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2010-03-18T13:43:00.002-04:00

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Panic in Georgia after a mock news broadcast

2010-03-15T01:06:00.003-04:00

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.

2010 Distribution Grant for New York State Artists recipients announced

2010-03-10T09:09:00.007-05:00

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
free103point9
gjh@free103point9.org

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

2010-02-28T18:47:00.001-05:00

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.

ETC Finishing Funds 2010 deadline = March 15, 2010

2010-02-03T16:31:00.001-05:00

Postmark Deadline: March 15, 2010
For application and guidelines: http://www.experimentaltvcenter.org
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

2010-02-03T16:19:00.001-05:00

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

2010-02-03T16:17:00.000-05:00

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

Eligibility:

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 hanst@harvestworks.org

--
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

2010-02-03T08:17:00.001-05:00

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.

Overview
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: http://www.vlany.org/education/

Collaborations in Conserving Time-Based Art

2010-02-03T08:13:00.003-05:00

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) si.edu or LunderConservationCenter@si.edu

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

2010-01-27T16:24:00.000-05:00

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 dgeary@meetthecomposer.org

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.

R23 Information Services #137

2010-01-18T04:32:00.001-05:00

Does the Fourth Amendment cover 'the cloud'?

cnet.com

Reboot.FCC.gov

dailywireless.com

WiMAX and LTE: The Case for 4G Coexistence

WIMAX industry News

Sprint Launches New 3G/WIMAX Mobile Hotspot

WiMAX.com blog

Tip’n’tilt Q2 Portable Internet Radio

gadgetsin.com

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

2010-01-12T07:53:00.000-05:00

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
scenarios.

PRESENTER
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 (www.archivenetwork.org), 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

Directions: www.icp.org

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 www.imappreserve.org

R23 Information Services #135

2010-01-07T03:27:00.001-05:00

Kelly Research Examines 'Normal' Vs. 'Extreme' Fans

allaccess.com

Seesmic Acquires Ping.fm

mashable

Pandora Partners With Pioneer On Internet Radio For Cars

paidcontent.org

Dell bringing smartphone to U.S. with AT&T

Reuters

Hypebot's Only Prediction For 2010

R23 Top 5 of 2009

2009-12-31T19:20:00.001-05:00

1 smart phones are portable radios

2 tape labels

3 MP3 'standard' rises to 192-320k

4 strong vinyl sales continue

5 WiMAX vs LTE

R23 Information Services #134

2009-12-29T00:01:00.001-05:00

8 Steps Broadcasters Can Take To Expand Their Digital Presence in 2010
audio4cast

Warner Music Signs With Hulu (Comcast/NBC/Universal)
hypebot

10,000 Sonicbids Members Get $4 Million From SoundExchange
hypebot

Real-Time Search For Online Radio
radio2020

Formula can ID music industry payola
buffalo.edu

R23 Information Services #133

2009-12-15T22:39:00.001-05:00

R23 Information Services #132

2009-12-13T20:47:00.001-05:00

Pandora Is Coming to Your Car
GigaOM

Why Apple Really Bought Lala
hypebot

4 Ways One Big Database Would Help Music Fans, Industry
wired

Vinyl Records and Turntables Are Gaining Sales
nytimes

Qisda-sourced 'multimedia router' hits the FCC
viigo

MySpace buys imeem music site for under $1 mln
AP

R23 Information Services #131

2009-12-05T15:46:00.001-05:00

FCC considers TV spectrum for broadband use
broadcastengineering.com

G.E. Makes It Official: NBC Will Go to Comcast
(read comcast buys hulu) nytimes

Apple acquires music service Lala
reuters

Vinyl frontier: Why records sales are soaring again
the gaurdian

R23 Information Services #130

2009-11-26T04:46:00.001-05:00

Roku adds Pandora, MediaFly and Blip.tv

Study: Internet Radio To Boost Networked Multi-Room Audio

twice.com

Clearwire shares up 5 percent on new financing

reuters

wired.com

DAB (HD radio in europe) radio faces threat from satellite rival

telegraph.com.uk

Local Community Radio Act moves to Senate

2009-11-20T01:02:00.003-05:00

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.

R23 Information Services #129

2009-11-06T02:17:00.001-05:00

Pocket Internet Radio +FM (no smart phone required)

wirelessgoodness

Study: Radio still has broadest reach

cnet

Independent internet radio is catching on

rbr

Clearwire broadband service goes live in Chicago

chicagotribune

Smartphones To Outsell standard phones by 2012

dailywireless

R23 Information Services #128

2009-11-03T13:30:00.002-05:00

FM and the internet enter a golden age

guardian.co.uk

CBS To Extend Four Radio Brands Beyond Local Markets

billboard

FCC Considers Auctioning Off TV Frequencies

dailywireless

XM's Skydock goes on sale

radioink

FM Continues Growth in Arab World

radioworld

R23 Information Services #127

2009-10-30T00:57:00.001-04:00

Google Lifts the Curtain on Its New Music Service

nytimes

Apple TV 3.0 update adds Internet radio

arstechnica

Huge Surge in Mobile Internet

dailywireless.org

Briefcase Broadcasting: The Smallest FM Station Ever

radio2020

Radio Industry Welcomes Return of Live Reads

adage.com

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

2009-10-29T11:48:00.004-04:00

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.

R23 Information Services #126

2009-10-27T15:00:00.001-04:00

FCC may look to redefine how it measures media concentration
latimes

Broadband in a backpack
bbc

GM to offer WiFi hotspots
autonews

The Quest for Internet Radio Standards
radioworld

Consumer Media Study Highlights Impact of Digital Media on Radio
audio4cast

R23 Information Services #125

2009-10-21T23:42:00.001-04:00

Internet Radio Stations Play More Artists Than Broadcast Stations
audio4cast.com

NPR Partners with Livio for Internet Radio Device
wired

What is the future of music online?
bbc

FCC Neutrality Ruling Tomorrow
daily wireless

Google to Launch Music Service
hypebot

R23 Information Services #124

2009-10-19T02:46:00.001-04:00

Dear CRB: Thanks for Nothing

commlawblog.com

Senate Panel Approves Radio Royalties for Performers

wsj.com

Music industry sees rise in royalty payments

guardian.com.uk

Playdar Can Save Music Services Cash, Enable P2P Streaming

wired

Time-Warner Adding Mobile WiMAX Service (+Comcast = 40 million subs)

dailywireless.org

LPFM bill moving swiftly toward full House vote

2009-10-16T12:59:00.001-04:00

From Prometheus Radio Project:

With a unanimous voice vote, the House Energy and Commerce Committee passed the Local Community Radio Act Thursday. By repealing restrictions that drastically limit channels available to low power FM (LPFM) stations, the Act will allow hundreds of community groups nationwide to access the public airwaves.

The popular, bipartisan legislation is on the fast track to becoming law. Shortly after all five FCC Commissioners reaffirmed the FCC’s longstanding support, the bill passed out of the House Subcommittee on Communications, Technology and the Internet by a voice vote. After today’s passage out of committee, the Local Community Radio Act heads for a floor vote in the House.

In his opening remarks today, Chairman Henry Waxman (D-CA) urged his colleagues to support the bill.

“As a longtime advocate of expanding low power FM radio services and the dynamic contribution they make to localism, a bedrock of our communications laws, I am pleased that the Committee is acting on this important bipartisan measure. Low power FM stations provide diverse, locally-originated programming that serves the needs of the community,” said Rep. Waxman.

Lead co-sponsor Rep. Mike Doyle (D-PA) noted that earlier concerns about potential interference with full power stations have been addressed.

“We are proud to have the support of many incumbent broadcasters for our legislation,” said Rep. Doyle. “We made changes during the subcommittee's consideration of the bill to resolve concerns from other incumbent broadcasters, and we are especially pleased that National Public Radio expressed their appreciation of these changes.”

The bill has recently gained the support of its former skeptics in Congress, including Rep. Greg Walden (R-OR), the only former broadcaster on the committee. Rep. Cliff Stearns (R-FL), a lead co-sponsor of the bill that originally restricted low power radio in 2000, also now supports the legislation.

Hundreds of groups across the country are organizing for the opportunity to have their own radio stations. One of the most active among these is the Chicago Independent Radio Project (CHIRP).

“Our goal is to provide Chicago with a showcase for the city's diverse music and arts scenes and to cover local news stories too often overlooked by bigger media outlets,” said Shawn Campbell, President of CHIRP. “Our 140 volunteers are true believers in radio that is live, local, and truly connected to community. We are ready to start broadcasting original content around the clock as soon we are given the chance.”

Advocates say that today’s vote is a call to action for supporters of local media.

“We are sounding the alarm,” said Cory Fischer-Hoffman, Campaign Director at the Prometheus Radio Project. “Passage out of full committee signals that Congress is finally ready to act on local community radio. Now is the time for everyone who wants a voice in their community to urge their Congressional Representatives to support HR 1147.”

R23 Information Services #123

2009-10-10T16:08:00.001-04:00

DJs may provide shakeup station needs

thestate.com

Dell plans first U.S. smartphone with AT&T

reuters

Mobile Powers Online Growth

insideradio.com

Analysis: Weighing Fair Trade As It Hits Portland Music Scene

billboard

Low Power Radio Triumphs over Big Broadcasters in Washington

prometheusradio.org

LPFM bill clears subcommittee

2009-10-08T13:41:00.005-04:00

From Prometheus Radio Project:

This morning, the House Subcommittee on Communications, Technology and the Internet passed the Local Community Radio Act of 2009 (H.R. 1147) in a near unanimous 15 to 1 vote. The bill is now poised to move to the full Energy and Commerce Committee, chaired by longtime LPFM supporter Rep. Henry Waxman (D-CA). Follow the link to read the full press release: http://prometheusradio.org/content/view/882/

LPFM bill faces subcommittee vote in US House tomorrow

2009-10-07T14:20:00.002-04:00

From Prometheus Radio Project:

Washington, DC – A bipartisan bill to expand community radio has been scheduled for a vote by Chairman Rick Boucher (D-VA) on Thursday at 10 AM, in the House Subcommittee on Communications, Technology, and the Internet.

The Local Community Radio Act would allow the FCC to license hundreds of new low power non-commercial radio stations nationwide. Most communities, especially large cities, have had severely limited opportunities to apply for these new radio licenses.

Rep. Mike Doyle (D-PA) reaffirmed his support for the Local Community Radio Act to an enthusiastic crowd at the Future of Music Coalition Policy Summit on Tuesday, calling it “our Christmas present this year.” Rep. Doyle has been leading the push for Low Power FM in Congress, along with lead co-sponsor Rep. Lee Terry (R-NE). Independent musicians have been longtime supporters of Low Power FM as a venue to share their music.

“We’d like to thank Congressmen Doyle, Boucher, Waxman and all Congressional supporters of low power radio. The hard work of these leaders and their staff to bring this legislation to a vote will yield great results for America’s local media landscape,” said Pete Tridish, founding member of Prometheus Radio Project.

