free103point9 Newsroom has moved to

free103point9 Newsroom has moved to of March 18, 2010 A blog for radio artists with transmission art news, open calls, microradio news, and discussion of issues about radio art, creative use of radio, and radio technologies. free103point9 announcements are also included here.

Thursday, March 18, 2010

This blog has moved

This blog is now located at

Monday, March 15, 2010

Panic in Georgia after a mock news broadcast

From Andrew E. Kramer in The New York Times:
Some people placed emergency calls reporting heart attacks, others rushed in a panic to buy bread and residents of one border village staggered from their homes and dashed for safety — all after a television station in Georgia broadcast a mock newscast on Saturday night that pretended to report on a Russian invasion of the country. The program was evidently intended as political satire, but the depiction was sufficiently realistic — and memories of the brief war between Russia and Georgia in August 2008 still sufficiently vivid — that viewers headed for the doors before they could absorb the point. Producers at the Imedi television station taped the episode in the studio normally used for the evening news broadcast, using an anchor familiar to the audience, and then broadcast the show at 8 p.m. Saturday with an initial disclaimer that many viewers apparently missed. Looking nervous and fumbling with papers as if juggling the chaos of a breaking news story, the anchor announced that sporadic fighting had begun on the streets of Tbilisi, the capital, that Russian bombers were airborne and heading for Georgia, that troops were skirmishing to the west and that a tank battalion was reported to be on the move. The broadcast showed tanks rumbling down a road, billowing exhaust, along with jerky images of a fighter jet racing out of the sky and dropping bombs. “People went into a panic,” Bidzina Baratashvili, a former director of Imedi, said in a telephone interview from Tbilisi. He compared the mock news broadcast and its effect on the population to the radio depiction of an invasion from Mars in Orson Welles’s adaptation of “War of the Worlds.” Lines formed at gas stations in Georgia and cellphone service crashed under the weight of panicky calls, the authorities said. The frantic buying in the capital made real at least a part of the fake news report, which had described similar scenes unfolding. In Tbilisi, where restaurants were packed on Saturday night, rumors swirled of a Russian invasion. Adding to the alarm, when people reached for their cellphones they found that the network had been overloaded. “If you hear that war started, of course you run for the bank machine, then run home, it’s natural,” Jumber Jikidze, a taxi driver in Tbilisi, said in a telephone interview, describing the scene as “a little chaos” that lasted for about three hours. The radio station Echo of Moscow reported that residents of Gori, a city that was bombed during the recent war with Russia, left their apartments for the streets as the news anchor read bulletins about the approach of Russian bombers. Some of the video shown during the show was real file footage with mock voiceovers. Opposition leaders called the show a maneuver by Georgia’s president, Mikheil Saakashvili, to discredit his political rivals, because the broadcast depicted the opposition as collaborating with the invading Russians. The director of Imedi is a former official in Mr. Saakashvili’s government. “The government’s treatment of its own people is outrageous,” said Nino Burjanadze, an opposition leader whom the mock newscast depicted as greeting the Russians with a smile, according to Agence France-Presse. Imedi is a privately owned television station. After the broadcast, a spokeswoman for Mr. Saakashvili, Manana Manjgaladze, condemned the program for frightening viewers. On Sunday, Mr. Saakashvili repeated the criticism, but he added that the show had frightened people precisely because it portrayed a realistic future for Georgia if Russia had its way. “I believe yesterday’s report will become an obstacle to them fulfilling their plans, despite the nervous reaction,” he said Sunday, according to the Russian news agency Interfax. Mr. Saakashvili had previously criticized Ms. Burjanadze for meeting with Prime Minister Vladimir V. Putin in Russia earlier this month. Mr. Saakashvili has no say over what Imedi broadcasts, said Alana Gagloeva, director of the presidential press office. The television station clearly identified the program as fictitious before the broadcast began. But viewers who tuned in later would have had to rely on clues. The fighting in the video was taking place in the summer, for example, not in March. The report sketched a scenario in which Russia intervened to quell domestic unrest in Georgia after a disputed election and to support a “people’s government” of opposition leaders who had overthrown Mr. Saakashvili. In the show, President Obama was shown striding to a microphone at the White House, with the voiceover explaining that he was announcing sanctions against Russia. As the extent of the disruption it had caused quickly became clear, Imedi ran a crawl clarifying that the newscast was a simulation and apologizing. The panic lasted about 15 minutes, said Shota Utiashvili, the director of the department of analysis at the Interior Ministry. Paramedics on Saturday evening reported three times the typical number of emergency calls, many for heart attack symptoms, he said. “There was quite a scare,” Mr. Utiashvili said.

