free103point9 is pleased to contribute a program of works for the Video Gentlemen’s BYOTV exhibition at the New American Art Union in Portland Oregon. Artists contributing work to the free103point9 curated program are listed to the right. Stay tuned for additional artists and work details.

About BYOTV: Late March 2008, The Video Gentlemen’s BYOTV network launches a six-week season of special reports engaged with technocultural turnover from analog airwaves. Transmitted from within the New American Art Union, a variety of interdisciplinary artworks, live presentations, and workshops form inquisitive constellations around topics including e-waste, surveillance, haunted media and media archeology.

Low-wattage transmissions emanate from an array of re-configured electronic detritus distributed around the gallery. Telecommunications, and the distance implicit in its operation is countered by a physical proximity prescribed by the limited range of the BYOTV transmissions. Visitors are encouraged to “bring their own TV,” or borrow one from the gallery, intercepting transmissions from their immediate airspace.

Closely scrutinizing the premise of obsolescence, BYOTV tunes into an alternative agenda, encouraging new modes of cultural production, collaboration and exchange.

free103point9 is pleased to contribute a program of works for the Video Gentlemen’s BYOTV exhibition at the New American Art Union in Portland Oregon. Artists contributing work to the free103point9 curated program are listed to the right. Stay tuned for additional artists and work details.

About BYOTV: Late March 2008, The Video Gentlemen’s BYOTV network launches a six-week season of special reports engaged with technocultural turnover from analog airwaves. Transmitted from within the New American Art Union, a variety of interdisciplinary artworks, live presentations, and workshops form inquisitive constellations around topics including e-waste, surveillance, haunted media and media archeology.

Low-wattage transmissions emanate from an array of re-configured electronic detritus distributed around the gallery. Telecommunications, and the distance implicit in its operation is countered by a physical proximity prescribed by the limited range of the BYOTV transmissions. Visitors are encouraged to “bring their own TV,” or borrow one from the gallery, intercepting transmissions from their immediate airspace.

Closely scrutinizing the premise of obsolescence, BYOTV tunes into an alternative agenda, encouraging new modes of cultural production, collaboration and exchange.

free103point9 is pleased to contribute a program of works for the Video Gentlemen’s BYOTV exhibition at the New American Art Union in Portland Oregon. Artists contributing work to the free103point9 curated program are listed to the right. Stay tuned for additional artists and work details.

About BYOTV: Late March 2008, The Video Gentlemen’s BYOTV network launches a six-week season of special reports engaged with technocultural turnover from analog airwaves. Transmitted from within the New American Art Union, a variety of interdisciplinary artworks, live presentations, and workshops form inquisitive constellations around topics including e-waste, surveillance, haunted media and media archeology.

Low-wattage transmissions emanate from an array of re-configured electronic detritus distributed around the gallery. Telecommunications, and the distance implicit in its operation is countered by a physical proximity prescribed by the limited range of the BYOTV transmissions. Visitors are encouraged to “bring their own TV,” or borrow one from the gallery, intercepting transmissions from their immediate airspace.

Closely scrutinizing the premise of obsolescence, BYOTV tunes into an alternative agenda, encouraging new modes of cultural production, collaboration and exchange.

Thursday, March 27
Friday, March 28
Saturday, March 29
Meet at the Neuberger Museum of Art at 7pm

Join EcoArtTech (Christine Nadir and Cary Peppermint) for three evenings of performances with the Environmental Risk Assessment Rover–AT (ERAR–AT), a mobile, solar-powered, networked video installation that will accumulate and aggregate the environmental threats and risks that Purchase residents face everyday.

What kind of environmental risks does Purchase face? How far is the closest superfund site or nuclear power plant or agribusiness? How do the 148 industrial chemicals already in every American human body interact with the synthetic hormones and antibiotics in the dairy products we eat? How many chemicals are in human breast milk? How do the chemicals in your toothpaste interact with the pesticides on your food? Why has modernity, which was supposed to create a sense of security, produced more anxiety and threats than ever? Can scientific data and research help us understand the “riskiness” of contemporary life?

ERAR-AT performs the difficulty of perceiving, evaluating, and understanding risk scenarios and presents an assessment of its given locale by producing a unique fourteen-tiered threat level embedded live within video projections onto local natural and architectural surfaces.

“Sooner rather than later, one comes up against the law that so long as risks are not recognized scientifically, they do not exist--at least not legally, medically, technologically, or socially, and they are thus not prevented, treated or compensated for. No amount of collective moaning can change this, only science. Scientific judgment's monopoly on truth therefore forces the victims themselves to make use of all the methods and means of scientific analysis in order to succeed with their claims.”
—German risk theorist Ulrich Beck

free103point9 is pleased to contribute a program of works for the Video Gentlemen’s BYOTV exhibition at the New American Art Union in Portland Oregon. Artists contributing work to the free103point9 curated program are listed to the right. Stay tuned for additional artists and work details.