The Local Community Radio Act reverses legislation from 2000 that limited the FCC's authority to license low power radio. Broadcasters claimed that low power radio would cause interference, but a Congressionally mandated study later showed that low power stations (which operate at 100 watts or less) do not interfere with full power stations.

"Thousands of communities could finally have a chance to have their own radio station,” said Cory Fischer-Hoffman, Campaign Director for the Prometheus Radio Project. "We hear from schools, churches, community groups, emergency responders, and local governments who want a local forum for news and information. They're eager for this opportunity."

R23 Information Services #122

2009-10-06T21:59:00.001-04:00

Nielsen Results Find Strong Radio Use Among 18-34

news.radio-online.com

Internet Radio Station 977music.com covers Austin City Limits Music Festival

businesswire.com

School Bus Radio Program Plays Its Last Tune

usnews.com

Women More Ravenous for Music Sites, Nielsen

mediaweek

CBS Radio Launches Last.fm Discover

fmbq.com

R23 Information Services #121

2009-09-29T19:14:00.002-04:00

WFMU launches Ichiban Rock & Soul and Ubu Audio
http://mp3stream.wfmu.org:443/listen.pls
http://ubustream.wfmu.org/listen.pls

Bill Mann: Internet radio brings the world to your home
mercurynews.com

SoundExchange, Broadcasters Chat At RAIN Summit East
audio4cast

Radio’s Looming Crisis Is Not Digital
The Infinite Dial

Wireless carriers beg FCC for spectrum, blame smartphones
arstechnica

Sprint Banks on WiMax to Win Back Market Share
nytimes

Employers grappling with social network use
cnet

R23 Information Services #120

2009-09-22T19:45:00.001-04:00

Trends in internet use: How public radio fits in

pewinternet.org

Comcast plans to bring TV shows to your phone [via @clearwire's WiMAX]

reuters

RIAA Upgrades Teen Propaganda Campaign

hypebot

Nokia Siemens makes first LTE phone call

reuters

Twitter's Stone says no ads in 2009

reuters

________

R23 Information Services #119

2009-09-16T11:30:00.001-04:00

"Interactive Webcasting"? The Second Circuit Weighs In
commlawblog.com

CBS Radio: Last.fm Broadcasting
dailywireless

Will Internet Radio Save HD Radio?
audiographics

Indie Rock Enhanced With Mildew
nytimes

Facebook makes money, tops 300 million users
Reuters

R23 Information Services #118

2009-09-11T13:10:00.001-04:00

Last.fm Scrobbles coming to a radio near you on October 5
arstechnica

Why the WiMAX vs. LTE Battle Isn't a Battle
wimax.com

AT&T Moving to HSPA+
dailywireless

Portland Sucks shows glimmers of pdx.fm
siliconflorist

Twitter expands rules to allow advertising
reuters

R23 Information Services #117

2009-09-10T15:50:00.001-04:00

iPod nano gets FM with pause and tagging

apple

iTunes LP: Video & A First Look

hypebot

Facebook, Twitter integration comes to iTunes

cnet

British Library releases 23,700 rare audio tracks online

cbcnews

While terrestrial radio is in trouble, Internet radio is growing

emarketer

Grassroots Radio Conference 2010

2009-09-08T18:13:00.002-04:00

KMUD, Redwood Community Radio is excited to announce that we will host Grassroots Radio Conference 2010, May 13th-16th. It will be held at the historic Camp Ravencliff on the Eel River, in Redway, Southern Humboldt, CA. More info to follow. Mark your calendars! Here's site link: ravencliff.ymcaeastbay.org/conferences

R23 Information Services #116

2009-09-08T15:37:00.001-04:00

The arrival (finally) of Internet radio
sfgate

From a Porch in Montana, Low-Power Radio’s Voice Rises
nytimes

Gen X Radio "Louie" Debuts on Clear Channel
idolator.com

XM Canada Owes Musicians' Royalties
fmqb

Spotify: iPhone Radio
dailywireless

R23 Information Services #115

2009-09-03T15:09:00.001-04:00

Copyright Royalty Board Challenged as Unconstitutional
Radio2020

Using ‘Free’ to Turn a Profit
nytimes

AM on FM Translator Rules Become Effective October 1, 2009
CommLawBlog

The New-Media Crisis of 1949
McVayNewMedia

RightsFlow Closes Round Of Funding
billboard

Apple approves Spotify app
pcmag

Sprint backs Hero, the latest HTC Android phone
reuters

R23 Information Services #114

2009-09-03T14:21:00.002-04:00

HD Radio sure doesn't mean high definition
sfgate

Look How Ubiquitous Wi-Fi Has Become
nytimes

Introducing Rhapsody on the iPhone
realnetworksblog

Apple and AT&T 'struck VoIP deal'
bbc

China Unicom in deal for Apple's iPhone
reuters

R23 Information Services #113

2009-08-22T18:44:00.001-04:00

Court: Internet Radio Services Don't Need To License From Labels
billboard

iTunes reps 1 in every 4 songs sold in U.S.
cnet

Future Bleak for WiMAX?
dailywireless

2009 Reg Fees: Filing Deadline Set At September 22, 2009
comm law blog

Americans Tune Out Mobile Music ?
informationweek.com

Buzz Off!

2009-08-16T21:43:00.002-04:00

From Nik Goodman:

I’ve just visited client station KRONEHIT based in Vienna, who are just celebrating audience figures (from their measurement system in Austria called ‘Radio Test’) that put them well over the ½ Million listeners mark. Well done to all the hardworking team there. One of the fun initiatives that I heard about while I was there, is a fantastic idea that I had to share with you.

In summer, as we know, there are a lot of insects about... especially mosquitoes, which if you are near any water, can be particularly bad. So KRONEHIT are offering listeners a 'Mosquito Free Summer'! How? Well... with a little bit of technical trickery!

They are embedding a silent tone of 14,850 Hertz in the signal, which imitates the buzzing of female mosquitoes. Therefore other female mosquitoes who hear this tone, are apparently repelled by the sound, and don’t come near it! Brilliant!

Therefore, the message is simple. If you’re outdoors, get KRONEHIT playing on the radio and you’ll enjoy your first summer without mosquitoes!! Genius!

Now, there’s a lot of debate as to whether high frequencies actually repel mosquitoes or not.... but that’s not the point. The initiative is quirky enough for people to try and it and stands out as something really interesting when you hear it.

When I was told about this, I didn’t know if it was some sort of whacky radio stunt or not... but they are actually doing it for real, with a real frequency generator on the transmission chain. And I’m sure they’ll be lots of listeners who say how brilliantly it works too.

R23 Information Services #112

2009-08-14T16:01:00.002-04:00

Listening to Music on Mobile Phones Doubled in Past Year
audio4cast

A (video) Rant on Internet Radio
hear2.0

Onkyo TX-NR807 AV receiver with internet radio and DLNA streaming
slashgear.com

Analysis: WOXY Adds To Future Sounds’ Growing Business Model
billboard

The Music Festival Grows Up
wsj

R23 Information Services #111

2009-08-11T21:46:00.001-04:00

World’s first dial-free radio unveiled
telegraph.co.uk

SoundExchange/CPB Deal Is Extended
comm law blog

Internet Evolution Launches IE Radio With craigslist’s Founder
foxbusiness.com

Clear Channel reports $3.7 billion quarterly loss
bizjournals.com

CMX vs. Cocktail, another battlefield in Apple vs. labels
Guardian.

R23 Information Services #110

2009-08-11T13:42:00.001-04:00

UK Study: Teens Relationship With Music Shifting

hypebot

Radio and the Internet Put the Smackdown on Newspaper s

future now

WFMU's new iphone app

Facebook Buys FriendFeed

WSJ

MLB beefs up Roku's rotation

cnet

R23 Information Services #109

2009-08-10T10:44:00.001-04:00

CBS Radio sells its Portland stations
oregonian

sony, warner, universal and emi to launch cmx album download format
times online

An Open Letter to Radio Programmers
oregon media central

Internet Radio—Where’s the Momentum?
paragon

Should Starbucks ban laptops?
cnet

2009/2010 AIRtime Fellowship Recipients Announced

2009-08-07T12:03:00.003-04:00

free103point9 is pleased to announce the 2009/2010 AIRtime Fellowship recipients: Brett Ian Balogh, Sabine Gruffat & Bill Brown, and Zach Poff.

The AIRtime program provides artists (individuals and/or collectives) with valuable assistance with which to concentrate on new transmission works and conduct research about the genre using free103point9's resource library and equipment holdings. Fellows present their work in conjunction with WGXC, in Greene and Columbia Counties, and free103point9 city-based programs at the Ontological Theater at St. Mark's Church in Manhattan. Fellows receive an honorarium, and technical and administrative support from free103point9 staff.

About the selected artists and projects:

Brett Ian Balogh (Chicago, IL), Noospherium

Brett Ian Balogh is an artist working at the intersection of objects, sounds and spaces. His current practice employs sound, radio and digital fabrication technologies to re-imagine traditional notions of space and our placement within. Balogh’s AIRtime project, Noospherium will manifest as an array of radio receivers installed throughout an exhibition space as points of sound diffusion accompanied by a video projection. Audio samples will be taken from various portions of the radio spectrum and rebroadcast via low-power FM by a programmable wide-band transceiver developed by Balogh. A computer application written in Max/MSP will control the sampling and rebroadcast of the received signals as well as animate the audio across the array of receivers, endowing the resulting soundscape with motion within the space. The video projection will consist of computer-animated representations of broadcast coverage areas derived from data available from the FCC relevant to the geographic location of the venue. This project aims to unite the DIY spirit of both the radio and open-source communities by advancing a low-cost, user-friendly, programmable, and extensible transmission arts platform, which will be made available to others.

Sabine Gruffat & Bill Brown (Madison, WI), The Bike Box

Sabine Gruffat is an interdisciplinary artist whose work maneuvers through, manipulates, and challenges prescribed genres and codes. Bill Brown seeks to correlate geographical coordinates with conceptual ones in his work, such as uncovering the memories and histories folded up inside physical landscapes and borders. Their collaborative AIRtime project, The Bike Box, is grounded in the artists’ interest in site-specific art and interactive media. The Bike Box will give an area’s residents access to cheap, durable, technology-enhanced bicycles in order to assist and encourage the exploration and interpretation of their environment. Bicycles at The Bike Box will be equipped with a GPS receiver/transmitter that may be connected to each user’s mobile phone. As cyclists pedal through the streets, their GPS coordinates will be beamed to a central computer and their positions will be displayed on a screen at The Bike Box receiving station. When cyclists pass through certain pre-selected GPS coordinates, their cell phones will ring, allowing them to listen to a pre-recorded description of the location informed by local land-use experts, historians, poets, and other interpreters.