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Wednesday, March 10, 2010

2010 Distribution Grant for New York State Artists recipients announced

The 2010 Distribution Grant for New York State Artists provides support for the distribution of new works in film, video, sound, new-media, and media-installation. Funding is available from free103point9 through a regrant from New York State Council on the Arts' Electronic Media and Film Program. Grant awards assist artists in making works available to public audiences. Successful grantees are also awarded the opportunity to work with a project mentor who will provide guidance as grantees execute their distribution and exhibition plans. The following eleven projects were selected during a competitive panel review process:

2010 Grantees:

Zoe Beloff, Dreamland: The Coney Island Amateur Psychoanalytic Society and its Circle 1926-1972

Beloff’s multi-faceted installation includes a series of 10 films, architectural model, and artifacts. It documents a fictional society founded following Sigmund Freud’s visit to Coney Island in 1909. Beloff imagines a Coney Island Amateur Psychoanalytic Society that flourished from 1926 to the early 1970’s. The members of this fledgling society, most of them Jews and Italians from the surrounding neighborhoods, grasped its utopian potential: while Socialism might liberate workers from oppression, psychoanalysis would liberate their psyches not just from the tyranny of class, but also from the cultural and sexual mores of the time. They wished to tap into the power for self expression afforded by technologies like home movie cameras that were newly accessible to ordinary people. Distribution funding will assist in meeting installation touring expenses.

Mary Walling Blackburn, A Novel in the Form of a Car Bomb

Informed by a sifting of Google news alerts reporting recent car bomb events, A Novel in the Form of a Car Bomb is performed outdoors with an audience-in-a-round. The project includes a chorus (in the spirit of Greek Chorus,) and eight actors whose voices are microcast using site-specific radio transmission creating an immersive, spatialized listening experience that expands upon a classic radio play formula. Distribution funds will assist with the production of a stereo recording for broadcast, a publication of the original radio play, and related visual ephemera.

Todd Chandler, Flood Tide

Flood Tide is a fictional narrative film that was created in collaboration with the Swimming Cities of Switchback Sea, a project by the artist Swoon and built by an eclectic group of artists and performers. In the summer of 2008, the crew built and floated seven large, boat-sculptures down the Hudson River, putting on performances in towns along the way. The film tells the story of a group of musician friends who, driven by dreams, desperation and a sense of adventure, decide to build a boat out of salvaged materials. As they begin to build, more people gather at the river, assembling vessels out of trash. They set out down the river to make a new life, inspired and uncertain. Funding will support distribution activities including DVD production, soundtrack digital downloads, promotional materials, and festival submission expenses.

Adam Frelin, Diviner

Shot in Omaha, Nebraska, Diviner introduces audiences to Joe York, a mentally disabled man with a remarkable interest in the weather. Meteorlogy quickly segues into religion and live metaphors in this film and installation work. A project, which incorporates equal amounts of factual and fictive information, Diviner the installation, includes the fabricated props from the fictional scenes. Distribution funding will support a publication intermixing the film and installation components into a handheld, portable, and easily disseminated version of the project.