About BYOTV: Late March 2008, The Video Gentlemen’s BYOTV network launches a six-week season of special reports engaged with technocultural turnover from analog airwaves. Transmitted from within the New American Art Union, a variety of interdisciplinary artworks, live presentations, and workshops form inquisitive constellations around topics including e-waste, surveillance, haunted media and media archeology.

Low-wattage transmissions emanate from an array of re-configured electronic detritus distributed around the gallery. Telecommunications, and the distance implicit in its operation is countered by a physical proximity prescribed by the limited range of the BYOTV transmissions. Visitors are encouraged to “bring their own TV,” or borrow one from the gallery, intercepting transmissions from their immediate airspace.

Closely scrutinizing the premise of obsolescence, BYOTV tunes into an alternative agenda, encouraging new modes of cultural production, collaboration and exchange.

Thursday, March 27
Friday, March 28
Saturday, March 29
Meet at the Neuberger Museum of Art at 7pm

Join EcoArtTech (Christine Nadir and Cary Peppermint) for three evenings of performances with the Environmental Risk Assessment Rover–AT (ERAR–AT), a mobile, solar-powered, networked video installation that will accumulate and aggregate the environmental threats and risks that Purchase residents face everyday.

What kind of environmental risks does Purchase face? How far is the closest superfund site or nuclear power plant or agribusiness? How do the 148 industrial chemicals already in every American human body interact with the synthetic hormones and antibiotics in the dairy products we eat? How many chemicals are in human breast milk? How do the chemicals in your toothpaste interact with the pesticides on your food? Why has modernity, which was supposed to create a sense of security, produced more anxiety and threats than ever? Can scientific data and research help us understand the “riskiness” of contemporary life?

ERAR-AT performs the difficulty of perceiving, evaluating, and understanding risk scenarios and presents an assessment of its given locale by producing a unique fourteen-tiered threat level embedded live within video projections onto local natural and architectural surfaces.

“Sooner rather than later, one comes up against the law that so long as risks are not recognized scientifically, they do not exist--at least not legally, medically, technologically, or socially, and they are thus not prevented, treated or compensated for. No amount of collective moaning can change this, only science. Scientific judgment's monopoly on truth therefore forces the victims themselves to make use of all the methods and means of scientific analysis in order to succeed with their claims.”
—German risk theorist Ulrich Beck

free103point9 is pleased to contribute a program of works for the Video Gentlemen’s BYOTV exhibition at the New American Art Union in Portland Oregon. Artists contributing work to the free103point9 curated program are listed to the right. Stay tuned for additional artists and work details.

About BYOTV: Late March 2008, The Video Gentlemen’s BYOTV network launches a six-week season of special reports engaged with technocultural turnover from analog airwaves. Transmitted from within the New American Art Union, a variety of interdisciplinary artworks, live presentations, and workshops form inquisitive constellations around topics including e-waste, surveillance, haunted media and media archeology.

Low-wattage transmissions emanate from an array of re-configured electronic detritus distributed around the gallery. Telecommunications, and the distance implicit in its operation is countered by a physical proximity prescribed by the limited range of the BYOTV transmissions. Visitors are encouraged to “bring their own TV,” or borrow one from the gallery, intercepting transmissions from their immediate airspace.

Closely scrutinizing the premise of obsolescence, BYOTV tunes into an alternative agenda, encouraging new modes of cultural production, collaboration and exchange.

free103point9 is pleased to contribute a program of works for the Video Gentlemen’s BYOTV exhibition at the New American Art Union in Portland Oregon. Artists contributing work to the free103point9 curated program are listed to the right. Stay tuned for additional artists and work details.

About BYOTV: Late March 2008, The Video Gentlemen’s BYOTV network launches a six-week season of special reports engaged with technocultural turnover from analog airwaves. Transmitted from within the New American Art Union, a variety of interdisciplinary artworks, live presentations, and workshops form inquisitive constellations around topics including e-waste, surveillance, haunted media and media archeology.

Low-wattage transmissions emanate from an array of re-configured electronic detritus distributed around the gallery. Telecommunications, and the distance implicit in its operation is countered by a physical proximity prescribed by the limited range of the BYOTV transmissions. Visitors are encouraged to “bring their own TV,” or borrow one from the gallery, intercepting transmissions from their immediate airspace.

Closely scrutinizing the premise of obsolescence, BYOTV tunes into an alternative agenda, encouraging new modes of cultural production, collaboration and exchange.