Zach Poff (Brooklyn, NY), Radio Silence

Through artwork, teaching, and free software creation, Zach Poff examines the opportunities and challenges that arise from the translation of our experiences into "information." His recent work has been focused on how traditional broadcasting reverberates into digital media and influences notions of an emerging post-broadcast discourse. Poff’s AIRtime project, Radio Silence, explores the silent moments of talk-radio, using the cadences of different live radio personalities to compose an ongoing collaborative “performance.” Eight radio tuners feed their signals into custom software that will detect each silent moment and replace it with a unique “note.” Each note is a spectral average of the source audio, so it reflects the timbre of whatever is currently on the air. The speakers are arranged in a row above a computer display, which shows a “waterfall” visualization of the recent silences of each program and the call-letters of each station. The result is a multichannel composition of abstract bursts that inherit specific human rhythms from the rhetoric of their sources.

The 2009/2010 AIRtime Fellowship panelists included: Marie Evelyn (Analogous Projects,) Ralf Homann, and Shannon Sindelar (31 Down and Ontological Theater.)

free103point9 is a non-profit arts organization focused on establishing and cultivating the genre Transmission Arts. This genre encompasses a diversity of practices and media working with the idea of transmission or the physical properties of the electromagnetic spectrum. Transmission art is generally a participatory live-art or time-based art, and often manifests as radio art, video art, light sculpture, installation, and performance. free103point9 activities support and promote artists exploring transmission mediums for creative expression. free103point9's programs include public performances and exhibitions, online radio stations, the free103point9 Transmission Artists, an artist fellowship program, facilitation of a NYSCA regrant for individual artists, a distribution label, an education initiative, an online study center and archive, and a forthcoming full-power FM radio station WGXC-FM serving Greene and Columbia Counties in New York.

free103point9 is supported by The Andy Warhol Foundation for the Visual Arts; and with public funds through the Electronic Media and Film Program of the New York State Council on the Arts, a state agency; the Greene County Legislature through the County Initiative Program, administered in Greene County by the Greene County Council on the Arts; and the New York City Department of Cultural Affairs. Additional program support is provided by Experimental Television Center; a matching grant from Public Radio Capital, with funds provided by the New York State Music Fund; the Brooklyn Arts Council JPMorgan Chase Regrant Program; harpofoundation; the Puffin Foundation; the Joseph Family Charitable Trust; India Richards; and other generous individual donors. Past programs have been made possible by the Peter Norton Family Foundation; Meet The Composer's JPMorganChase Regrant Program for Small Ensembles; the Mid Atlantic Arts Foundation; the National Endowment for the Arts, a federal agency; CEC ArtsLink; and Mondriaan Stichting.

R23 Information Services #108

2009-08-06T23:09:00.001-04:00

No More Perks: Coffee Shops Pull the Plug on Laptop Users
WSJ

A Virtual Clown Car of Webcasting Settlements
Comm Law Blog

Mobile Internet Hot Spots: Hot or Not?
nytimes

2014 monthly mobile traffic will outpace the total traffic for all of 2008.
rbr.com

Startup SplashCast ceases operations
portland business journal

R23 Information Services #107

2009-08-05T13:37:00.001-04:00

Crowded roads ahead for charity 2.0

CNet

The Album Is Dead, Long Live the App

wired

iLike Expands D.I.Y Artist & Concert iPhone Apps

hypebot

Closed Deal: WideOrbit Acquires Google Radio Assets

techcrunch

The Death Of Paid WiFi

dailywireless

R23 Information Services #106

2009-08-04T23:37:00.001-04:00

Clear Launches 10 New Markets, Doubles Upload Speed

dailywireless

Sprint Buying Virgin Mobile USA

dailywireless

Video:CBS -Radio and the Internet are at an intersection.

cbsradio

Clear Channel to Sell Ads for Pandora.

Adage

Play Internet Radio in the Background

pcworld

R23 Information Services #105

2009-08-03T10:08:00.001-04:00

Comcast & TWC Launch Mobile WiMAX

dailywireless.org

SoundExchange, Webcasters Reach New Agreements

billboard

Why The FCC Wants To Smash Open The iPhone

techcrunch

Clear Channel to Sell Ads for Pandora

adage

Another New Model: Label signed by Artist

hypebot

R23 Information Services #104

2009-07-29T19:55:00.002-04:00

Walking on the Wireless Side in Baltimore: WiMax, which delivers the Internet through radio signals

nytimes

Microcaster DJs get screwed under new licensing fees

sfweekly

Digital music suffering from entrepreneur drain

cnet

NPR’s Digital Makeover

newsweek

Why the pirates are on the rise in Sweden

bbc

The Woodpecker

2009-07-21T22:19:00.004-04:00

From Wikipedia:

The Russian Woodpecker was a notorious Soviet signal that could be heard on the shortwave radio bands worldwide between July 1976 and December 1989. It sounded like a sharp, repetitive tapping noise, at 10 Hz, giving rise to the "Woodpecker" name. The random frequency hops disrupted legitimate broadcast, amateur radio, and utility transmissions and resulted in thousands of complaints by many countries worldwide. The signal was long believed to be that of an over-the-horizon radar (OTH) system. This theory was publicly confirmed after the fall of the Soviet Union, and is now known to be the Duga-3[1] system, part of the Soviet ABM early-warning network. This was something that NATO military intelligence was well aware of all along, having photographed it and giving it the NATO reporting name Steel Yard.

R23 Information Services #103

2009-07-20T18:56:00.001-04:00

WOXY is moving to Austin
woxy.com

Mediafly (read podcast) channel coming to Roku Digital Media Player
cnet

WiMAX Moves Forward in Taiwan
WiMAX blog

The decade's 25 biggest tech flops (HD and XM make the list)
cnet

Coldplay First To Sell 1 Million Digital Albums
hypebot

Radio Cegeste

2009-07-19T23:09:00.001-04:00

Radio Cegeste from Edie Eves on Vimeo from June 20, 2009.

R23 Information Services #102

2009-07-15T18:31:00.001-04:00

Pandora now pushing radio to pay for music, too
arstechnica

Pandora Gets Another $35 Million
hypebot

Rhino Launches New Digital Sales Format
hypebot

Microsoft is launching a music streaming service this month
telegraph

Court Affirms Most Webcasting Royalty Rules
CommLawBlog

RAIN's Internet radio royalty round-up
RAIN

OPEN CALL: Microsound

2009-07-13T13:03:00.001-04:00

Diapason Gallery for Sound is dedicating the month of October 09 to the exploration of the idea "Microsound", a technical term and also a musical genre. In honor of the 10th anniversary of the .microsound.org mailing list (founded by Kim Cascone) Diapason will present multi-channel installations, sound objects, performances, lectures, texts and other media in an effort to develop a survey on Microsound from today's post-digital perspective. Microsound is a term that encompasses explorations of sound on a time scale "shorter than musical notes". It includes subgenres such as Glitch music, granular synthesis, Lowercase sound, etc.

About Diapason: Since 2001, Diapason has been devoted to the presentation of sound art. The gallery, located in Sunset Park, Brooklyn, contains two listening environments with state-of-the-art multi-channel sound systems: the "lounge" contains a 12 channel sound system placed asymmetrically around the space and the "gallery" is a focused listening environment with a high quality 8 channel system. Installation and performance proposals that consider site and spatialization as an important parameter will be favored.

More information:
www.diapasongallery.org
http://microsound.org/links.php

Please submit your proposals by August 10 2009 to:
Daniel Neumann, curatorial assistant
neumann@alulatonserien.de

R23 Information Services #101

2009-07-12T20:59:00.001-04:00

The webcasting deal: What took so long?
latimes

Hold on, pandora didn't save all internet radio
nytimes

Sadly, Pandora Is Still Going Bankrupt
michaelrobertson.com

Why National Public Radio's Mobile Web Approach Works
poynter.org

Sprint Gains Network Advantage: Deal with Ericsson Delivers Competitive Edge

R23 Information Services #100!

2009-07-08T23:30:00.002-04:00

Final Piece of the Webcasting Puzzle Settled
commLawBlog

Bertelsmann, KKR launch joint music rights venture
reuters

As Music Mags Fall, Pitchfork Is Booming
forbes

VLC 1.0 officially released after more than 10 years of work
arstechnica

Sources: Google OS lives (and it's coming to a netbook near you)
arstechnica

R23 Information Services #99

2009-07-08T15:47:00.001-04:00

Casey Kasem Retires at 77

Online radio stations strike big deal on royalties
AP

The Death of Traditional Media (same day as MJ)
McVay media

Why Should Webcasters Pay 25% Of Revenue To Promote Musicians?
techdirt

Pandora Limits Users To 40 Hours Per Month
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Call For Submissions / New Adventures in Sound Art

2009-07-05T18:34:00.000-04:00

Call For Submissions / New Adventures in Sound Art / HOME - Deep
Wireless, Sound Travels & SOUNDplay Festivals / Toronto, ON /

Deadline Date: Wednesday, September 30, 2009

New Adventures in Sound Art invites artists of all ages and nationalities
to submit works on the theme HOME for consideration in 2010 future
programming for the annual Deep Wireless, Sound Travels, and SOUNDplay
festivals, produced by New Adventures in Sound Art in Toronto, Canada.

Artists may submit works in one or all of the following four categories:
1) Radio Art,
2) Electroacoustic Music & Sound Art,
3) Videomusic and
4) Installation Art (Note: please send separate submission forms for each
entry).

Individual interpretations or variations on the theme HOME are encouraged,
but should be realized with sound as the primary component.

All submitted works must respond in some way to the theme HOME in order to
be considered for 2010 NAISA programming.

1) Radio Art (for Deep Wireless)
The Radio Art category is for works conceived for radio or that use radio
and other wireless technology in their creation and that play with the
medium. Works submitted to this category must be less than 60 minutes in
duration. Special consideration will be given to 1 minute radio art pieces
for broadcast as well as 1 page proposals for collaboration on translocal
broadcast performances.

Pieces will be selected for broadcast within Canada and on several
international radio stations in May 2010 as part of the Deep Wireless
Festival of Radio and Transmission Art.

Both Canadian and International radio art submissions will be considered
for inclusion in the following:

-The Deep Wireless 7 radio art compilation CD
-The Radio Art Interventions (1 minute pieces played guerilla-style on
radio stations during the Deep Wireless festival)
-The Radio Art Salon - a listening gallery of radio art works exhibited
for the month of May.

2) Electroacoustic Music & Sound Art (for Sound Travels)
The Electroacoustic Music & Sound Art category is for multi-channel and
stereo works less than 20 minutes in duration and conceived for concert
performance or presentation in the Sound Travels festival of sound art.
Preferred formats for performance presentation include 5.1, octaphonic, 12
and 16-channel formats in both acousmatic (tape), live and mixed formats.
Please indicate in the notes the intended format of presentation and any
required instrumentation or specialized equipment.

3) Videomusic (for SOUNDplay)
The Videomusic category is for works that explores non-narrative
abstraction with equal emphasis on sound and image. Submitted works will
be considered for video screenings with either stereo or multi-channel
playback. Submitted works will be considered for screenings in either a
performance venue or a small-size gallery alongside other works selected
from this call for submissions.