Michelle Handelman, Dorian

Dorian is a four-channel video installation based on Oscar Wilde’s 19th century novel, “The Picture of Dorian Gray.” Inspired by Wilde’s themes of decadence, beauty, and the meaning of art, Handelman’s Dorian is a young woman discovered by a fashion photographer, then catapulted into a world of high celebrity. Falling under the tutelage of a renowned drag queen, she becomes a downtown nightclub luminary, constantly followed by the paparazzi. Media images become the infamous portrait, grotesquely mutating as she grows more beautiful and famous, culminating in her own narcissistic destruction. Distribution funding will support the acquisition of projectors, a surround sound system, custom shipping crates, website design, and press kits.

Tracie Holder, Joe Papp in Five Acts

Joe Papp in Five Acts is a documentary film about the founder of New York's Public Theater and free "Shakespeare in the Park." Papp, who introduced interracial casting to the stage, single-handedly fomented a revolution in American theater. From 1954 until his death in 1991, Joe Papp brought more theater to more people than any other producer in history. Distribution funds will be used towards film festival application fees, promotional materials, and online outreach venues including the project’s website, blogs, social networking, email, and twitter feeds.

Ken Jacobs, RAZZLE DAZZLE The Lost World

A canonical figure in avant-garde film, Ken Jacobs writes, RAZZLE DAZZLE is an early Edison shot cut off at its head and tail and along its four sides from the continuity of events like any camera-shot from a bygone day; no, like any camera-shot, immediately producing an abstraction. This abstraction pictures a great spinning maypole-like device lined with young passengers dipping and lifting as it circles through space.” Support will provide funding towards the production of a DVD edition of this single-channel work for distribution.

Tony Martin, Light Pendulum

Light Pendulum functions both as a stand-alone kinetic sculpture and as a temporal instrument for a setting inhabited by performers whose actions elicit responses from it. The earth's rotation and conditions of air movement make the pendulum swing. Nylon line suspends the five-inch diameter solid glass pendulum from the installation space ceiling. An LED pin-spot installed at the top of the line illuminates the pendulum, the mirrored dish positioned beneath it, and the central space. Receptors and sensors positioned at various places on and under the dish function as photovoltaic cells, and other current-producing and regulating components. Information from these sensors is influenced by proximity, movement, and location of the viewers. The combined signals and circuits from this regulate three channels of audio and three channels of ambient and projected visual imagery. Distribution funding will support forthcoming installations of Light Pendulum including equipment acquisition and promotional materials.

Jennifer Redfearn, Sun Come Up

Sun Come Up is a character-driven documentary following the relocation of some of the world’s first environmental refugees – the Carteret Islanders. The Carteret Islanders – a matrilineal society of 3,000 – inhabit some of the most remote and pristine islands in the South Pacific; an atoll located 50 miles off the coast of Papua New Guinea. The islanders share a rich tradition of music, dance, and storytelling. For centuries, they’ve lived without cars, electricity, or running water. Their carbon footprint leaves one of the lightest impressions on the planet. Now, however, a modern crisis has intruded upon them, and their idyllic community is on the verge of dramatic change. The islanders face three urgent problems: the population is increasing, access to food and water is decreasing, and the islands are shrinking rapidly. Sun Come Up follows relocation leader Ursula Rakova and a group of young families from the Carteret Islands as they search for a new place to call home. Distribution funding will facilitate a DVD-run, promotional materials, and website updates in support of the project’s distribution plan.

Phillip Stearns, Apeiron | Peras V and VI

Apeiron | Peras is a body of non-representational, non-narrative video graphics films and performances created using hand-made electronics arranged in generative feedback loops. The result is an intense display of electronic synethesia - sound and image are produced by sonifying and visualizing the same raw electronic signals as directly as possible. The dance of drones and vibrant visuals is chaotic and unpredictable, yielding moments of tranquility amidst complete sensory assault, from epileptic sequences of strobing bands of light to soft continuously morphing color fields. Each work stands as a record of an intuitive journey, navigating the expressive landscape produced by folding electronic signals inwards upon themselves in generative feedback networks. Distribution funding will support the production of DVDs for preview, screening, and acquisition.

