundation and Wave Farm / WGXC.

Tickets and more info: http://basilicahudson.org/24-hour-drone/

WGXC Record + Media Fair

On Sunday, April 30, as 24-HOUR DRONE winds down, the WGXC Record + Media Fair winds up featuring eclectic vinyl, music and radio ephemera, and much more.

• 10 a.m. - 11 a.m. Early-bird ($15) 
• 11 a.m. - 5 p.m. General Admission ($3)
• 24-HOUR DRONE Attendees Receive Free Admission
• Live broadcast on WGXC 90.7-FM from the Record Fair Noon - 4 p.m.

The WGXC Record and Media Fair will feature thirty tables of merchandise, and over twenty vendors. Selected vendors and wares include:

• 4 Star Vinyl, aka Spike Priggen, of WGXC's Bedazzled Radio Hour.
• Peter Aaron, formerly host of WGXC's PA System.
• 45s and more from Alex Benson of WGXC's 2045.
• Chris Bishop of WGXC's Vinyl Rundown and Garage Hangover.
• Chara Amplification, featuring hand built tube amplifiers made in Hudson, NY. Also featuring a large collection of late 80's/90's Punk & Hardcore records.
• Fibhorn Speakers: Fibhorn Speakers creates radical designs for the 21st century. Recent advances in full-range single driver manufacturing have finally made the elusive ideal speaker possible: a true point-source for the entire musical spectrum.
• Hank Flick, DJ and formerly host of WGXC's LunarMoss.
• Golden Music Company from Manchester, NH will present a large selection of 45s, featuring unusual, humorous, esoteric, non-Billboard-charted slices of recorded sound. There will also be LPs, 78s, sheet music, and music-related books.
• Hudson's own John Doe Records. Originally conceived in Pawling, NY in 1996 as "Antidote", owner Daniel Seward (Battlefield Earth) has carved a niche in the Hudson Valley community as a resource for obscure and not so obscure records, cassettes, books and also ephemera that perfectly blends in with the historical yet forward thinking tradition of Hudson.
• Publication Studio Hudson. Since 1976, Publication Studio designs and prints original books by authors and artists we admire. Output includes durable, attractive novels and poetry collections, historical reissues and agricultural texts, picture books, artists’ books, essays, catalogues, bootlegs and more.
• The Magic Stranger of WGXC's The Magic Stranger Show (formerly Puff!).
• LPs and more from Charles Ostroskey of WGXC's The Neon and The Rain and Off the Rails.
• Patchouli Julie of Albany, featuring loads of LPs with a ton of Grateful Dead.
• Town Hall Records: Since 1964, TownHall has produced recordings of exceptional musical and technical quality, including several first recordings of important nineteenth and twentieth century music. The catalogue has recently expanded to include jazz, historical reissues, avant garde music, and lighter music which is outside the rigid category definitions of the mainstream.
• The WGXC table, featuring a tremendous variety of affordably priced records in all genres. All proceeds from the WGXC table benefit WGXC.
• And a handful of other vendors including: Mike Curtin, Lee Browne, Rudy Mungaray, and Fistful of Discs.

Admission and table fees benefit Wave Farm's creative community radio station WGXC 90.7-FM. 

Durational Broadcast (5/6): Reveil 2017, daybreak sounds around the globe

Wave Farm is pleased to co-present SoundCamp's fourth iteration of Reveil May 6-7, 2017. Broadcast live on Wave Farm's WGXC 90.7-FM, Reveil is a live 24-hour broadcast of the sounds of daybreak, relayed by audio streamers around the world.

Reveil begins at midnight Eastern Daylight Time (5 a.m. in London time (UTC+1) where the broadcast first originates) and travels West just ahead of sunrise on a wave of live sounds relayed by streamers around the world. Reveil passes from urban rooftops to deep ocean hydrophones to remote forests in a 24-hour audit of the earth on International Dawn Chorus Day.

As daylight breaks at Wave Farm in Acra, NY, Reveil listeners will hear a special mix of sounds revealed by Zach Poff's "Pond Station," Quintron's "Weather Warlock," and live microphones planted throughout the Wave Farm property. New in 2017, a series of special live performances will take place throughout the 24-hour broadcast. From 5:30 p.m. to 6:00 p.m. Wave Farm's Tom Roe will perform using the same site-specific sounds that informed Wave Farm's daybreak feed 12 hours earlier.

In 2017 Reveil welcomes new streams from Tehran (Atefeh Khas), New York (Dominic Garcia-Hall), South Walney Island (Octopus Collective with Cumbria Wildlife Trust), Cali, Colombia (Kristian Paul Peñaranda Rojas), Maputo, Mozambique (Joao Bento), Noosa Biosphere Reserve, Australia (Leah Barclay), and Fukushima Exclusion Zone (Hill Hiroki Kobayashi).