4) Installation Art (for Deep Wireless, Sound Travels or SOUNDplay)
Installation proposals of previously realized works for site-specific and
gallery installations with no fixed duration will be considered for
presentation as part of Deep Wireless, Sound Travels or SOUNDplay.
Site-specific works can be for indoor or outdoor locations. Works can use
multichannel or single channel playback and may incorporate any number of
media, but must feature original sound as a primary element. Preference
will be given to small to medium scale interactive works that appeal to
all ages. Please attach a list of the necessary equipment required to
mount the installation and which of these items can be supplied by the
artist. Submissions should include audio, video or audio-video
documentation of previously realized versions of the work.

Submission Guidelines

Please submit a completed submission form (in digital format if possible)
along with the proposed works on CD or DVD.

For multichannel works, please include a stereo reduction for reference
purposes only. For video works, please include a DVD copy for reference
only. Screening and multi-channel masters will be requested later if the
work is to be programmed. For installation works or performance proposals,
please attach a list of required equipment with indications of equipment
that can be supplied by the artist.

Materials will not be returned. Please don't send original copies.

Submissions must be postmarked no later than September 30, 2009 and mailed
to: New Adventures in Sound Art
601 Christie Street #252
Toronto ON M6G 4C7

Visit http://www.naisa.ca for more information.

How to build a radio in a POW camp

2009-07-04T21:05:00.002-04:00

By Cory Doctorow in Boing Boing:

This first-hand account of the construction of a clandestine shortwave radio by British POWs in a Japanese camp in Singapore really reminds me of James Clavell's magnificent novel King Rat, my all-time favorite war-novel, which revolves grippingly around the construction, discovery and consequences of a hidden shortwave in the Changi camp (both Clavell and Ronald "St Trinian's" Searle were interned in this camp).

BJ: Can I just ask you - the components for the low voltage battery cells that you produced, where did you get all the components from?

RGW: Well, zinc wasn't hard, there was some sheet zinc lying on the aerodrome and we pinched quite a bit of that because that would be eaten away during the use of the cells for the low voltage. I don't know what would have happened if that ran out. I think someone produced two lantern cells which did for a while, but it was mainly on this home-made cell system, which wasn't efficient but nowhere near as inefficient as the rectifier was. We must have been consuming... Ah Ping said he had to turn up a lot of power to keep the lights what they wanted. We were dispersing such an amount of power in this four test tube rectifier for the high tension.

A variable capacitor was another component we had to bring in. We couldn't make a variable capacitor, it was impossible. We had to take two plates off the one we had to get a high enough frequency. Yes, I can't remember why we didn't go up a bit in inductance; it was largely a trial and error business really. Except that in a regenerative receiver you had some idea when you were near a station because the receiver was so sensitive as all regenerative receivers are.

It had a piece of meat skewer type wood which I had a hole drilled in by a pen-knife, and we glued this in with some of our glue or something, into the capacitor shaft so that we could tune it by holding a little stick across it, fixing it at about six inches because one couldn't get one's hands any closer to the set because it was in a state of very near oscillation where the maximum sensitivity is, just before it bursts into oscillation. With a fairly clear HF band, it wasn't long before we knew roughly, by putting a couple of marks on the stick, where it was. We knew that the Voice of America was due for a transmission and I don't think we ever knew the frequencies because the BBC didn't announce frequencies, they just came on the air and broadcast.

Construction of Radio Equipment in a Japanese POW Camp (via Make).

R23 Information Services #98

2009-07-03T18:32:00.002-04:00

Twitter Users More Engaged with Music -- and More Likely to Pay for It
NPD

Seven Apps Worth Buying Headphones For
nytimes

Lessons Learned From Twitter Windfalls
billboard

Radio stations step up battle against Performance Rights Act
latimes

Licensing issues Shut Down Pandora Oustside US
slashdot

R23 Information Services #97

2009-07-03T18:21:00.002-04:00

President Obama signed the Webcaster Settlement Act of 2009

The top internet radio stations
telegraph.co.uk

FCC Opening Door for New LPTV and TV Translator Applications
comm law blog

Wired Editor-in-Chief Chris Anderson on the Future of Free
wired

In Online Music Era, Country Fans Lack a Connection
washington post

FCC opening door for new LPTV and TV translator applications

2009-07-03T16:36:00.002-04:00

By Matt McCormick in CommLawBlog:

Ever want to own your own television station? Your chance is just around the corner, as long as you’re willing to start small with a Low Power Television or TV translator station. The FCC has announced that the welcome mat for applications for new LPTV/translator stations (and major changes to existing stations) will be out as of August 25, if you want a rural station; if you’re looking for Bright Lights/Big City action, though, you’ll have to wait until next January.

In a Public Notice released June 29, the FCC announced a two-phase plan for the filing of applications for new digital-only LPTV and TV translator stations (we'll call them LPTVs collectively) and for major changes of existing LPTVs. Also, any analog LPTVs that didn't pick up a digital companion channel in the last go-round back in 2006 will now get another chance.

Phase 1 begins August 25, 2009, when the FCC will begin accepting, on a first-come, first-served basis, applications for new digital-only LPTV stations, major changes in existing LPTVs and digital companion channels in rural areas only.

What’s a “rural” area? To meet that condition, you must specify a transmitter site at least 75 milers (121 kilometers) from the reference points for any of the top 100 markets. (In an Appendix to the Public Notice, the Commission has helpfully listed not only all of the top 100 markets, but also their respective reference points.)

The geographical “rural only” restriction goes away when Phase 2 begins on January 25, 2010. From that date on, applications for new LPTVs, major changes and companion channels may be filed regardless of the proximity of the transmitter site to a major market.

In both phases, applications will be accepted first-come, first-served, and will be "cut-off" on a daily basis. That means that if you file your application one day after a conflicting application, you're out of luck (unless, of course, the earlier-filed conflicting application gets dismissed, in which case you would get a second chance). If two conflicting applications happen to be filed on the same day, they will be deemed to be “mutually exclusive”, which will entitle them to go through the FCC's auction process.

Applications for new LPTVs and replacement translators must specify an in-core channel (i.e., Channels 2 through 51). Incumbent analog LPTVs looking for digital companion channels should also try to specify an in-core channel, but if nothing suitable is available, a channel between 52 and 59 may be used if the applicant goes through a whole circus full of hoops outlined in the FCC's Public Notice.

(Our colleague Peter Tannenwald raises an interesting question: why would an existing LPTV analog station with an in-core channel apply for a second in-core channel as a digital companion facility, rather than simply applying for a new station on that second channel? The problem with companion channels is that, at some point, that licensee will have to choose between its original channel and its companion channel – that is, in the end the licensee would have only one station on one channel. On the other hand, if the LPTV licensee got an in-core channel as a new stand-alone station – i.e., not a companion channel – and eventually did a flash-cut switch to digital on its original channel, it would end up with two channels, both of which it could keep.)

And on the topic of flash-cuts, the FCC reminds LPTV and Class A licensees currently operating in analog that they can file on-channel digital conversion (i.e., flash-cut) applications at any time – like right now, if they want. The Commission encourages analog LPTV stations that are planning on filing flash-cut applications to do so before the FCC begins accepting first-come, first-served digital applications. Acting sooner rather than later will get you ahead of any tsunami of applications that might develop in, say, August (or January) as far as processing is concerned; it may also prevent other applications from limiting your options in some ways.)

The FCC application filing fee for a new LPTV station or for a major change in an existing station is $705.00. There is no FCC filing fee for flash-cut or digital companion channel applications. All applications must be submitted electronically thought the FCC's CDBS program.

It’s been years since the FCC has flung open the door for new (i.e., non-companion) LPTV stations anywhere. As a result, it is extremely likely, if not an odds-on mortal lock, that some serious demand has built up – demand that we will see unleashed on August 25. In other words, we can probably expect a ton of filings as soon as the door opens. Since the coming opportunity is strictly first-come, first-served, applications which are filed at the first opportunity will block out later-filed applications. That being the case, if you have specific notions of filing for a new station in a particular community, you would be smart to get all your ducks in a row so that you will be able to file on August 25. Otherwise, you run the risk that somebody else will get there first.

Spy Numbers

2009-07-01T12:35:00.002-04:00

The Palais de Tokyo is currently holding a "Spy Numbers" exhibit: On the short waves of our radios, voices read out uninterrupted series of numbers. 2… 11… 58… 35… 23…
Whether they are encrypted instructions intended for sleeping agents, messages exchanged between traffickers, or simple telephone settings, the “Spy Numbers Stations” have been broadcasting for several decades without their precise function becoming known. In the wake of Gakona, the previous exhibit inspired by the work of Nikola Tesla, Spy Numbers continues the exploration of the electromagnetic spectrum and its margins in this second session of 2009. Beyond the visible and closer still to the infra-thin and the spectral, the Palais de Tokyo experiments with forms of art that elude any wistful desire for fixed interpretations. In an exhibition area reduced by half due to renovations, Spy Numbers brings together a variety of artists whose interests include mathematical encoding, the production of aurora borealis, archiving contact lenses, seismic sensors, the disappearance of hanged men and mountain summits.

National Call-In Radio Day

2009-06-30T21:11:00.004-04:00

The Prometheus Radio Project is among the organizers of the day to help bring low-power FM to communities throughout the United States. Join people from across the country to tell Congress to open up the airwaves for more community media!

TAKE ACTION - Tell your Congressional Representative to support HR 1147.

1. Look up your Congressional Representative at Congress.org

2. Find out if they have already supported the Local Community Radio Act.
See a list of cosponsors at govtrack.us and search for Bill number HR 1147.

3. Call the Congressional Switchboard at: (202) 224-3121 and ask to be connected to your Representative's office.

If your representative is not a cosponsor tell he/she to support expanding Low Power FM all across the country and cosponsor the bill.

If your representative is a cosponsor ask him/her to reach out to Congressional Leadership to let them know that this is an important priority around the country.

Background:
In 2000, the FCC established Low Power FM radio service and the same year Congress acted to limit LPFM, pending the results of an interference study. This study was released in 2003, after an expenditure of $2.2 million in taxpayer dollars, and proved that LPFM would not provide interference to existing stations. There are currently over 800 LPFM stations operated by schools, churches, civic groups, and other nonprofit organizations across the country. However, it's time, as the authors of this study and the FCC recommended, to expand LPFM to its intended service parameters. The Local Community Radio Act (HR 1147/S592) would expand Low Power FM radio stations and open the airwaves up to potentially tens of thousands of new community radio stations across the country.

Radio talk-show host Neil Rogers retires

2009-06-29T21:13:00.004-04:00

The Miami Herald reported that Neil Rogers, one of the United States' best talk show hosts, took a buyout check and retired today. Rogers, 66, and Miami's WQAM-AM 560 jointly announced that he is leaving his 10 a.m.-to-2 p.m. slot. In 1976 Rogers announced he was gay on the air. His acerbic talk show was biting and hilarious in South Florida, and for a few years in the late '80s he was simulcast on a Tampa radio station that also featured Bob Lassiter. Rogers will be missed.