Miao Wang, Beijing Taxi

Beijing Taxi is a feature length documentary that vividly portrays the ancient capital of China going through a profound transformational arch. The lives of three taxi drivers thread through the morphing city of Beijing confronted with modern issues and changing values. Beijing Taxi uses the 2008 Olympic games as the backdrop for the film. The Olympics is a catalyst for change and aptly the biggest metaphor to mark this era of China in transition. It is the new China’s coming-out party to the world. The taxicab is used as a cinematic device and thread to reveal the city of Beijing and its characters. Distribution funding will support the production of a limited-edition DVD package and promotional materials.

2010 Review Panelists:

Christopher Allen, Executive Director, UnionDocs (Brooklyn, NY)
Calliope Nicholas, Director, FilmColumbia Festival (Chatham, NY) and Residency Director, Millay Colony for the Arts (Austerlitz, NY)
Natalia Mount, Executive Director, Red House Arts Center (Syracuse, NY)

The 2010 Distribution Grant for New York State Artists is a regrant program made possible with public funds from the Electronic Media and Film Program of the New York State Council on the Arts, a state agency.

More Information Contact:
Galen Joseph-Hunter
Executive Director

Sunday, February 28, 2010

Harpo Foundation: Call for Applications. Deadline = April 15, 2010

Call-for-Applications from qualifed non-profits for the Foundation's 2010 funding cycle.

Harpo Foundation was established in 2006 to support artists who are under recognized by the field. This applies to all artists whether emerging or further along in their careers. We view the definitions of art and artist to be open-ended and expansive.

Funding Focus for 2010
The relationship between art and site in an era defined by digital technologies is the focus for Harpo Foundation's 2010 funding cycle. Of specific interest is the dialectic between the non-locality of the digital world and the existential physicality of our everyday environment. For example, our sense of place is being drastically altered by web space, which brings geographically distant locations together to form a new kind of locality, yet what's small, local, personal, political and natural informs our vision for a sustainable future; the search for place-bound identity persists.

When site-specific art emerged in the late 1960´s, the physical and experiential qualities of a fixed and permanent location inspired the art. Since then, 'site' has been redefined endlessly, turning the tangible, grounded concept into something fluid and transient. Interestingly, in our everyday lives, the local is often seen as losing ground to globalizing dynamics, evoking the question, has place become an ephemeral, fleeting image?

The Foundation is interested in how artists are reclaiming the significance of the local while simultaneously placing themselves and their creative lives within a global context. We are interested in supporting projects that are grounded in the real world, that will draw upon local phenomena, activate social relationships to inspire a community, trigger memory to recall a place’s unique history, to name just a few of the ways we see artists addressing site today. We are also interested in supporting projects that explore the idea of place using technologies that challenge our traditional notions of what qualifies as locality.

In pursuing this direction for one year, we hope to shed light on how artists today are locating or siting their work in a dematerializing world and the Foundation will prioritize projects that expand, explore, critique, reconcile, and challenge this 21st century phenomenon.

Grant Guidelines

The next deadline is April 15, 2010. Grantees will be notified by November 1, 2010.

Wednesday, February 03, 2010

ETC Finishing Funds 2010 deadline = March 15, 2010

Postmark Deadline: March 15, 2010
For application and guidelines:
See Grants>Finishing Funds

FINISHING FUNDS provides media and new media artists with grants up to $2,500 to help with the completion of diverse and innovative moving-image and sonic art projects, and works for the Web and new technologies. Eligible forms include film and video as single or multiple channel presentation, computer based moving-imagery and sound works, installations and performances, interactive works and works for new technologies, DVD, multimedia and the Web. We also support new media, and interactive performance. Work must be surprising, creative and approach the various media as art forms; all genres are eligible, including experimental, narrative and documentary art works. Individual artists can apply directly to the program and do not need a sponsoring organization. Applicants must be residents of New York State; undergraduate students are not eligible. The application requires a project description, resume and support materials, including a sample of the proposed project. Selection is made by a peer review panel. About $25,000 is awarded each year. Announcement is made in early June.

