free103point9 Newsroom

A blog for radio artists with transmission art news, open calls, microradio news, and discussion of issues about radio art, creative use of radio, and radio technologies. free103point9 announcements are also included here. free103point9 is a New York-based nonprofit arts organization focused on establishing and cultivating the genre Transmission Arts by promoting artists who explore ideas around transmission as a medium for creative expression. www.free103point9.org

Wednesday, February 03, 2010

ETC Finishing Funds 2010 deadline = March 15, 2010

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

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

Special consideration will be given to:

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

Proposal types:

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

A few other things to keep in mind:

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

If your proposal is accepted, you get:

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

Harvestworks Artist In Residency Program: New Works Residency

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

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

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

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

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

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

Wednesday, January 27, 2010

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

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

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

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

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

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

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

Monday, January 18, 2010

R23 Information Services #137

cnet.com

dailywireless.com

WIMAX industry News

WiMAX.com blog

gadgetsin.com

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Tuesday, January 12, 2010

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

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

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

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

Thursday, January 07, 2010

R23 Information Services #135

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Thursday, December 31, 2009

R23 Top 5 of 2009

Tuesday, December 29, 2009

R23 Information Services #134

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Tuesday, December 15, 2009

R23 Information Services #133

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Sunday, December 13, 2009

R23 Information Services #132

GigaOM

hypebot

wired

nytimes

viigo

AP

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Saturday, December 05, 2009

R23 Information Services #131

broadcastengineering.com

(read comcast buys hulu) nytimes

reuters

the gaurdian

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Thursday, November 26, 2009

R23 Information Services #130


twice.com

reuters

wired.com

telegraph.com.uk

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Friday, November 20, 2009

Local Community Radio Act moves to Senate

From Radio Magazine:

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

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

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

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

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Friday, November 06, 2009

R23 Information Services #129

wirelessgoodness

cnet

rbr

chicagotribune

dailywireless

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Tuesday, November 03, 2009

R23 Information Services #128



radioink


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Friday, October 30, 2009

R23 Information Services #127

nytimes

arstechnica

dailywireless.org

radio2020

adage.com

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Thursday, October 29, 2009

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


Deadline, Dec. 31, 2009

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

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Tuesday, October 27, 2009

R23 Information Services #126

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Wednesday, October 21, 2009

R23 Information Services #125

hypebot

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Monday, October 19, 2009

R23 Information Services #124

commlawblog.com

wsj.com

guardian.com.uk

wired

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

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Friday, October 16, 2009

LPFM bill moving swiftly toward full House vote

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.”

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Saturday, October 10, 2009

R23 Information Services #123

thestate.com

reuters

insideradio.com

billboard

prometheusradio.org

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Thursday, October 08, 2009

LPFM bill clears subcommittee

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/

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Wednesday, October 07, 2009

LPFM bill faces subcommittee vote in US House tomorrow

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."

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Tuesday, October 06, 2009

R23 Information Services #122

news.radio-online.com

businesswire.com

usnews.com

mediaweek

fmbq.com

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Tuesday, September 29, 2009

R23 Information Services #121

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


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Tuesday, September 22, 2009

R23 Information Services #120

pewinternet.org

reuters

hypebot

reuters

reuters

________

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Wednesday, September 16, 2009

R23 Information Services #119

commlawblog.com

dailywireless

audiographics

nytimes

Reuters

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Friday, September 11, 2009

R23 Information Services #118

arstechnica

wimax.com

dailywireless

siliconflorist

reuters

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Thursday, September 10, 2009

R23 Information Services #117

apple

hypebot

cnet

cbcnews

emarketer

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Tuesday, September 08, 2009

Grassroots Radio Conference 2010

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

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R23 Information Services #116

sfgate

nytimes

idolator.com

fmqb

dailywireless

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Thursday, September 03, 2009

R23 Information Services #115

Radio2020

nytimes


billboard

pcmag

reuters

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R23 Information Services #114

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Saturday, August 22, 2009

R23 Information Services #113

billboard

cnet

dailywireless

comm law blog

informationweek.com

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Sunday, August 16, 2009

Buzz Off!

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.

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Friday, August 14, 2009

R23 Information Services #112

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

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Tuesday, August 11, 2009

R23 Information Services #111

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.

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R23 Information Services #110

UK Study: Teens Relationship With Music Shifting

hypebot


Radio and the Internet Put the Smackdown on Newspapers

future now


WFMU's new iphone app


Facebook Buys FriendFeed

WSJ


MLB beefs up Roku's rotation

cnet

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Monday, August 10, 2009

R23 Information Services #109

oregonian

times online

oregon media central


cnet

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Friday, August 07, 2009

2009/2010 AIRtime Fellowship Recipients Announced

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.

Thursday, August 06, 2009

R23 Information Services #108


Comm Law Blog

nytimes

rbr.com

portland business journal

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Wednesday, August 05, 2009

R23 Information Services #107

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

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Tuesday, August 04, 2009

R23 Information Services #106

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Monday, August 03, 2009

R23 Information Services #105

dailywireless.org

billboard

techcrunch

adage

hypebot

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Wednesday, July 29, 2009

R23 Information Services #104

nytimes

sfweekly

cnet

newsweek

bbc

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Tuesday, July 21, 2009

The Woodpecker


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.

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