OPEN CALL: FuturePlaces

2009-06-29T11:36:00.002-04:00

"Radio Futura," the official FuturePlaces radio station broadcasting live during the FuturePlaces 2009 digital media festival (October 14-17, 2009 in Porto, Portugal), is looking for submissions. "Radio Futura"" is a joint venture between Future Places and Rádio Zero. We are now accepting submissions for Radio Futura, a special one-week radio broadcast during FuturePlaces 2009. FuturePlaces 2009 is an international digital media festival focusing on the potential of digital media to change local cultures and societies. It does so by exploring digital culture in its many forms: from concerts to exhibitions and competitions, from workshops to parties, from conferences to film screenings. During the festival, Radio Futura will be broadcasting a mix of live event coverage and studio programs. We want your participation by submitting proposals for programs to be broadcast during the festival.
You can submit any kind of program, as long as it is connected to radio digital culture and/or local cultures in any way. Preference is given to proposals of live programs, using webstream or at (if you're around at the time) Radio Futura studio, but pre-recorder programs are also welcomed.

SUBMIT YOUR PROPOSALS TO: radiofutura2009 @ gmail.com
Deadline for submitting your proposals is : August 15, 2009
Proposals should be either a short statement of the idea to be developed in the radio program, or an audio file of a draft program. (MP3 or OGG is preferred at this stage, because it is light!). You can find out more on the Future Places digital media festival at http://futureplaces.org.

FMjam

2009-06-26T12:50:00.003-04:00

Last night at free103point9's Noise! festival at the Ontological Theater in Manhattan, Jeremy Slater and Tamara Yadao used the FMjam transmitter in his performance. It is a small transmitter with numerous effects on it, marketed to guitar players and such who want to jam together. Slater and Yadao both played with one, and the FMjam allowed them to both perform on the same radio frequency. Apparently, up to five people can "jam" together on the same frequency with this transmitter.

Senate expected to confirm Genachowski as new FCC chairman

2009-06-25T01:39:00.001-04:00

By Jack Kontney in Broadcast Engineering:

President Obama's nominee for Federal Communications Commission chairman, Julius Genachowski, has emerged from a June 16 Senate Commerce, Science and Transportation Committee vetting with high marks. His nomination now moves to the full Senate for confirmation, which is expected with little controversy. Republican Commissioner Robert McDowell, nominated for a second term on the FCC, was also approved by the committee.

While the audio industry still awaits final FCC rulings and clarifications on white space spectrum allocations and usage by TV band devices, the hearings addressed this issue by implication only. Rather, the nominees were asked for their views on issues like indecency, exclusive mobile carrier arrangements, media ownership rules and broadband integration and infrastructure.

Genachowski, whose technology background includes time as a legal adviser to FCC Chairman Reed Hundt during the Clinton administration and as technology advisor to the Obama presidential campaign, has promised to run a more transparent commission with a strong technology orientation.

In his hearing, Genachowski stated that he plans to use federal economic stimulus money to bring broadband Internet services to underserved, generally rural areas. The Obama administration included $7.2 billion in funds for this purpose.

In addition, a number of other responses may prove enlightening on the future direction of the FCC. Genachowski expressed interest in a proposed Senate bill calling for the FCC to conduct a comprehensive inventory of all available frequency spectrum between 200MHz and 3.5GHz and how it is used for both licensed and unlicensed activities.

Another major hot button is the examination of exclusive wireless carrier deals routinely done by the makers of mobile phones. Noting that traditional phone services are legally required to allow consumers to connect any legal device to their networks, Genachowski has stated that, under his chairmanship, the FCC would review whether mobile handset deals requiring a specific wireless carrier (such as AT&T for the Apple iPhone) are anticompetitive.

The long-standing request for action on this issue originated with the Rural Cellular Association (RCA), which charges that such deals shortchange rural areas. Similar calls to action have come from other grassroots groups. The mobile phone industry feels strongly that exclusivity deals have been a boon to consumers, spurring the development and availability of new technologies. In a written response to a question from Sen. John Kerry, Genachowski said, “If confirmed, I will ensure that the full record on the RCA petition is reviewed and act accordingly to promote competition and consumer choice." Interim FCC Chairman Michael Copps has already instructed the commission to begin planning for such a review.

Genachowski also supports greater diversity in media ownership, expressing his hope to develop strategies to bring more women- and minority-owned representation into the media. It should be noted that both the Senate and the House of Representatives are currently considering laws that would expand the availability of low-power FM radio licenses.

Reading between the lines, it would appear that the combination of a frequency allocation review, white spaces technology development and possible expansion of LPFM license availability may create a “perfect storm” of issues that allows the soon-to-be confirmed FCC chairman to consider a wide variety of rules and policies. With the Obama administration on record as favoring technology development in the white spaces, expansion of broadband availability and Internet neutrality, it seems clear that the FCC will be used as an instrument of the administration’s technology, communication and, to a lesser extent, social agenda.

Considering the extended timeline and limited success of the recent DTV transition, one can only hope that the infusion of fresh blood and a visionary agenda will help the FCC move with more self-assurance than seen in recent years. With the United States lacking a cohesive policy on broadband and wireless communications, the coming years will be critical in defining whether this country will be a leader or follower in broadband availability and mobile communications. The FCC under Julius Genachowski will play a critical role in determining both the direction and success of our nation’s progress in these areas, and whether it can be achieved without crippling existing technologies such as broadcast television and wireless microphone systems.

With never-ending advances in technology constantly challenging the status quo, the FCC must make the transition from “protector of broadcasting in the public interest” to “communications technology consultant for the U.S.” The importance of this critical role cannot be overestimated, and it is hoped that the commission will see the big picture and take decisive action before its too-brief window of political opportunity passes.

New radio chip mimics human ear

2009-06-24T01:44:00.003-04:00

From Science Daily:

MIT engineers have built a fast, ultra-broadband, low-power radio chip, modeled on the human inner ear, that could enable wireless devices capable of receiving cell phone, Internet, radio and television signals.

Rahul Sarpeshkar, associate professor of electrical engineering and computer science, and his graduate student, Soumyajit Mandal, designed the chip to mimic the inner ear, or cochlea. The chip is faster than any human-designed radio-frequency spectrum analyzer and also operates at much lower power.

"The cochlea quickly gets the big picture of what's going on in the sound spectrum," said Sarpeshkar. "The more I started to look at the ear, the more I realized it's like a super radio with 3,500 parallel channels."

Sarpeshkar and his students describe their new chip, which they have dubbed the "radio frequency (RF) cochlea," in a paper to be published in the June issue of the IEEE Journal of Solid-State Circuits. They have also filed for a patent to incorporate the RF cochlea in a universal or software radio architecture that is designed to efficiently process a broad spectrum of signals including cellular phone, wireless Internet, FM, and other signals.

The RF cochlea mimics the structure and function of the biological cochlea, which uses fluid mechanics, piezoelectrics and neural signal processing to convert sound waves into electrical signals that are sent to the brain.

As sound waves enter the cochlea, they create mechanical waves in the cochlear membrane and the fluid of the inner ear, activating hair cells (cells that cause electrical signals to be sent to the brain). The cochlea can perceive a 100-fold range of frequencies -- in humans, from 100 to 10,000 Hz. Sarpeshkar used the same design principles in the RF cochlea to create a device that can perceive signals at million-fold higher frequencies, which includes radio signals for most commercial wireless applications.

The device demonstrates what can happen when researchers take inspiration from fields outside their own, says Sarpeshkar.

"Somebody who works in radio would never think of this, and somebody who works in hearing would never think of it, but when you put the two together, each one provides insight into the other," he says. For example, in addition to its use for radio applications, the work provides an analysis of why cochlear spectrum analysis is faster than any known spectrum-analysis algorithm. Thus, it sheds light on the mechanism of hearing as well.

OPEN CALL: International Symposium on Electronic Art

2009-06-22T12:57:00.002-04:00

ISEA2010 RUHR is the 16th International Symposium on Electronic Art, a major conference and exhibition event for art, media and technology, scheduled for 20-29 August 2010 in the German Ruhr region (Dortmund, Essen, Duisburg, a. o.). We invite proposals for conference papers, artist presentations, exhibition projects, live performances, and art projects in public space. Visual artists, musicians, dancers, designers, engineers, software artists, researchers, theorists, media activists, and hybrids of these, working with recent technologies and exploring the artistic, creative and critical potentials of digital and electronic media, should submit their projects or papers online by 15 September 2009. All submissions will be evaluated by an international jury. The results of the jury process and invitations for ISEA2010 RUHR are expected by the end of 2009. Please note that all submitted information can be edited and completed until the submission deadline. Detailed information about the submission process can be found at: http://www.isea2010ruhr.org/submissions. Contact: call@isea2010ruhr.org

Radio chip inspired by human ear

2009-06-17T14:25:00.003-04:00

By David Pescovitz on Boing Boing:

MIT researchers built a radio chip inspired by the inner ear. The "RF cochlea chip" could be a key component in a "cognitive radio," a device that can determine the appropriate frequency and power consumption required and adjust itself accordingly. Such a universal radio architecture could efficiently handle a wide range of signals, from cellular to WiFi to television. From MIT News:
The RF cochlea mimics the structure and function of the biological cochlea, which uses fluid mechanics, piezoelectrics and neural signal processing to convert sound waves into electrical signals that are sent to the brain.

As sound waves enter the cochlea, they create mechanical waves in the cochlear membrane and the fluid of the inner ear, activating hair cells (cells that cause electrical signals to be sent to the brain). The cochlea can perceive a 100-fold range of frequencies -- in humans, from 100 to 10,000 Hz. Sarpeshkar used the same design principles in the RF cochlea to create a device that can perceive signals at million-fold higher frequencies, which includes radio signals for most commercial wireless applications...

The RF cochlea, embedded on a silicon chip measuring 1.5 mm by 3 mm, works as an analog spectrum analyzer, detecting the composition of any electromagnetic waves within its perception range. Electromagnetic waves travel through electronic inductors and capacitors (analogous to the biological cochlea's fluid and membrane). Electronic transistors play the role of the cochlea's hair cells.

Fitzrovia Radio Hour: radio-drama revival troupe

2009-06-16T18:15:00.003-04:00

By Cory Doctorow on Boing Boing:

Fitzrovia Radio Hour is a radio-drama performance troupe in the UK who do over-the-top, steampunky stories that pay homage to the golden age of British radio plays. I saw them perform live at one of the White Mischief steampunk nights at the Scala near King's Cross, and they were superb -- full costume, great period-appropriate foley gadgets, and wonderful performances. They've got a podcast, too!

Snelson and Milutis performance

2009-06-15T23:20:00.002-04:00

Performance by Danny Snelson and Joe Milutis for Writing for their Lives @ UW-Bothell. Milton's Paradise Lost, Book I is sampled (Milutis) and translated using Ronald Johnson's Radi Os as lexicon.