The program is supported in part by public funds from the New York State Council on the Arts, a public agency, and by mediaThe foundation.

Megapolis Festival: Call for Submissions

Megapolis is looking for performances, presentations, and workshops featuring audio of all kinds to fill our weekend-long festival in Baltimore, May 14-16, 2010. Circuit bending / noisemaker constructions, slumber parties, free-form audio editing sessions, interactive demonstrations, experimental musical practice and theory, film with a heavy audio component, musical performances, subversive audio tours, (un-boring) lectures, and whatever else your brain births.

Special consideration will be given to:

* NEW ARTISTS! We like new blood. If you presented last year you might not get to present this year. Sorry this hath been decreed, but yaknow, if you presented last year you can attend the whole festival this year without having to worry all about that “making people happy” crapola.
* Events that invite participation and active creation among attendees, with created works to be shared during a closing ceremony and on this website.
* Events that touch on our theme for this year: TRANSPORT.

Proposal types:

1. Session: 90- or 45-minute-long presentations, workshops, and the like by one or more presenters. We provide the venue. Megapolis features five 90-minute blocks on Saturday and Sunday during which time multiple sessions will happen at once. Presenters may be asked to repeat their session over the course of the two days.
2. Tour or Soundwalk: One or more presenters leading 15 or fewer attendees outside of festival venues. You choose the length of time on Saturday or Sunday. Usually these meet in front of the festival headquarters.
3. Performance: Performances take place either Friday, Saturday or Sunday night OR Saturday or Sunday day. The nighttime performance are usually ~45 minutes and take place inside. The daytime performances take place inside or out and take place during a 90-minute block during other events. Daytime performances can be part performance/part presentation. NO HIPPIE MANTRAS. YES I’M TALKING ABOUT YOU YACHT.
4. Installation: Self-sustaining and sound-based (obviously) pieces that stay put. Electricity or not is fine. For presentation inside festival headquarters and associated spaces. We encourage a period of ‘activation’ or interactive audience participation with your installation during the festival.
5. Miscellaneous (our favorite): Booths inside and outside festival venues, temporary radio stations, 1-800 numbers, crowd experiments, overnight or lunchtime gatherings, big wheel races captured through contact microphones and broadcast through giant speakers – essentially anything else mind-blowing you can think of outside of the above categories.

A few other things to keep in mind:

* Check out our 2009 archive to make sure you don’t ape a previously selected, previously amazingly original concept.
* If you have questions before or after you fill out this form, ask us at contact at megapolisfestival dot org
* While not required, it helps to submit well before the deadline.
* Reimbursements are available to those artists providing materials to attendees during a Session; other artists should plan to account for the lions share of Session and Installation materials, although we can make arrangements upon special request.

If your proposal is accepted, you get:

* Free entrance to all festival events
* Partial reimbursement for travel expenses from outside of Baltimore
* An invite to a supaexclusive pot luck just for presenters and Famous People

Harvestworks Artist In Residency Program: New Works Residency

Harvestworks Artist In Residency Program: New Works Residency
Deadline April 1, 2010 for projects beginning July 1, 2010.

The New Works Residency Program offers commissions of up to $4000 to make a new work in our state of the art digital media facility. The artist works with a project manager, engineer and programmer (if required). New works may include multiple channel audio or video installations, interactive performance systems, data visualization or projects involving hardware hacking, circuit bending or custom built interfaces, as well as projects that use the web. Emerging artists and artists of color are encouraged to apply. Residencies run from July 1, 2010 - June 30, 2011.

Upon completion and presentation of the project the resident artists receive a $1000 stipend.
Number of residencies: up to 10


The Artist in Residency (AIR) program is designed to assist individual working artists and their collaborators. Groups and ensembles are not eligible. Only new work proposals are accepted. Proposals that document an existing work are not eligible. Students who are currently enrolled in a university are not eligible. AIR recipients from the past 2 years are not eligible to apply this year. Applicants must reside in the U.S.