Reveil continues key collaborations with Wave Farm (Acra, Upper Hudson Valley New York), Locus Sonus (Aix/Marseille), Stave Hill Ecological Park (London), Biosphere Soundscapes (Brisbane), The Radius (at Indian Boundary Park, Chicago), NAISA (South River, Ontario), Weather Report (Jeju, South Korea), Soundart Radio (Dartington), End of The World Garden (Cornwall), Diva Contemporary (Dorset) CONA (Ljubljana) and Octopus (Cumbria).

With exciting new soundcamps at sites in Ravenglass (Tariq Emam), port of Piraeus, Athens (Alyssa Moxley), Piirimäe, Mooste, Estonia (John Grzinich), Hobart, Tasmania (Julia Drouhin) and Whitehorse, Yukon, Canada (Chelsea J).

For programs and booking details at each location, please see http://soundtent.org/soundcamp_visit.html

Listen at Wave Farm, Resonance Extra and participating stations.

It's not too late to contribute a stream, using your laptop, phone or Raspberry Pi. See the how to or set up a soundcamp at the last minute. Reveil welcomes your involvement in a growing network linking remote acoustic and ecological projects in real time, expanding our sense of listening and place.

Reveil is assembled in London by the soundcamp collective. It coincides each year with International Dawn Chorus Day, an initiative of the Wildlife Trusts. It has evolved in close collaboration with Locus Sonus at the Hautes Écoles d'Art at Aix and Bourges, and in partnership with Wave Farm, Resonance Radio, a wider network of online and FM stations, and a variety of streaming projects. More information: http://soundtent.org/soundcamp_about.html.

Wave Farm Summer Internship Opportunity

Applicants should be prepared to commit 2 to 3 days a week for a minimum of eight consecutive weeks during Wave Farm's summer and/or fall 2017 season. Applicants should posses enthusiasm for transmission arts and be interested in an immersive experience including hands-on work with artists and the inner workings of a non-profit arts organization.

The Wave Farm Summer Intern will provide assistance including the following areas:

• Wave Farm Artists Residency Program (Assistance, Interviews, Documentation)
• Transmission Arts + Experimental Sound Radio Programming
• Wave Farm Study Center Library + Archives

Applicants for Wave Farm's Summer Internship opportunity should submit a letter of interest and resume for consideration to info@wavefarm.org.

more details

2017 MAAF Artist Grantees Announced

Wave Farm is please to announce ten recipients of the 2017 New York State Council on the Arts in Partnership with Wave Farm: Media Arts Assistance Fund (MAAF) for Artists: Tara Najd Ahmadi, Natalie Bookchin, Peter Burr, Joe Diebes, Michael Garofalo, Maximilian Goldfarb, Hank Linhart, LoVid, Elizabeth Orr, and Fern Silva. Read the press release to learn more about these projects and their distribution plans.

The New York State Council on the Arts in Partnership with Wave Farm: Media Arts Assistance Fund (MAAF) supports electronic media and film organizations, as well as individual artists, in all regions of New York State. The Fund provides unique and critical support with a focus on sustainability and public engagement. Visit https://wavefarm.org/mag for more information.

2017 Wave Farm Artists-in-Residence Announced

Wave Farm announces the 2017 Wave Farm artists-in-residence: Jeff Thompson (Jersey City, NJ); Victoria Keddie (Brooklyn, NY); Tom Miller aka Comrade Squelch (Brooklyn, NY); Celia Hollander (Los Angeles, CA); Rory Solomon (Brooklyn, NY); Kristen Roos (Vancouver, British Columbia); DinahBird and Jean-Philippe (Paris, France); and John Wiese (Cleveland, OH). 

Read the press release to learn more about these artists and their residency projects. The Wave Farm Residency program provides artists with a valuable opportunity to concentrate on new transmission works and conduct research about the genre using the Wave Farm Study Center resource library. In conjunction with their residencies, artists perform, are interviewed, and create playlists for broadcast on Wave Farm’s WGXC 90.7-FM, a creative community radio station serving over 78,000 potential listeners in New York’s Upper Hudson Valley, and international listeners online. Resident works are archived in the Wave Farm Transmission Arts Archive at http://transmissionsart.org.

The Wave Farm Residency Program is supported, in part, by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; the National Endowment for the Arts; The Andy Warhol Foundation for the Visual Arts; the Greene County Legislature through the County Initiative Program, administered in Greene County by the Greene County Council on the Arts; and generous individual donors. Visit https://wavefarm.org/ta/ residencies for more information.

Wave Farm Video Tours

These two newly available video guides offer viewers first-person tours of Wave Farm spanning summer, fall, and winter. The video above features the Wave Farm grounds. A second video walks visitors through the Wave Farm Study Center. Videos by FusionLab. 

24-HOUR DRONE and WGXC Record + Media Fair

The third 24-HOUR DRONE at Basilica Hudson takes place Saturday April 29, 12 p.m. - Sunday April 30, 12 p.m. An immersive and all-encompassing experience featuring artists experimenting within the multimedia spectrum of drone. Wave Farm is pleased to stream and broadcast the entire 24-hour event on Wave Farm Radio and WGXC 90.7-FM.