R23 Information Services #96

2009-06-14T01:11:00.002-04:00

Building a Wifi Radio
mightyohm.com

Net gives pirate radio the last laugh
new scientist

Smartphone Rises Fast From Gadget to Necessity
nytimes

Social Networks Eclipse E-Mail
nytimes

Trent Reznor Says No More Social Networking
hypebot

Vinyl sales to hit another high point in 2009
la times

Some in Congress hot to expand LPFM service

2009-06-12T12:49:00.004-04:00

Above: On June 11, 2009, at a hearing of the House Energy and Commerce Committee's Subcommittee on Communications, Technology, and the Internet on H.R. 1147, the Local Community Radio Act, Congressman Doyle questioned witnesses from the Federal Communications Commission and the National Association of Broadcasters about whether existing stations would experience significant interference if Congress enacted the Local Community Radio Act, which would allow the FCC to license thousands of new community-oriented low-power FM radio stations across the country. There appeared to be very little justification for concern.

From Radio World:

The push by low-power FM proponents to drop third-adjcacent channel protections for full-power stations, thus allowing more LPFMs on the dial, is gaining more attention from Congress.

The Federal Communications Commission maintains that doing so would result in only a small amount of interference to full-power stations and it supports the expansion of the LPFM service by dropping those protections.

LPFM proponents said at a House subcommittee hearing this week that thousands more of the low-wattage outlets could be on the air if H.R. 1147, the Local Community Radio Act, passes. Opponents said if that happens, the FCC seems to be okay with some interference affecting some full-power stations or their translators, interference that could creep beyond the third adjacents and affect second adjacents as well.

Rep. Greg Walden, R-Ore., who owned radio stations for 21 years, said he’s received letters from public radio stations concerned about displacement of their translators given the current way the bill is written — language he says would give the FCC authority to affect beyond third-adjacent full-power protections. He’s heard that some LPFMs are airing ads and acting as commercial stations and pressed the commission to make sure LPFMs are serving their communities, as full-power stations do.

But bill co-sponsor Rep. Lee Terry, R-Neb., said of LPFM: “It gives people a voice that they may not have now. Studies have shown we can do LPFM without stepping on the signals of higher-power stations.”

The FCC wants to drop the third-adjacent channel protections. Chief of the FCC’s Audio Division Peter Doyle said 859 LPFMs are licensed and on the air. At the same time, the agency has licensed more than 4,000 new translators with no impact from LPFMs and said, “There’s been no discernible increase of interference during this licensing process.” The FCC remains convinced the impact from dropping third-adjacent channel protections to translators or full-power stations “would be extremely modest,” he said. The FCC expects “enormous interest” in the next LPFM application window.

Cheryl Leanza, representing the United Church of Christ and speaking for LPFM proponents, said, “We know low-power is safe because there are thousands on the air now. They don’t cause interference. The only difference is who owns them, whether they’re a member of NAB or not.”

Testifying for the National Association of Broadcasters was Beasley Broadcasting EVP/CFO Caroline Beasley, who said full-power stations and LPFMs can co-exist but that it’s important to maintain interference guidelines. Broadcasters are concerned about interference, because if a listener hears it in some form, like static, she said, “They will simply change the channel.” The study on potential for LPFM interference done by Mitre years ago recommended a way to mitigate interference to full-power FMs from LPFMs, she said. “There’s still room for tens of thousands of additional LPFMs — even with keeping the third-adjacent channel protections.”

Rep. Rick Boucher, D-Va., chairman of the Communications, Technology and the Internet Subcommittee, said while expanding options for more LPFMs is desirable, Congress must be certain it would be implemented in a way that would not jeopardize full-power stations, emerging HD Radio and radio reading services.

Before the hearing’s conclusion, lawmakers asked the FCC to provide more details later on interference studies that have been done and details of an FCC rule that protects translators. Boucher did not say what the next steps by the subcommittee would be.

Public wins in court over low-power FM

2009-06-09T11:53:00.004-04:00

From Matthew Lasar in Ars Technica:

Supporters of low-power FM (LPFM) radio won a victory on Friday when a federal appeals court rejected a lawsuit to stop the Federal Communications Commissions from protecting LPFM stations from full power station signal interference.

"This is terrific news for the low power radio community," declared Sakura Saunders of the Prometheus Radio Project, which helps LPFMs. "Now, these stations can focus on serving their local communities, rather than live in fear of displacement due to the whims of their full-powered neighbors."

On the other hand, the advocacy group that defended the LPFM service was circumspect about the win. "The decision in the courts merely protects the status quo," noted the Media Access Project in a statement sent to Ars. "Congress still must pass legislation to allow more low-power FM stations to operate nationwide."

There's also the question of how to ensure the funding these stations need to more effectively serve their signal areas. More about that later, though. First let's look at the nuts and bolts of this case.....

All this is music to the ears of Congressmember Mike Doyle (D-PA), who, along with Lee Terry (R-NE), has a bill pending that would dump that third-adjacent rule once and for all. There's a parallel proposal in the Senate backed by Maria Cantwell (D-WA) and John McCain (R-AZ). No big surprise what Doyle thinks should happen now: "Congress should enact the Doyle-Terry-McCain-Cantwell legislation," he told Ars, "to dramatically expand the number of low-power FM stations the FCC is allowed to license."

It's the Internet, Stupid

2009-06-08T00:23:00.003-04:00

From Xeni Jardin via Boing Boing:

A collaborative commentary on The American Recovery and Reinvestment Act (ARRA), which proposes a new economic foundation for the USA through "job preservation and creation, infrastructure investment, energy efficiency and science, assistance to the unemployed," and the FCC's creation of a a "National Broadband Plan" for Congress by February 17, 2010.
There's risk in confusing broadband and Internet. If the National Broadband Plan starts from the premise that the U.S. needs the innovation, increased productivity, new ideas and freedoms of expression that the Internet affords, then the Plan will be shaped around the Internet. If, instead, the Plan is premised on a need for broadband, it fails to address the ARRA's mandated objectives directly. More importantly, the premise that broadband is the primary goal entertains the remaking of the Internet in ways that could put its benefits at risk. The primary goal of the Plan should be broadband connections to the Internet. The FCC's Internet Policy Statement of 2005 is a first attempt to codify important aspects of the Internet independent of access technology. It advocates end-user access to content, and end-user choice of applications, services and devices. It says that Internet users are, "entitled to competition," but it does not spell out the entitlement to the benefits of competition, such as increased choice, lower price and diversity of offers. It fails to provide for information about whether advertised services perform as specified. It doesn't address packet inspection, packet discrimination, data collection or end-user privacy. It is not clear that all of these are within the FCC's purview, but it is abundantly clear that all of these factors should be critical to a National Broadband Plan that addresses broadband connections to the Internet. Therefore, we urge that the FCC's National Broadband Plan emphasize that broadband connection to the Internet is the primary goal.

OPEN CALL: Sound poetry

2009-06-07T21:43:00.003-04:00

a s l o n g a s i t t a k e s, a sound poetry magazine published by the Atlanta Poets Group, is seeking submissions. We are looking for sound poetry, scores for sound poetry and essays on sound poetry. What is sound poetry? you ask. Good question. It's one of those know it when you see (hear) it kind of things. It's probably not music (thanks Dick Higgins). It might be noise. If you think about a spectrum of possible noise made by the human body (or simulations thereof or substitutions therefor), and at one end of the spectrum is a person reading her poem and at the other end is abstract noise, we're looking for works that fall towards the latter end. We are looking for works in/of/against the tradition(s) of Ball, Schwitters, Henri Chopin, Jandl, Cobbing, The Four Horsemen, Fylkingen Group... hopefully by now you get the idea. We're looking for stuff that will push/redefine the limits. The magazine is web-based. Please send submissions to aslongasittakes@comcast.net in one of the following formats: .mp3, .wav, .wma, or flac. Please query before sending in other formats. If you can't get us the work via email, just send an email and let us know, and we can find another way. We don't know how long it will take to get back to you on your submissions, just be cool. We can't pay you anything for your work. All work that appears in the magazine will be available for download from the magazine's site under the Creative Commons Attribution Non-commercial Share Alike license (http://creativecommons.org/licenses/by-nc-sa/3.0/); if you are not comfortable with making your work available in that way, let us know and we can probably work something out.

OPEN CALL: Upstate New York ((audience))

2009-06-03T23:39:00.005-04:00

((audience)) is seeking statements of interest and submissions of completed works for inclusion in the ((audience)) festival in Syracuse, NY this September. Sound artists, electronic musicians and new media artists are invited to submit works and proposals in the following categories: Live Performance for 5.1 diffusion; Cinema-in-the-Dark; Film/Video works.

((audience)) is a nomadic biennial festival of sound art, organized by Alexis Bhagat and Lauren Rosati. The centerpiece of ((audience09)) is a 2.5 hour program of 5.1 surround sound works (with no visual accompaniment) by seven international artists, to be presented in pitch black cinema halls. ((audience)) promotes the exploration of the cinema as a concert hall for the 21st century. Performances, lectures, radio broadcasts and other events are organized on a city-by-city basis. Our upstate New York ((audience09)) festival is being organized in association with the Red House Gallery in Syracuse, NY and will take place from September 17-September 27, 2009.

*Live Performance for 5.1 Diffusion*

We primarily seek statements of interest and performance proposals from artists who have experimented with 5.1 diffusion. Performers working with multichannel diffusion other than 5.1 are also invited to submit. Genres could include: extended vocal work, computer music, electroacoustic music, noise, phonographic collage or manipulation. Performance proposals and statements of interest must include video documentation of relevant past performances on DVD. Please also include a CV or resume, artist statement and full contact information. Students and emerging artists are especially encouraged to apply for the performance category.

*Cinema-in-the-Dark*

We seek 5.1 surround and stereo works which are “cinematic,” in any way that artists interpret that term. We are especially interested in narrative, poetic or dramatic works that experiment with audio spatialization or in musical works that play with familiar conventions of cinema sound. 5.1 submissions are preferred. 5.1 submissions will also be considered for inclusion in the ((audience11)) main program. Stereo works may be also submitted, and will be considered for broadcast on Red House Art Radio during the ((audience09)) festival. Please send both a playable and raw data CD/DVD. Please also include a CV or resume, artist statement, full contact information. Ordinary audio cd, DVD-V with black screen, or DVD-A. You must also send uncompressed, 24-bit audio. Distinct mono tracks, with channel info in the filename, are preferred. OMF files or Protools 7 session files are also acceptable.

*Film/Video*

We seek completed film and video works with compelling 5.1 surround soundtracks. Film and video works under 30min are preferred will be considered for screening at the Red House Gallery Theater on September 26 during ((audience09)). Longer works may be considered for later screening. DVD, production credits, distributor information (if relevant), CV or biographies of sound editor/designer, full contact information.

Send to:
((audience))
c/o Nadalex
39 Avenue A - #103
New York, NY 10009

Your submission or statement should be received by July 10, 2009. Submission materials will not be returned. Late submissions will be accepted. Please send a statement via email by July 10, if you are mailing a late submission. E-mail inquiries may be sent to curators@au.dience.org.