Project Presentation Work produced in the program is premiered in the Harvestworks' 5.1 Presentation Lab. Residents are included in Creative Contact, an Internet compilation of digital art work on the Harvestworks website. The artists may be asked to contribute a work to a publication or exhibition featuring Harvestworks' programs.

Review Criteria:
Professional experience of the artist. Creative use of technology and feasibility of completing the proposed project using Harvestworks' programs.

Download the application here

Questions can be directed to Hans Tammen at 212.431.1130 ext. 2 or by email at

Harvestworks is a non-profit arts center in Lower Manhattan. Private funding for our programs has been provided by the Andy Warhol Foundation for the Visual Arts, the Jerome Foundation, New York Community Trust, the Carnegie Corporation, the Aaron Copland Fund, the Greenwall Foundation, the Edwards Foundation Arts Fund, the Trust for Mutual Understanding, Materials for the Arts, the Experimental TV Center and mediaThe foundation Inc. Public Support is provided by New York State Council on the Arts, the National Endowment for the Arts and the NYC Dept. of Cultural Affairs. Thanks to our Friends Circle, Cycling74, Digidesign, Inc. and NHT Pro.

Art & Law Residency Program: Program and Application Information

Volunteer Lawyers for the Arts solicits applications from professional visual artists and arts writers for its new Art & Law Residency Program, the first program of its kind.

Program dates: March 8 through August 30, 2010 (6 months)
Application deadline: Monday, February 22, 2010 (in-office receipt)
Notification: March 1, 2010

Program Goal
As legal and judicial issues now permeate every aspect of social, political and cultural life, artistic production is no longer immune. The Art & Law Residency provides an intellectual and artistic setting for participants to engage in ongoing discussions and debates that examine the overlap and disconnect between artistic production and the law from historical, social, ethical and intellectual standpoints. Using law as both a discourse and medium, new visual artwork and critical writing will come into being through the Program. All the participants will also gain experience and knowledge they can carry into the future beyond the Program.

The core of the Program will be semi-monthly Seminars directed at the theoretical and critical examination of current art and law issues. Seminars will take place at the law firm of Morrison & Foerster LLP. Faculty as well as leading legal scholars and visiting artists will lead these Seminars. During the course of the Program, artists and writers will develop new projects and papers and receive support from Faculty on a regular basis to discuss and address the aesthetic, practical, philosophical, legal and judicial aspects of their work. The Residency will culminate in a public Exhibition and Symposium held at the Maccarone Gallery in New York City where the participants will exhibit their projects and present papers.

More Information:

Collaborations in Conserving Time-Based Art


A Colloquium co-sponsored by
The Hirshhorn Museum and the Lunder Conservation Center,
Smithsonian Institution
Dates: March 17-18, 2010
Registration: free

Location: The Donald Reynolds Center for American Art and Portraiture, and the Hirshhorn Museum and Sculpture Garden, Washington, DC

It’s widely understood that the special challenges of conserving film, video, computer-based, and interactive art demand collaborative efforts—shared responsibility among a wide array of disciplines. Over the past decade, best practices and shared principles about the care of this art have been developed…emulation, migration, variability. But how do these practices actually work in the real world?

This colloquium brings together conservators, artists, curators, exhibition designers, and audiovisual specialists in a series of case studies about collaboration, designed to provoke debate about how we have cared for these works thus far. Are we listening to all the voices that have a stake in caring for these works? Are we listening to the works themselves—allowing the work itself to determine its own future state? Are we willing to relinquish control over a work in order to save it? Are we as a community truly capable of insuring the long-term survival of these works, or is our job simply ensuring that they will have a dignified death?