On Sunday, April 30, as 24-HOUR DRONE winds down, the WGXC Record + Media Fair winds up featuring eclectic vinyl, music and radio ephemera, and much more.

10 a.m. - 11 a.m. Early-bird ($15)
11 a.m. - 5 p.m. General Admission ($3)
Live broadcast from the Record Fair noon - 4 p.m.
Admission and table fees benefit Wave Farm's creative community radio station WGXC 90.7-FM. Limited vendor tables are still available and can be reserved here. 

Short Waves / Long Distance Repository

The Short Waves / Long Distance Repository is now online. Comprised of selected works from submissions to the highly competitive open call Short Waves / Long Distance, these 38 works exploring the sonics of the shortwave radio spectrum (2-30 mHz), and the experience of long distance listening. The Repository features the following works:

a lagoon, considered against its archival image, Sally Ann McIntyre (Radio Cegeste)
AM_on_FM / sine_wave, beepblip (Ida Hirsenfelder)
All the News All the Time, Dafna Naphtali
an electrical discharge, a sea of burning oil slicks, Sally Ann McIntyre (Radio Cegeste)
Argent Discovery, Jed Miner
CODEX: Post-Human Speech Sounds, Tom Miller (a.k.a. Comrade Squelch)
Caller, Ed Osborn
Chasing Waterfalls, Sam Rowell
Crimean Snow, John Roach
Elegy for RCI, Lee Rosevere
Fringe Area, William Basinski
Fuzz, Ricardo Paraíso Silvestre
Ghostwave, Jacques Foschia
Hellschreiber, Acoustic Mirror
I listened to the buzzer for hours and nothing happened (edit), D.N.P vs Mutate
Körper, Antonio D'Amato
L'abolition de la Croix, Meira Asher
Let's Absorb The Waves As We Hold On For Dear Life, Nicholas Knouf
Michael Sedore, ND2Q, Dominique Ferraton
Modulation I, Javier Suarez Quiros
Ondes Simultanee et Perturber, Patrick Harrop
Oracle, Edward Ruchalski
Orbital Lullaby, Craig Dongoski
Over the Horizon, Pietro Bonanno
öö and ää, Evangelos Makropoulos, Gosha Hniu, Victor Math, and Horace Prawn
Short Waves, So Beast
Shortwave Radio, South Africa, IV, Gregory Kramer
Shortwaves trip, Paolo Pastorino
Spectres of Shortwave: Falling Towers (excerpt), Amanda Dawn Christie
St Columb Major – transmission received, Mark Vernon
Staubrauschen (Dusty Noise / Media Dirt), Timo Kahlen
Strange Sonars, Linda Dusman & Alan Wonneberger
Stratocode from nowhere, Flaub
The Perfect Storm, Stephen Bradley
Three Steppes Forward Two Steppes Back, Jeff Gburek
through the shortwave, part one, Spasmodular sounds from Steve's shortwave
TransSonic Awakenings in D, Douglas Hedwig

Wave Farm is a non-profit arts organization driven by experimentation with broadcast media and the airwaves. Our programs—Transmission Arts, WGXC-FM, and Media Arts Grants—provide access to transmission technologies and support artists and organizations that engage with media as an art form. 

Wave Farm programs are made possible, in part, by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; the National Endowment for the Arts; The Andy Warhol Foundation for the Visual Arts; the Greene County Legislature through the County Initiative Program, administered in Greene County by the Greene County Council on the Arts; the Alexander and Marjorie Hover Foundation; the Foundation for Contemporary Arts; the T. Backer Fund; the Joseph Family Charitable Trust; and hundreds of other generous individual donors.
 

The New York State Council on the Arts in Partnership with Wave Farm: Media Arts Assistance Fund (MAAF) 2017 Individual Artist Grantees Announced

Acra, NY— Wave Farm announced today ten recipients of the 2017 New York State Council on the Arts in Partnership with Wave Farm: Media Arts Assistance Fund (MAAF) for Artists: Tara Najd Ahmadi, Natalie Bookchin, Peter Burr, Joe Diebes, Michael Garofalo, Maximilian Goldfarb, Hank Linhart, LoVid, Elizabeth Orr, and Fern Silva.

The New York State Council on the Arts in Partnership with Wave Farm: Media Arts Assistance Fund (MAAF) supports electronic media and film organizations, as well as individual artists, in all regions of New York State. The Fund provides unique and critical support with a focus on sustainability and public engagement. Grants to media artists support the distribution and exhibition of works in all genres of time-based and moving image media, including emergent technology. Funding assists artists in making recently completed works available to public audiences.

The Media Arts Assistance Fund is a Regrant Partnership of the New York State Council on the Arts (NYSCA), Electronic Media and Film Program and Wave Farm.

