The older archives (>10 years old) have been substantially recovered -- more than 23,800 files' worth -- and are now reachable through the search engine and via file download. Email here if you have any questions.
Your support is essential if the service is to continue, there are bandwidth bills to pay every month and failing disk drives to replace. Volunteers do the work, but disk drives and bandwidth are not free. We encourage you to contribute financially, even a dollar helps. Click here to donate.
Welcome to the new Radio4all website! If you cannot log in, you may need to reset your password. Email here if you need additional support.
Program Information
The Radio Art Hour
A show where art is not just on the radio, but is the radio.
Weekly Program
Introductions from Philip Grant and Tom Roe, and Wave Farm Radio Art Fellows.
 Wave Farm/WGXC 90.7-FM  Contact Contributor
Jan. 25, 2024, midnight
Welcome to "The Radio Art Hour," a show where art is not just on the radio, but is the radio. "The Radio Art Hour" draws from the Wave Farm Broadcast Radio Art Archive, an online resource that aims to identify, coalesce, and celebrate historical and contemporary international radio artworks made by artists around the world, created specifically for terrestrial AM/FM broadcast, whether it be via commercial, public, community, or independent transmission. Come on a journey with us as radio artists explore broadcast radio space through poetic resuscitations and playful celebrations/subversions of the complex relationship between senders and receivers in this hour of radio about radio as an art form. "The Radio Art Hour" features introductions from Philip Grant and Tom Roe, and from Wave Farm Radio Art Fellows Karen Werner, Andy Stuhl, Jess Speer, and Jos Alejandro Rivera. The Conet Project's recordings of numbers radio stations serve as interstitial sounds. Go to for more information about "The Radio Art Hour" and Wave Farm's Radio Art Archive.
This week we hear from Chicago-based radio artist Lia Kohl, from the Bay Area's Negativland, and the krautrock band Can. Lia Kohl's
"Variations on a Topography" is constructed in stratified layers, each containing a recording of a full scan of the AM/FM spectrum from bottom to top and back down again. Tuning through the spectrum in the same place every time, Kohl charts a map of her specific signal, showcasing the geographic specificity of radio and drawing out its topography with additional musical sounds. Cello and synthesizer highlight moments of clarity and static, creating a counterpoint ruled by the dichotomy between them. These signal sweeps also offer a sedimentary view of time, capturing multiple 28 minute sections of what would otherwise be completely ephemeral sounds. The recordings, taken over the span of a few months, speak in various ways to the passage of time " the weather gets colder, traffic patterns shift, wars break out. The signal, like a ghostly mountain range, hovers around us. Then tune in "Time Zones" by Negativland (1987), introduced by Jason Geistweidt. The experimental sound collective, Negativland, has been deconstructing media since its inception in the late 1970s. Originally comprised of members Mark Hosler, Richard Lyons, David Wills, Chris Grigg, and Don Joyce, Negativland makes an art of dissecting the sounds and images of mass media, reconstructing and recontextualizing these materials to reveal the hidden messages within. As Lyons notes in an interview with Rolling Stone, I spend more time in thrift stores than anyone. I like to collect a lot of old records, spoken word records, and we all collect tapes. Don spends more time recording stuff off TV and radio. Their breakthrough album, Escape from Noise, released in 1987 is both a commentary and a shout back at the sheer volume of media (radio, television, and print) that overwhelms our senses, a noise so pervasive that we passively accept its message. The media theorist Marshall McLuhan was fond of telling the story of two young fish swimming past an older fish. The older fish asks, Hows the water boys? and goes on his way. A few minutes later, perplexed, one fish looks at the other and asks, What the hell is water? Through the collection, manipulation, and juxtaposition of materials lifted from the media landscape, Negativland sheds a light on the deluge of media in which we find ourselves submerged. One cut in particular which provides a bit of clarity is Time Zones, a collage of diverse elements combining documentary voice overs, shortwave radio broadcasts, amateur radio conversations, automated time beacons, and talk radio call-in programming. From this mix arises the zeitgeist of the 1980s: fear of the Soviet Union, American exceptionalism, the militant standardization of time, the fetish of technology, and a somewhat Freudian preoccupation with size. - Introduced by Jason Geistweidt. The show ends with "Drink It Up" and "More Data" from Negativland, and then the song "Negativland" by the band Can.
Wave Farm is a non-profit arts organization driven by experimentation with broadcast media and the airwaves. A pioneer of the Transmission Arts genre, Wave Farm programs provide access to transmission technologies and support artists and organizations that engage with media as an art form. Major activities include the Wave Farm Artist Residency Program; Transmission Art Archive; WGXC 90.7-FM: Radio for Open Ears, a creative community radio station based in New Yorks Upper Hudson Valley; a Fiscal Sponsorship program; and the Media Arts Assistance Fund in partnership with NYSCA Electronic Media/Film. EVERGREEN EPISODE 152.

Lia Kohl, Negativland, Can Download Program Podcast
A show where art is not just on the radio, but is the radio.
00:58:44 1 Jan. 25, 2024
Produced for Wave Farm in the Hudson Valley in New York.
  View Script
 00:58:44  128Kbps mp3
(141MB) Stereo
224 Download File...