Participants will also have the opportunity for first-hand engagement with number of major time-based installations that will be on view at the Smithsonian museums, including works by Nam June Paik, Paul Sharits, Douglas Gordon, John Gerrard, Miguel Angel Rios, Phoebe Greenberg, and David Hockney.

Wednesday, March 17
7 PM
Location: Ring Auditorium, Hirshhorn Museum
Keynote address by John Hanhardt, Senior Curator for Media Arts Nam June Paik Media Arts Center, Smithsonian American Art Museum

Thursday, March 18
9:30 AM – 4:45 PM
Location: McEvoy Auditorium, Reynolds Center
Panels and presentations
Speakers will include

* Jill Sterrett, San Francisco Museum of Modern Art
* Glenn Wharton, Museum of Modern Art
* Chris Laciniak, Audiovisual Preservation Solutions
* Andrew Lampert and John Passmore, Anthology Film Archives
* Richard McCoy, Indianapolis Museum of Art

7:00 PM
Location: Ring Auditorium, Hirshhorn Museum
Meet the Artist: John Gerrard

Friday, March 19
10:00 AM – 11:30 AM
Location: Hirshhorn Museum
Q & A Discussion about time-based installations on view

1:00 PM - 5:00 PM
Location: Reynolds Center
Working discussion groups tackling specific questions related to SI’s future plans for conserving time-based art.

The evening talks are free and open to the public.

Thursday’s daytime presentations are free and open to professionals in the field who have an interest in caring for these works. Advanced registration is required for the Thursday program only.

For practical reasons, participation in the Friday working groups will be strictly limited, by invitation only. For more information, contact Jeff Martin, Conservator for Time-Based Art, Hirshhorn Museum: martinj (at) or

Wednesday, January 27, 2010

Cary New Music Performance Fund: Next deadline: February 16, 2010

The Cary New Music Performance Fund provides general operating support to professional music organizations and presenters in the five boroughs of New York City that operate with an annual over-all budget of $600,000 or less. The program welcomes organizations of all budget sizes within this parameter to apply; past recipient’s budgets have ranged from $14,000 to $555,000. Organizations most likely to be supported are those that demonstrate excellence in innovative programming and/or performances consisting primarily of new music by living composers, improvisers, sound artists or singer/songwriters working in any style or genre.

Meet The Composer recognizes that small, grass-roots or emerging organizations are an important part of the total arts community and have much to offer, but may have limited access to corporate and foundation support. These grants have enabled recipients to continue their commitment to new music by programming additional concerts, creating more energized and far-reaching publicity campaigns, and strengthening their commitment to creative artists.

Winning organizations are awarded a general operating grant ranging from $3,000 to $10,000. The funds can be used for any purpose that supports the mission of the organization and promotes new music and its creators.

This program is open to organizations focused primarily or exclusively on new music and living composers, improvisers, sound artists or singer/songwriters. For the purposes of this program, organizations may include ensembles, collectives, and non-commercial concert venues or promoters. There are no limits or restrictions on the style or genre of music performed or presented. 501c3 non-profit status is not required.

All organizations must meet the following criteria to be eligible for consideration:

Based and working in one of the five boroughs of New York City
In continuous operation for three or more years at the time of application
At least three year’s history performing or producing events in New York City which feature music by living composers, improvisers, sound artists or singer/songwriters
Average over-all annual budget of $600,000 or less over the last three years
For more information contact:
Derek Geary, Program Associate, extension 110 or

Download Guidelines and Application Instructions (please note, all applications must now be submitted on-line)
Begin your application on-line »
The Cary New Music Performance Fund has been made possible with a leadership grant from the Mary Flagler Cary Charitable Trust, and with major funding from the Booth Ferris Foundation.

Monday, January 18, 2010

R23 Information Services #137

WIMAX industry News blog

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Tuesday, January 12, 2010

Independent Media Arts Preservation (IMAP) presents a workshop on Copyright and Digital Project Planning

Friday, February 26, 2010
10:00 AM - 3:30 PM

Increased user demand for online content and wider acceptance of
digitization as a preservation action requires librarians, archivists,
curators, and artists to become familiar with how copyright law intersects
with their digital project planning.