NYSCA Electronic Media & Film Program Director, Karen Helmerson, said "The NYSCA Regrant program managed by Wave Farm benefits our community in many important ways. This investment of public funds in New York State creates opportunity for public engagement in the media arts, and the development of creative culture through new technology." Wave Farm Executive Director Galen Joseph-Hunter said, "Wave Farm is delighted to be able to support these ten outstanding projects that represent the diversity of the media arts landscape in New York State."

The Media Arts Assistance Fund for Artists opportunity is in January, annually. Grantees are selected through a competitive panel process. Detailed information about the 2017 MAAF projects is included on the following pages of this release.

The New York State Council on the Arts is dedicated to preserving and expanding the rich and diverse cultural resources that are and will become the heritage of New York's citizens. The Council believes in artistic excellence and the creative freedom of artists without censure, and the rights of all New Yorkers to access and experience the power of the arts and culture, and the vital contribution the arts make to the quality of life in New York communities. http://arts.ny.gov

Wave Farm is a non-profit arts organization driven by experimentation with broadcast media and the airwaves. Our programs—Transmission Arts, WGXC-FM, and Media Arts Grants—provide access to transmission technologies and support artists and organizations that engage with media as an art form. For more information, visit http://wavefarm.org

Grantees and Project Descriptions

Tara Najd Ahmadi—Productive Frustration
Productive Frustration is a short experimental film investigating an artist’s ongoing, everyday struggle to remain creatively productive in an exasperating atmosphere that has robbed her of the sociopolitical conditions that used to define her artistic practice. MAAF funding will assist Ahmadi’s self-distribution of the film to independent cinemas; including application fees for various experimental, documentary, and short film festivals in the United States; and the creation of a promotional package and the services of a professional distribution consultant.

Natalie Bookchin—Long Story Short
Long Story Short is a film in which over 100 people at homeless shelters, food banks, adult literacy programs, and job training centers in California discuss their experiences of poverty: why they are poor, how it feels, and what they think should be done. Numerous interviews are stitched together to create a polyphonic account of American poverty told from the inside. MAAF funding will support Bookchin’s efforts to increase awareness of the film, including theatrical screenings and DVD distribution to educational art, underserved, and activist audiences.

Peter Burr—Pattern Language
"Pattern Language" is a term coined by architect Christopher Alexander describing the aliveness of certain human ambitions through an index of structural patterns. Some advocates of this design approach claim that ordinary people can use it to successfully solve very large, complex design problems. In his multi-channel video installation Pattern Language, Burr employs the vocabulary of Alexander’s system towards the construction of an endlessly mutating labyrinth. MAAF funding will support Burr’s ability to mount Pattern Language at Pioneer Works in Brooklyn, NY, as well as subsequent venues.

Joe Diebes—oyster
oyster is a multi-channel sound and image installation that traces the surprising musical history of Last.fm and Pandora. In the 1960s, renowned American folklorist Alan Lomax developed a wildly ambitious system called cantometrics for coding and analyzing folk songs from every corner of the world using the IBM360 mainframe computer. Using this data, Diebes has worked with his BOTCH vocal ensemble to synthesize world song styles, incorporating the results into an audiovisual software engine that generates a never-repeating montage. MAAF funding will support Diebes’s ability to mount oyster at Harvestworks in New York, NY, as well as subsequent venues.

Michael Garofalo—Bestiary
Bestiary is a meditation on the relationship between human and non-human animals, and a response to catastrophic climate change. These collected sound works are constructed around field recordings and found sounds (for example, the yowling of a feral tom-cat), making the creative act a human/non-human collaboration—albeit unwittingly on the part of Garofalo’s collaborators. With Bestiary, Garofalo reframes how he actively listens and responds to non-human creatures. The track “Surprisingly Deaf,” refers to birds’ range of hearing in relation to our own. Implied, however, is our own deafness to animals and the perils of environmental collapse. MAAF funding will support vinyl pressing and distribution.

Maximilian Goldfarb—Remote Viewing: 500 Tableaux
Remote Viewing: 500 Tableaux is an edition of audio/books comprised of observational passages based on a photographic archive of interactions between humans and machines. The work depicts failures, abstractions and innovations of mediated experience. Tableaux examines structures and infrastructures as, ‘humans attempt to adjust to a landscape of their making.’ MAAF funding will support the audio cassette edition, which contains Goldfarb’s 30-minute soundscape.

Hank Linhart—Blissville...An Investigation
Blissville...An Investigation is a video docu-poem about a remote corner of Queens,NY, at once within the shadows of midtown Manhattan, yet isolated from the rest of the city. Embracing Hi8 video to conduct informal street interviews, Linhart investigates the origin of the name of Blissville, the character(s) of the town, and images and sounds collected over many years. MAAF funding will a DVD for distribution, as well as an accompanying website, and outreach across New York State for community screenings.