R23 Information Services #95

2009-05-30T19:53:00.001-04:00

Web Radio Hits the Road
washington post

Pandora Founder Tim Westergren Sits With Billboard For An Extended Q&A
billboard

Microsoft makes Zune HD Official
slipperybrick

Music Labels Cut Friendlier Deals With Start-Ups
nytimes

Pandora Cries Foul on PRS
digital music news

Radio art in Situ

2009-05-30T11:08:00.003-04:00

Anna Friz moderated this panel with Kristen Roos, Emmanual Madan, and Hank Bull, about radio work in a sited experience. Madan spoke first about "radioland," that magical place radio DJs are always speaking to or at. Bull looked for radio emanating from the body, and told stories about The Western Front's pirate radio history. Madan and Friz explained their project, "The Joy Channel," that explored radio in the future when emotions are transmitted.

Deep Wireless Day Two: Gregory Whitehead

2009-05-30T08:57:00.002-04:00

Gregory Whitehead gave the keynote presentation to kick off day two of the "Radio Without Boundaries" conference, and excrement was the theme. After warming up the crowd with a few vocal exercises, his, uh, disembodied voice exposed the current excremental culture through Laura Vitale's hilarious Mariah Carey rendering, with a spy numbers station as the main metaphor for the cultural toilet, or William S. Burroughs talking orifice. As always, Whitehead provides fascinating radio art for thought. The discussion afterwards, though slow to percolate, got going with a lively discussion of what part, if any, of the self is transmitted, with Anna Friz and Whitehead disagreeing slightly, and Brandon LaBelle and Christophe Migone adding much to the discussion.

Soundscapes of the imagination

2009-05-29T15:42:00.003-04:00

The final panel of this afternoon at "Radio Without Boundaries" conference was "Soundscapes of the imagination: the grey area between fact and fiction" moderated by Andra McCartney with Gregory Whitehead, Helene Prevost, and Alessandro Bosetti. This turned into the most lively session, actually argumentative, with Whitehead playing his usual contrarian role, challenging the status quo. At first the panel equated Orson Welles with George Bush as hoax-mongers (I reminded them that Welles' repeatedly announced that "The War of the Worlds" was a radio play during the broadcast). Whitehead then asked, "Where is the protest art," and some in the audience argued back that it was out there. We were all way off topic at this point (Whitehead's Twitter rant was hilarious). But it was engaging radio. Soundscapes haven't been mentioned in 30 minutes. Authenticity became the topic. "The master narratives are still unfolding," Whitehead said. "I am very interested in the productive role of dead air in that scenario," Anna Friz said, in a response of sorts.

Radio that reflects community

2009-05-29T14:51:00.005-04:00

free103point9 Transmission Artist Anna Friz led the next panel at "Radio Without Boundaries, "Radio that reflects community." Since free103point9 is in the process of launching WGXC, a community radio station for Greene and Columbia counties in New York, this panel is of particular interest here. Victoria Fenner, Marian van der Zon, and Kevin Matthews were also on the panel. The panel, though, just trotted out tried and true-isms. Yes, it is important to build community for a community radio station. That seems part of the term "community radio station." Sure, some community radio stations forget that mission. Only Matthews made the good point that these community radio stations need to become multi-media groups that provide not just audio, but video, blogging, photography, and other media. Otherwise, this panel was preaching to the converted. Yes, a very dissapointing panel, that shed little new light on community radio.

Chris Brookes on the need (or not) for narration

2009-05-29T13:11:00.004-04:00

Chris Brookes Skyped in his workshop, "Oh, Shut Up! Who needs a narrator anyway?" Chris Brookes' radio features have have been broadcast around the world. He has directed and produced documentaries for Canadian network television, is a published author and playwright, and has taught radio storytelling at festivals and workshops across North America and Europe. Brookes, and the group, seemed to think that there always is a narrator (even when it is not the voice of God), and that the narrator should stand out of the way of the "action" as much as possible. He battled some Skype skipping, but was an engaging, uh, narrator. "Author" might be a better term, one audience member said. And the amount of narration depends on the context, whether it is a news report, or an artistic work.

Andra McCartney on soundscapes

2009-05-29T11:16:00.005-04:00

Andra McCartney is a multimedia soundscape artist, composer, performer and poet. Currently she is working on 'Soundwalking Home', a series of soundwalks through neighborhoods in which she has lived, and a soundscape documenting the Lachine Canal region, near Montreal. McCartney's installations have been shown at Maid in Cyberspace Encore (Montreal), KAAI Modern Fuel Gallery (Kingston, Ontario), miXing Women In Sound Art Festival (Chicago), The Kitchen ... Her writings have been published in Leonardo Music Journal, MusicWorks ... She has collaborated with visual artist P.S. Moore, championed the work of soundscape composer Hildegard Westerkamp, and she is actively involved with the World Forum for Acoustic Ecology. She lives in Montreal and is teaches at Concordia University, Montreal.

McCartney talked about her work with soundscapes, with lots of recordings of bells, trains, boats. She prefers in-ear binaural mics, although occasionally uses a hand-held stereo mic when she wants to make it clear to folks she is recording.

Live from Deep Wireless

2009-05-29T10:35:00.005-04:00

free103point9 is live in Toronto today and tomorrow from Deep Wireless' "Radio Without Boundaries" conference. You can tune in at www.free103point9.org or by pasting http://comm.free103point9.org:8000/deepwireless.mp3.m3u into your computer's media player.

I will be blogging throughout the conference, and Nick van der Kolk, Justin Grotelueschen, Andrea Silenzi and Nadene Thériault-Copeland are also blogging "Radio Without Boundaries" on the Transom blog. They have photos too!

Brandon LaBelle got things started this morning with a keynote address called "Instances of radiophonic panic, or towards a theory of transmission." He used a subtle voice to describe a panic radio situation, to great effect. The conversation afterwards, which drew a bit on Orson Welles' "The War of the Worlds" and other "panic broadcasts got me thinking: listening to the radio during a panic, one is both more attentive -- I need to know! -- and less -- I trust everything!

Andra McCartney is starting her "Radio Soundscapes" presentation now. I will post more later.

R23 Information Services #94

2009-05-26T13:33:00.001-04:00

WORLD'S FIRST COMMERCIAL 4G/LTE SITE UNVEILED IN SWEDEN IN 2010
WiMAX has competition

The Facebook for Ham Radio
http://www.73s.org/

Indie Labels Experience A Major Renaissance Amidst The Upheaval
hypebot

Hulu's first live concert could be tip of the iceberg
arstechnica

Lawyer: RIAA must pay back all $100M it has collected
arstechnica

R23 Information Services #93

2009-05-20T04:24:00.003-04:00

House Judiciary Committee Passes Modified Performance Tax
Broadcast Law Blog

Cellphone Makers Hope for a Blockbuster Summer
nytimes

Metropolitan Talent Co-CEO Explains CMJ Merger
billboard

Clearwire and Cisco Partner to Deliver 4G WiMAX Services
WiMAX blog

Mogulus Renamed Livestream
dailywireless.org

R23 Information Services #92

2009-05-20T03:39:00.001-04:00

Pandora One
techcrunch

When ‘Local’ Makes It Big
nytimes

How do YOU listen to Internet Radio in Your Car?
radio.about.com

The rebirth of news
the economist

Stats on Facebook, MySpace, and Twitter
McVay New Media

Hunt for the West Chester Guerilla Drive-In's secret AM broadcast

2009-05-19T16:33:00.004-04:00

From John Young on Boing Boing:

Back in 2007, you posted a link to the West Chester (PA) Guerilla Drive-In, where we project 16MM movies at secret locations from the sidecar of my 1977 BMW motorcycle. The kit-built AM transmitter in the photo you posted is the MacGuffin, a secret AM transmitter in a waterproof case hidden somewhere in the area, and broadcasting around the clock. In order to find out where movies are going to be shown, you have to find the broadcast, tune in, and discover the secret access code.

This year, the audio for the AM broadcast includes a freshly-recorded cover of "Brazil", which you will probably remember as the soundtrack for the Ministry of Information in Terry Gilliam's awesome 1985 movie. You can see the MacGuffin and hear the first bit of the secret message on the Guerilla Drive-In website.

WGXC Online Radio

2009-05-12T23:18:00.003-04:00

free103point9 has launched its third online radio web stream. WGXC Online Radio is on around the clock playing recordings from bands from Greene and Columbia Counties in upstate New York, and interviews with local personalities and politicians, and other sound recordings. Also occasional live events from throughout the two counties. Tune in at www.WGXC.org.

R23 Information Services #91

2009-05-12T21:44:00.001-04:00

Local radio stations fear affect of music industry fees
Indiana Gazette

More static for DJs at Clear Channel
nctimes

Webcasters Want Royalty Reduction
nationaljournal.com

iPhone/iPod touch prescribed to MU journalism students
Arstechnica

Radio receiver chips turn into a $100 million payoff for Silicon Labs
statesman.com

R23 Information Services #90

2009-05-11T13:50:00.001-04:00

Sirius XM sticks it to subscribers
cnet

AT&T Buys Verizon Assets for $2.35B
dailywireless

The end of the age of free
the guardian

Rural America not ready for broadband? Hogwash, say ISPs
arstechnica

Byrne turns venue into instrument
bbc

R23 Information Services #89

2009-05-08T20:40:00.002-04:00

CBS & Last.fm Consolidate Online Radio Units
hypebot

Quite Possibly the Best Phone/Web Commercial Ever
http://www.pomegranatephone.com/

The iPhone Is Accelerating Music Sales For Pandora
washington post

Sirius XM Radio Reports First-Ever Drop in Subscribers
rolling stone

RealNetworks Music Revenues Climb 16%
billboard

More WBAI shake-ups

2009-05-07T02:15:00.001-04:00

NYC Indymedia has a leaked memo from Grace Aaron, Chair of the Pacifica National Board, saying LaVarn Williams is the new WBAI general manager, and Anthony Riddle is being asked to step down from GM to become Development Director in the Pacifica national office.

free103point9 Newsroom has moved to http://free103point9.wordpress.com/

This blog has moved

Panic in Georgia after a mock news broadcast

2010 Distribution Grant for New York State Artists recipients announced

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

ETC Finishing Funds 2010 deadline = March 15, 2010

Megapolis Festival: Call for Submissions

Harvestworks Artist In Residency Program: New Works Residency

Art & Law Residency Program: Program and Application Information

Collaborations in Conserving Time-Based Art

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

R23 Information Services #137

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

R23 Information Services #135

Kelly Research Examines 'Normal' Vs. 'Extreme' Fans allaccess.com Seesmic Acquires Ping.fm mashable Pandora Partners With Pioneer On Internet Radio For Cars paidcontent.org Dell bringing smartphone to U.S. with AT&T Reuters Hypebot's Only Prediction For 2010

Kelly Research Examines 'Normal' Vs. 'Extreme' Fans allaccess.com Seesmic Acquires Ping.fm mashable Pandora Partners With Pioneer On Internet Radio For Cars paidcontent.org Dell bringing smartphone to U.S. with AT&T Reuters Hypebot's Only Prediction For 2010

R23 Top 5 of 2009

R23 Information Services #134

8 Steps Broadcasters Can Take To Expand Their Digital Presence in 2010audio4castWarner Music Signs With Hulu (Comcast/NBC/Universal)hypebot10,000 Sonicbids Members Get $4 Million From SoundExchangehypebotReal-Time Search For Online Radioradio2020Formula can ID music industry payolabuffalo.edu