This workshop approaches copyright from the collections and project
management perspective. An overview of copyright law and how to analyze
underlying or third-party rights in textual, visual, audio and moving image
content will be provided. Metadata that can be captured as part of the legal
due diligence process will be described in context, so the purpose of the
metadata is clear. We will perform exercises with common digital project

Linda Tadic consults and lectures in the areas of digital asset management,
audiovisual and digital preservation, and metadata. She is Executive
Director of the Audiovisual Archive Network (, and an
adjunct professor in New York University's Moving Image Archiving and
Preservation graduate degree program, teaching two core courses: Collection
Management, and Access to Moving Image Collections.

Ms. Tadic's over 25 years experience working with and managing audiovisual,
digital and broadcasting collections includes positions of Manager of the
Digital Library at Home Box Office (HBO), and Director of the Media Archives
and Peabody Awards Collection at University of Georgia. She is past Director
of Operations for ARTstor.

Workshop location:
ICP - School of the International Center for Photography
1114 Avenue of the Americas/43rd Street New York City


Workshop fee:
$100 IMAP and ICP members
$150 Non-members
$50 Students with valid ID

Registration is required with pre-payment. Space is limited.
Register at

Thursday, January 07, 2010

R23 Information Services #135

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Thursday, December 31, 2009

R23 Top 5 of 2009

Tuesday, December 29, 2009

R23 Information Services #134

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Tuesday, December 15, 2009

R23 Information Services #133

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Sunday, December 13, 2009

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Saturday, December 05, 2009

R23 Information Services #131

(read comcast buys hulu) nytimes


the gaurdian

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Thursday, November 26, 2009

R23 Information Services #130


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Friday, November 20, 2009

Local Community Radio Act moves to Senate

From Radio Magazine:

The Local Community Radio Act (S.592) was passed unanimously in the Senate Committee on Commerce, Science and Transportation with a voice vote. Both the Senate and House versions of the bill are on their way to full floor votes. The act seeks to repeal restrictions placed on low-power FM stations in 2000.

A press release from the Prometheus Project, a group that supports the efforts of low-power radio stations, cited the importance of allowing more low-power radio stations to operate because of their usefulness in times of emergency. While it's a valid point that low-power stations can serve a need to provide public information from a small setup operating on a portable generator, that is not the regular application of LPFM services.

Cory Fischer-Hoffman, Campaign Director for the Prometheus Radio Project said that disasters are not the only time when the public lacks access to local news. Prometheus also notes that LPFM would provide another source of local programming specific to neighborhoods and towns.

Senator Kay Bailey Hutchinson (R-TX), the ranking Republican on the Senate Committee, also noted the potential of low-power radio in changing the face of media ownership. The Local Community Radio Act is co-sponsored in the Senate by Senators Maria Cantwell (D-WA) and John McCain (R-AZ). While this Senate legislation has passed out of committee in the previous two sessions, this year marks the first time that the House version passed through the House Subcommittee and Committee.

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Friday, November 06, 2009

R23 Information Services #129






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Tuesday, November 03, 2009

R23 Information Services #128


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Friday, October 30, 2009

R23 Information Services #127




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Thursday, October 29, 2009

2010 Distribution Grant for NYS Artists. Guidelines & Application Distribution Grant

Deadline, Dec. 31, 2009

free103point9 is pleased to announce the 2010 Distribution Grant for New York State Artists providing support for the distribution of new works in film, video, sound, new-media, and media-installation. Funding is available from free103point9 through a regrant from New York State Council on the Arts' Electronic Media and Film Program. Grant awards will assist artists in making works available to public audiences and may include, but are not limited to: moving image and sound works; duplication of preview, screening and exhibition copies; promotional materials including documentation and schematics of media-installation and new-media works.

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Tuesday, October 27, 2009

R23 Information Services #126

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