LoVid—Young Antiquities
Young Antiquities, a series of media objects, embraces relationships between time and physical presence, a utopian post-material world and the reality of decomposition. Using an array of 3D capture devices, from high-end tools used in archeological research to handheld App-based camera-scans LoVid translated textile sculptures from their Video Taxidermy series into virtual form. The digital re-compositions are presented as animated virtual sculptures, GIFs, and downloadable 3D files that others can produce at their local 3D printing facilities. MAAF funding will assist with the cost of distributing Young Antiquities, including rendering costs, at participating venues.

Elizabeth Orr—MT RUSH
MT RUSH is a near-future science fiction movie chronicling the day-to-day activities of a Mt. Rushmore Park Ranger leading up to the 2016 Presidential election, as she navigates an onslaught of interactive fundraising emails from Democrats and Republicans. MAAF funding will support self-distribution, including a series of editioned artist-designed usb sticks and packaging, as well as a promotional website.

Fern Silva—Ride Like Lightning, Crash Like Thunder
Framed within the vision of the Hudson River School and the Washington Irving novel Rip Van Winkle, the film Ride Like Lightning, Crash Like Thunder unfolds as a storm approaches. An uncertain future is in store as the creeping hand of history disrupts nature and civility in the Hudson River regions of Upstate New York. MAAF funding will support the creation of both digital and film formats for distribution.

Acra, NY— Wave Farm announced today the artists and projects selected for the 2017 Wave Farm Residency Program. Each artist will live and work on-site at the Wave Farm Study Center for ten days during the residency season, which spans June through October.

The Wave Farm Residency program provides artists with a valuable opportunity to concentrate on new transmission works and conduct research about the genre using the Wave Farm Study Center resource library. In conjunction with their residencies, artists perform, are interviewed, and create playlists for broadcast on Wave Farm’s WGXC 90.7-FM, a creative community radio station serving over 78,000 potential listeners in New York’s Upper Hudson Valley, and international listeners online. Resident works are archived in the Wave Farm Transmission Arts Archive at http://transmissionsart.org.

In 2017, Wave Farm welcomes Jeff Thompson (Jersey City, NJ); Victoria Keddie (Brooklyn, NY); Comrade Squelch (Brooklyn, NY); Celia Hollander (Los Angeles, CA); Rory Solomon (Brooklyn, NY); Kristen Roos (Vancouver, British Columbia); DinahBird and Jean-Philippe (Paris, France); and John Wiese (Cleveland, OH).

Wave Farm Executive Director Galen Joseph-Hunter said, “Artists making multidimensional work with and about the airwaves is what transmission art is all about. This year’s roster of artists has proposed exceptional projects that experiment with the radio spectrum in installation, composition, and performance. The Wave Farm Residency program occupies an important place in this dynamic field internationally, and we are excited by the growth, interest, and support the program continues to experience.”

About the 2017 Wave Farm Residency Program Selected Artists and Projects:

• Jeff Thompson (Jersey City, NJ)

The Wave Farm Residency Program is pleased to welcome Jeff Thompson (Jersey City, NJ). His “Every Radio Station” is a sculptural sound installation composed of 93 hand-made radios, one for every possible station in the FM band. Each radio is equipped with a speaker, letting viewers experience the entire spectrum at once, walk along it, or come in close to hear an individual station. For each geographical location the piece is installed, a totally different sonic experience results, informed by the number, strength, and kind of stations broadcasting in that area. As the terrestrial radio spectrum increasingly gives way to streaming services, “Every Radio Station��� will reflect these changes.

The idea of “everything of something” is a recurring and significant thread in Thompson’s work. He is interested in found materials and remix practice, but also seeks to remove the artist’s hand from his work. By presenting every element from a set at once, the result is a sublime whole that is more than the sum of its parts. In “Every Radio Station” the static of non-broadcasting frequencies, hyper-compression of Top-40 stations, and presence or absence of public and community radio will collective serve as a portrait of both the FM and physical landscapes of the installation’s site-specific location.

Jeff Thompson is an artist, educator, curator, and programmer whose work explores collaboration with, empathy for, and the poetics of computers and technological systems. His work investigates how and where technology can provide access points for meaningful exploration, the agency of increasingly self-aware systems, and what happens when a technology is pushed against a breaking point or asked to do something it wasn’t intended to. Through installation and performance Thompson seeks to physicalize otherwise invisible processes.

He has exhibited and performed internationally. Most recently Thompson’s work has been shown at venues including Harvestworks, New York; Brighton Digital Festival; Brighton, England; Georgia Southern University, Statesboro; Omphalos Gallery; Terlizzi, Bari, Italy; Somerset House; London, England; College Art Association Conference, Washington DC; and El Arte En Juego Buenos Aires, Argentina. Jeff Thompson received his BFA from the Minneapolis College of Art and Design and his MFA from Rutgers University. He currently teaches at Stevens Institute of Technology.