8 Steps Broadcasters Can Take To Expand Their Digital Presence in 2010audio4castWarner Music Signs With Hulu (Comcast/NBC/Universal)hypebot10,000 Sonicbids Members Get $4 Million From SoundExchangehypebotReal-Time Search For Online Radioradio2020Formula can ID music industry payolabuffalo.edu

8 Steps Broadcasters Can Take To Expand Their Digital Presence in 2010audio4castWarner Music Signs With Hulu (Comcast/NBC/Universal)hypebot10,000 Sonicbids Members Get $4 Million From SoundExchangehypebotReal-Time Search For Online Radioradio2020Formula can ID music industry payolabuffalo.edu

8 Steps Broadcasters Can Take To Expand Their Digital Presence in 2010audio4castWarner Music Signs With Hulu (Comcast/NBC/Universal)hypebot10,000 Sonicbids Members Get $4 Million From SoundExchangehypebotReal-Time Search For Online Radioradio2020Formula can ID music industry payolabuffalo.edu

Real-Time Search For Online Radioradio2020Formula can ID music industry payolabuffalo.edu

R23 Information Services #133

Top Ten Wireless Stories of the DecadedailywirelessFree Wi-Fi at McDonaldsdailywirelessComcast rolls out Web TV service nationallyreuters2009 Competitive Media Usage Overview Updatebridgeratings.comGreen Day launch Rock Band video gamebbc

Top Ten Wireless Stories of the DecadedailywirelessFree Wi-Fi at McDonaldsdailywirelessComcast rolls out Web TV service nationallyreuters2009 Competitive Media Usage Overview Updatebridgeratings.comGreen Day launch Rock Band video gamebbc

Top Ten Wireless Stories of the DecadedailywirelessFree Wi-Fi at McDonaldsdailywirelessComcast rolls out Web TV service nationallyreuters2009 Competitive Media Usage Overview Updatebridgeratings.comGreen Day launch Rock Band video gamebbc

R23 Information Services #132

Pandora Is Coming to Your CarGigaOMWhy Apple Really Bought Lalahypebot4 Ways One Big Database Would Help Music Fans, IndustrywiredVinyl Records and Turntables Are Gaining SalesnytimesQisda-sourced 'multimedia router' hits the FCCviigoMySpace buys imeem music site for under $1 mlnAP

R23 Information Services #131

FCC considers TV spectrum for broadband usebroadcastengineering.comG.E. Makes It Official: NBC Will Go to Comcast(read comcast buys hulu) nytimesApple acquires music service LalareutersVinyl frontier: Why records sales are soaring againthe gaurdian

R23 Information Services #130

Local Community Radio Act moves to Senate

R23 Information Services #129

R23 Information Services #128

FM and the internet enter a golden age

CBS To Extend Four Radio Brands Beyond Local Markets

FCC Considers Auctioning Off TV Frequencies

FM Continues Growth in Arab World

R23 Information Services #127

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

R23 Information Services #126

FCC may look to redefine how it measures media concentrationlatimesBroadband in a backpackbbcGM to offer WiFi hotspotsautonewsThe Quest for Internet Radio StandardsradioworldConsumer Media Study Highlights Impact of Digital Media on Radioaudio4cast

FCC may look to redefine how it measures media concentrationlatimesBroadband in a backpackbbcGM to offer WiFi hotspotsautonewsThe Quest for Internet Radio StandardsradioworldConsumer Media Study Highlights Impact of Digital Media on Radioaudio4cast

R23 Information Services #125

Internet Radio Stations Play More Artists Than Broadcast Stationsaudio4cast.comNPR Partners with Livio for Internet Radio DevicewiredWhat is the future of music online?bbcFCC Neutrality Ruling Tomorrowdaily wireless

Google to Launch Music Servicehypebot

Google to Launch Music Servicehypebot

R23 Information Services #124

LPFM bill moving swiftly toward full House vote

R23 Information Services #123

LPFM bill clears subcommittee

LPFM bill faces subcommittee vote in US House tomorrow

R23 Information Services #122

R23 Information Services #121

R23 Information Services #120

R23 Information Services #119

"Interactive Webcasting"? The Second Circuit Weighs Incommlawblog.comCBS Radio: Last.fm BroadcastingdailywirelessWill Internet Radio Save HD Radio?audiographicsIndie Rock Enhanced With MildewnytimesFacebook makes money, tops 300 million usersReuters

R23 Information Services #118

Last.fm Scrobbles coming to a radio near you on October 5arstechnicaWhy the WiMAX vs. LTE Battle Isn't a Battlewimax.comAT&T Moving to HSPA+dailywirelessPortland Sucks shows glimmers of pdx.fmsiliconfloristTwitter expands rules to allow advertisingreuters

R23 Information Services #117

Grassroots Radio Conference 2010

R23 Information Services #116

The arrival (finally) of Internet radiosfgateFrom a Porch in Montana, Low-Power Radio’s Voice RisesnytimesGen X Radio "Louie" Debuts on Clear Channelidolator.comXM Canada Owes Musicians' RoyaltiesfmqbSpotify: iPhone Radiodailywireless

R23 Information Services #115

AM on FM Translator Rules Become Effective October 1, 2009CommLawBlogThe New-Media Crisis of 1949McVayNewMedia

R23 Information Services #114

R23 Information Services #113

Court: Internet Radio Services Don't Need To License From Labels billboardiTunes reps 1 in every 4 songs sold in U.S.cnetFuture Bleak for WiMAX?dailywireless2009 Reg Fees: Filing Deadline Set At September 22, 2009comm law blogAmericans Tune Out Mobile Music ?informationweek.com

Buzz Off!

R23 Information Services #112

R23 Information Services #111

R23 Information Services #110

R23 Information Services #109

CBS Radio sells its Portland stationsoregoniansony, warner, universal and emi to launch cmx album download formattimes onlineAn Open Letter to Radio Programmersoregon media centralInternet Radio—Where’s the Momentum?paragonShould Starbucks ban laptops?cnet

Internet Radio—Where’s the Momentum?paragon

2009/2010 AIRtime Fellowship Recipients Announced

R23 Information Services #108

No More Perks: Coffee Shops Pull the Plug on Laptop UsersWSJ

R23 Information Services #107

Kelly Research Examines 'Normal' Vs. 'Extreme' Fans

allaccess.com

Seesmic Acquires Ping.fm

mashable

Pandora Partners With Pioneer On Internet Radio For Cars

paidcontent.org

Dell bringing smartphone to U.S. with AT&T

Reuters

Hypebot's Only Prediction For 2010

Kelly Research Examines 'Normal' Vs. 'Extreme' Fans

allaccess.com

Seesmic Acquires Ping.fm

mashable

Pandora Partners With Pioneer On Internet Radio For Cars

paidcontent.org

Dell bringing smartphone to U.S. with AT&T

Reuters

Hypebot's Only Prediction For 2010

Real-Time Search For Online Radio
radio2020

Formula can ID music industry payola
buffalo.edu

Top Ten Wireless Stories of the Decade
dailywireless

Free Wi-Fi at McDonalds
dailywireless

Comcast rolls out Web TV service nationally
reuters

2009 Competitive Media Usage Overview Update
bridgeratings.com

Green Day launch Rock Band video game
bbc

Top Ten Wireless Stories of the Decade
dailywireless

Free Wi-Fi at McDonalds
dailywireless

Comcast rolls out Web TV service nationally
reuters

2009 Competitive Media Usage Overview Update
bridgeratings.com

Green Day launch Rock Band video game
bbc

Top Ten Wireless Stories of the Decade
dailywireless

Free Wi-Fi at McDonalds
dailywireless

Comcast rolls out Web TV service nationally
reuters

2009 Competitive Media Usage Overview Update
bridgeratings.com

Green Day launch Rock Band video game
bbc

Pandora Is Coming to Your Car
GigaOM

Why Apple Really Bought Lala
hypebot

4 Ways One Big Database Would Help Music Fans, Industry
wired

Vinyl Records and Turntables Are Gaining Sales
nytimes

Qisda-sourced 'multimedia router' hits the FCC
viigo

MySpace buys imeem music site for under $1 mln
AP

FCC considers TV spectrum for broadband use
broadcastengineering.com

G.E. Makes It Official: NBC Will Go to Comcast
(read comcast buys hulu) nytimes

Apple acquires music service Lala
reuters

Vinyl frontier: Why records sales are soaring again
the gaurdian

FCC may look to redefine how it measures media concentration
latimes

Broadband in a backpack
bbc

GM to offer WiFi hotspots
autonews

The Quest for Internet Radio Standards
radioworld

Consumer Media Study Highlights Impact of Digital Media on Radio
audio4cast

FCC may look to redefine how it measures media concentration
latimes

Broadband in a backpack
bbc

GM to offer WiFi hotspots
autonews

The Quest for Internet Radio Standards
radioworld

Consumer Media Study Highlights Impact of Digital Media on Radio
audio4cast

Internet Radio Stations Play More Artists Than Broadcast Stations
audio4cast.com

NPR Partners with Livio for Internet Radio Device
wired

What is the future of music online?
bbc

FCC Neutrality Ruling Tomorrow
daily wireless

Google to Launch Music Service
hypebot

Google to Launch Music Service
hypebot

"Interactive Webcasting"? The Second Circuit Weighs In
commlawblog.com

CBS Radio: Last.fm Broadcasting
dailywireless

Will Internet Radio Save HD Radio?
audiographics

Indie Rock Enhanced With Mildew
nytimes

Facebook makes money, tops 300 million users
Reuters

Last.fm Scrobbles coming to a radio near you on October 5
arstechnica

Why the WiMAX vs. LTE Battle Isn't a Battle
wimax.com

AT&T Moving to HSPA+
dailywireless

Portland Sucks shows glimmers of pdx.fm
siliconflorist

Twitter expands rules to allow advertising
reuters

The arrival (finally) of Internet radio
sfgate

From a Porch in Montana, Low-Power Radio’s Voice Rises
nytimes

Gen X Radio "Louie" Debuts on Clear Channel
idolator.com

XM Canada Owes Musicians' Royalties
fmqb

Spotify: iPhone Radio
dailywireless

AM on FM Translator Rules Become Effective October 1, 2009
CommLawBlog

The New-Media Crisis of 1949
McVayNewMedia

Court: Internet Radio Services Don't Need To License From Labels
billboard

iTunes reps 1 in every 4 songs sold in U.S.
cnet

Future Bleak for WiMAX?
dailywireless

2009 Reg Fees: Filing Deadline Set At September 22, 2009
comm law blog

Americans Tune Out Mobile Music ?
informationweek.com

CBS Radio sells its Portland stations
oregonian

sony, warner, universal and emi to launch cmx album download format
times online

An Open Letter to Radio Programmers
oregon media central

Internet Radio—Where’s the Momentum?
paragon

Should Starbucks ban laptops?
cnet

Internet Radio—Where’s the Momentum?
paragon

No More Perks: Coffee Shops Pull the Plug on Laptop Users
WSJ