• Victoria Keddie (Brooklyn, NY)

The Wave Farm Residency Program is pleased to welcome Victoria Keddie (Queens, NY). Her “Unit 11: The Satellite Chapter” utilizes Unit 11, a mobile studio that focuses on transmission based research and practice within a customized E-N-G news van, that has been re-outfitted with analog electronic tools for the focus and exploration of electromagnetic signal based media. Broadcast grade analog video editing and manipulation equipment pair with modular video and sound equipment via a series of patch bays that also allow for multiple auxiliary inputs and outputs. CRT monitors line the back wall of the van framed by playback devices ranging from VHS, BetaSP, and DV cam. An Otari stereo reel to reel sits on a rack under a custom radioOrgan--a hand-crafted modular FM transmission system built from obsolete electronics by artist Ed Bear and developed during Bear’s Wave Farm Residency in 2015. The most recent addition to the studio is a modular 10 foot satellite dish C band receiver. At Wave Farm, Keddie will research and record. New works will be created on-site using these recorded sessions.

Victoria Keddie is an artist working in sound, video, and transmission. Her work concentrates on electromagnetic signal generation and field recording within concentrated energy fields. Keddie’s work explores the fluctuations of electromagnetic activity, ionospheric sounding, satellite debris and collision, and time sensitivity. Her video work plays with notions of the still frame, of image and sound synchronicity and collapse, the stereoscopic image and dimensional spaces.

Since 2012, Keedie has co-directed E.S.P. TV, a nomadic TV studio that hybridizes technologies to realize synthetic environments and deconstruct the televisual for live performance. Keddie has performed and exhibited internationally at venues and festivals such as, The Swiss Institute, The Kitchen, Museum of Moving Image, Queens Museum of Art, and Anthology Film Archives (NYC), Human Resources (Los Angeles), Lightcone, (Paris), Studio XX (Montreal), LOOP Festival (Barcelona), Pallas Projects (Dublin), Reykjavik Arts Festival (Reykjavik), General Public (Berlin), Axis Art Centre (Crew), The Independent Film Festival (Naples), Liste Art Fair (Basel), Seeing Sound Festival (Bath), and Daimon (Gatineau). With my project, E.S.P. TV, I have been artist-in-residence at Pioneer Works, Storefront for Art and Architecture, and the Museum of Arts and Design. Keddie’s video works are distributed through Lightcone, (Paris). Her sound works are released with Spectral Evidence, (Cambridge, MA), In Context Music (Vancouver/ NYC), and Robert & Leopold (NYC).

• Tom Miller aka Comrade Squelch (Brooklyn, NY)

The Wave Farm Residency Program is pleased to welcome Tom Miller aka Comrade Squelch (Brooklyn, NY). His “Talking with Birds” is a site-specific sounding event that uses the long-term installation “Pond Station” by Zach Poff at Wave Farm as a point of reception and transmission. A small fleet of sounding objects, including small transistor radios receiving micro FM transmissions, music boxes or other mechanical devices, is launched on the pond and guided by wind, current and human interaction. Sound-images broadcast above and below the water’s surface include field recordings of migratory birds and local wildlife, bird and animal calls of hunters and shamans, and recordings made during the residency period. As the objects drift towards and away from the Pond Station’s hydrophones (underwater microphones), they mix themselves into foreground and background together with the sounds of the pond. “Talking with Birds” will be presented during a special public event on July 22 in homage to Wave Farm friend and mentor Pauline Oliveros, who passed away in November 2016. It aims to create an environmental dialogue inspired in part by her “Sonic Meditations.”

Tom Miller (aka Comrade Squelch)’s sonic anthropology produces a matrix of radio waves, binaural motion, multispecies and post-human voices, phonographic ephemera, generative textures, resultant melodies, ethnographic archives, revenant memories and reimagined sound maps.

He is a National Endowment for the Arts award-winning composer, anthropologist, and curator. Miller studied ethnomusicology at Wesleyan University and the University of Washington, and has a doctorate in anthropology from Columbia University. A professor at Berkeley College, Miller has taught at Rutgers, Pratt Institute and the Clive Davis Institute of Recorded Music at NYU. Past residencies include the American Museum of Natural History, Bates College Department of Theatre & Rhetoric, American Philosophical Society Library, Anchorage Museum of History and Art, Linden State Museum of Ethnology, Max Planck Institute for the History of Science, and University of Iceland Museum Studies. He has produced sound installations and radio art broadcasts for Cities and Memory, Radiophrenia Glasgow, Society for Ethnomusicology Sounding Board, American Anthropological Association, Society for Visual Anthropology, Ethnographic Terminalia, Proteus Gowanus, Linden State Museum of Ethnology, Anchorage Museum of History and Art, National Public Radio, Pulse of the Planet, American Museum of Natural History, Franklin Furnace, WFMU, WKCR, KRAB-FM and Audio Independents.

• Celia Hollander (Los Angeles, CA)

The Wave Farm Residency Program is pleased to welcome Celia Hollander (Los Angeles, CA). Her installation “Δ / l (Change In Light)” is a series of optical theremins that render natural light into sine waves during each sunset. Every evening, the sound gradually evolves from a loud, high frequency chord when the sunlight hits the theremins directly, to a quiet, sputtering low frequency chord as daylight diminishes. At Wave Farm, Hollander will develop the installation into a modular system that can be applied to any space, effectively creating a flexible electronic instrument that “plays" the emergent product of an architectural space and the passing of time through natural changing light. Hollander will experiment with approximately 30 optical theremins on-site and explore the variations that result from different spatial arrangements and how they change the nature of the space.

Celia Hollander is a sound artist and electronic music composer who works in audio recordings, installation, composition, performance, radio shows, videos, and text. She is invested in the ways that sound art and music have the capacity to physically create social connection through shared experience, space, and time. Hollander is active in Los Angeles’ music community through hosting radio shows on the collective radio stations Dublab and KCHUNG FM, and event programming at Human Resources LA, an artist run gallery and event space in Chinatown. Hollander’s work critically engages ways that music and sound based art can be understood as a type of architectural design that questions cultural infrastructures, cultivates social connection, and enables awareness of a continuously changing present. Using temporal perception as a focal point in her work, she is devoted to creating experiences that allow for freedom of interpretation as an antidote to a contemporary assault of media that engineers what audiences ought to think and feel. Hollander studied art and architecture at Wesleyan University.

• Rory Solomon (Brooklyn, NY)

The Wave Farm Residency Program is pleased to welcome Rory Solomon (Brooklyn, NY). His “Routing Around” is informed by the origin story of citizens band (CB) radio's rapid rise in popularity in the US. In 1973, at the height of the OPEC oil crisis, when gasoline was in short supply, Richard Nixon imposed the National Maximum Speed Lax (NMSL), limiting all auto speeds to 55 mph in an effort of fuel conservation. As a consequence of this (Watts & Barton, 2011) there was an explosion in the usage of CB radio by long haul truck drivers who used this wireless technology to establish an improvised information network for the purposes of avoiding “speed traps” and identifying well-stocked fueling stations. From this, the “CB craze” was born with popular films like “Smokey and the Bandit” and hit songs like “Convoy” topping the charts.

Today, many techno-utopian activists are deeply invested in building distributed information networks, usually using WiFi mesh infrastructure. Such actors have attached political goals to these projects, and the wireless mesh network is often understood as a topology able to avoid any type of centralized control. Through “Routing Around,” Solomon will illustrate how the improvised CB network of long haul truckers was already a kind of totally decentralized information relay network in itself. As an aesthetic and technological exploration, Solomon will tap into the sound and feeling of 1970s CB culture as well as a technological demonstration of its relevance in the prehistory of today’s wireless networks. The project will manifest in a series of broadcasts, a participatory workshop and performance at Lodge 2017 (an annual art, sound, and music festival produced by Wave Farm’s WGXC 90.7-FM at Reidlbauer’s Resort in Round Top, NY), and long-term lending library at Wave Farm.

Rory Solomon is currently developing a doctoral dissertation in Media, Culture and Communication at New York University that examines how politics are manifested through technological systems, in particular wireless networking infrastructure. His art practice is an extension of this work, comprised of creative expressions of this research as well as experiments and investigations that test his theoretical findings and provoke further questions.

• Kristen Roos (Vancouver, British Columbia)

The Wave Farm Residency Program is pleased to welcome Kristen Roos (Vancouver, British Columbia). His “anti-wave” project examines the silent electromagnetic transmissions that are ubiquitous today (Wi-Fi, Bluetooth, cell phone tower emissions). Roos receives these inaudible frequencies with devices that recognize them not as information (conversations, emails, streaming), but as something similar to the unwanted sounds that were heard in early radio reception (static, whistles, sferics). In receiving and translating these frequencies into audible sounds, Roos is interested in the process of dissecting the wireless devices that embody our lives, and exposing the relationships between people and the objects that inhabit their daily rituals. At Wave Farm, Roos will experiment with products that have recently been developed to provide shielding from electromagnetic frequencies. Using the catalogue of a local business that specializes in EMF protection, Roos will acquire a variety of “Anti-Wave” products, to create a costume of sorts, which will be incorporated into a new performance work and electromagnetic soundwalk.

Kristen Roos’s work explores a fascination with the outside–what lies beyond standard perception, cognition and experience. This fascination has informed a body of work with transmission, audible and inaudible frequencies, electromagnetism and tactile vibration. Roos has created site-specific installations, sound design for dance, and performance internationally including at RadioRevolten 2016 (Halle), ISEA 2015, Radius (Chicago), Studio Loos (the Hague), velak (Vienna) interpenetration (Graz), noise=noise (UK) The Vancouver New Music Festival (Vancouver), Nuit Blanche & NAISA (Toronto), Skol & Articule (Montreal), Sound Symposium & Eastern Edge Gallery (Newfoundland), La Chambre Blanche & Le Lieu (Quebec City). His writing on sound and radio art appears in the Radius GRIDS booklet published by Half Letter Press (Chicago 2015), the Errant Bodies publication Radio Territories (Berlin, 2007) and the New Star Books publication Islands of Resistance: Pirate Radio in Canada (Vancouver, 2010).

• DinahBird and Jean-Philippe (Paris, France)

The Wave Farm Residency Program is pleased to welcome DinahBird and Jean-Philippe (Paris, France). “Tuning the World” is a series of outdoor broadcasts, an active approach to field recording and listening where live sonic drones are transmitted back into the soundscape. Jean-Philippe plays a shruti box, a Northern Indian portable instrument, cousin to the harmonium, while Dinah “actively” records the process, moving back and forth between the environmental sounds such as water, wind and birds and the transmitted sound. Dinah will also play single notes and tuneless human hums, inspired by the local electromagnetic environment, via small FM radios. The aim is not to dominate or disturb, but rather more to observe how the landscape responds to the artists’ emissions. Inspired by the ideas and methods of R Murray Schafer, his theories on soundscape, and his concept of “wilderness radio,” where the “unneventful events of the natural soundscape transmitted without editing into the hearts of cities” (Radical Radio, 1987) as well as Pauline Oliveros’ practice of Deep Listening, DinahBird and Jean-Philippe have developed our own “active” listening and recording posture in order to play with the surrounding natural landscape, softly and quietly, and at varying distances from the microphones that document their actions.

DinahBird and Jean-Philippe are sound and radio artists based in Paris. Both their solo and joint practices question the notion of diffusion, transmission and memory and are highly responsive to place. Their work includes sound pieces, installations, broadcasts, performances and publications and is often inspired by early transmission technologies and archives. Their current interests include, electromagnetic hums, old weather, loops, drones, aeronautics, and high frequency trading.

• John Wiese (Cleveland, OH)

The Wave Farm Residency Program is pleased to welcome John Wiese (Cleveland, OH). His “Time Column” is a non-linear sound work, consisting of vertical disruptions imposed on sounds sources culled from site-specific origins and processes at Wave Farm. Leveraging the unique characteristic of the radio medium, in order to create a cinema of the ear, “Time Column” will be transmitted through airwaves, simultaneously experiencing a transformation, part automation, part installation, part concrète diffusion.

John Wiese’s artistic practice crosses many disciplines, but often shares conceptual similarities to musique concrète and is expressed through fixed recorded works, diffusions, performance, and installations. A celebrated artist in the field of sound, Wiese considers radio an integral part of his practice and has performed on a great variety of stations including KXLU, Dublab, WFMU, and PS1 Art Radio. Most recently, in 2016, Wiese was invited to perform at the Ina/GRM’s Présences Électronique Festival along with a residency at their multi-channel studio in the basement of Radio France.

The Wave Farm Residency Program is supported, in part, by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; the National Endowment for the Arts; The Andy Warhol Foundation for the Visual Arts; the Greene County Legislature through the County Initiative Program, administered in Greene County by the Greene County Council on the Arts; and generous individual donors.

Visit https://wavefarm.org/ta/residencies for more information.

We believe that robust artistic expression is a hallmark of a free and healthy society. Supporting the arts and creative expression is what the NEA does every day, by providing vital funds to both artists and the organizations that support them. Wave Farm is one organization that counts on these funds to continue our mission of providing access to transmission technologies and support artists and organizations that engage with media as an art form.

With an annual budget of $146 million, funding the NEA costs the average American taxpayer just 46 cents per year. Despite its modest budget, the impact of NEA support on arts communities is immeasurable. Furthermore, jobs at organizations that receive NEA funding will be seriously jeopardized if it is eliminated.

Preserving the NEA is possible, but will require that those who support it act swiftly. If you do, consider emailing or phoning your representative or sharing your support with your friends and family today.

With thanks, Wave Farm Staff

Here are some things that you can do to help today to help #SAVEtheNEA, from the Americans for the Arts Action Fund.

The White House released its proposed budget to Congress this week, officially recommending full termination of funding of both the National Endowment for the Arts (NEA) and National Endowment for the Humanities (NEH) for FY2018. This is the first American President in history to propose zeroing out all funding for the nation's federal cultural agencies.

Eliminating the NEA would be a devastating blow to the arts in America. For more than 50 years, the NEA has expanded access to the arts for all Americans, awarding grants in every Congressional district throughout all 50 states and U.S. Territories as well as placing arts therapists in 12 military hospitals to help returning soldiers heal from traumatic brain injuries. The NEA is also an economic powerhouse, generating more than $600 million annually in additional matching funds and helping to shape a $730 billion arts and culture industry that represents 4.2% of the nation's GDP and supports 4.8 million jobs.

The federal appropriations process does not end here. We now begin a concerted grassroots effort to convince Congress to #SaveTheNEA. Here are the actions you can take right now:

The most important thing you can do is to take two minutes to send a customizable message to your elected representatives in Congress and urge them to oppose any attempt to eliminate or cut funding to the NEA. Post on Facebook and Twitter to help rally national support to save the NEA. There is strength in numbers and your social media friends can help.