Off The Grid features contemporary works which formally and/or conceptually challenge conventional and commercial infrastructures.

Co-presented by the Neuberger Museum of Art and free103point9. Curated by Jacqueline Shilkoff (Neuberger Museum) and Galen Joseph-Hunter, Tianna Kennedy, Tom Roe (free103point9)

Curators’ Statements

Has humankind’s irresponsible production and consumption of energy and resources reached its peak? While regulatory agencies scramble to meet and control the demands of a wireless-obsessed market, a burgeoning urgency about the need to be ecologically responsible has emerged. Off The Grid presents work by thirteen artists examining and reacting to these currents. Works on view propose alternate territories. They repurpose, reuse, and recast communication devices, consumer byproducts, and environmental data. Our culture has long relied on creative practice to invent, innovate, and inspire. Here, the participating artists do so with works that inform, alarm, and entertain.
– Galen Joseph-Hunter

Most of us live, work, and play on the grid. The artists in Off The Grid do not present utopian solutions to complex problems (unsustainability, overconsumption, waste, alienation), but rather invite us all to reinvent, reimagine, and subvert our daily practices through accessible work completed on a human scale. I've enjoyed my conversations with the artists in this exhibition and have been reminded that cultural gridlock is best addressed not with sweeping gestures and apocalyptic arguments, but by working within, around, and perhaps a little outside expectations of art and engagement.
-Tianna Kennedy

The grid is a shifting network of power, distributing social, ecological and intellectual resources. Individuals have agency to engage or withdraw, privatize or empower, collude or disclose. By reevaluating what resources exist and how they are allocated, we redefine our collective identity and personal ideology. It is hopeful that art as activism, as intervention, can produce awareness and change.
-Jacqueline Shilkoff

Checklist of exhibited works
(Please select an artist or work title from the menu to the right for additional information.)

Matt Bua
World Grid – Square World, 2008
ink, collage, paint, pencil on paper
39 x 63 1/2 inches
Courtesy of the artist and Derek Eller Gallery, New York

Benjamin Cohen, Dylan J. Gauthier, and Stephan von Muehlen
Mare Liberum, 2008
blueprint, distributed broadsheet, boat
broadsheet: 24 x 36 inches, boat: 12 feet
Courtesy of the artists

EcoArtTech: Christine Nadir and Cary Peppermint
Environmental Risk Assessment Rover - AT, 2008
solar panels, recycled shipping pallets, industrial garden wagon, video projector, MAC-mini computer, GPS, WiFi, found built and natural surfaces
Courtesy of the artists

eteam International Airport Montello, 2007-08
three-channel projection, map, figures, photographs
Courtesy of the artists

Max Goldfarb
Ambulant Transceivers, 2008
vintage first-aid kits made into two-way radios
Courtesy of the artist

Louis Hock
Nightscope Series, 1985-2003
digital pigment prints
17 x 24 inches each
Courtesy of the artist

Louis Hock
Feral, 2004
two-channel video installation
sound: Louis Hock and Peter Otto
Courtesy of the artist

Nina Katchadourian
Quit Using Us, 2002
c-print mounted on aluminum
18 x 96 inches
Courtesy of the artist and Sara Meltzer Gallery

Nina Katchadourian
Ant Static, 2003
video loop with sound
Courtesy of the artist and Sara Meltzer Gallery

Kristin Lucas
More Melting, 2008
wax, wick, fire
Courtesy of the artist

Joe McKay
Hi Hat Phone, 2007
cell phone, high hat stand, wood, speakers
Courtesy of the artist

Trevor Paglen
Workers / Las Vegas, NV / Distance – 1 mile, 2006
from the series Limit Telephotography
video
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Chemical and Biological Weapons Proving Ground / Dugway, UT / Distance – 42 miles / 10:51 a.m., 2005
from the series Limit Telephotography
C-print, 3 from an edition of 5
50 x 50 inches
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Unidentified Light Source / Cactus Flats, NV / Distance – 17 miles / 9:45 p.m., 2007
from the series Limit Telephotography
C-print, 1 from an edition of 5
30 x 36 inches
Courtesy of the artist and Bellwether Gallery, New York

Temporary Services
Personal Plastic, 2007
photocopied and offset publications, mounted photographs, banners made from plastic bags, unwanted plastic bags
Courtesy of the artists

Seth Weiner
Cryptographic Payphone, 2008
interactive payphone, chaotic motion system
63 x 15 x 10 inches
Courtesy of the artist

Bart Bridger Woodstrup
Gathering Lore, 2008
computer, custom video software, electronic sensors, weather
Courtesy of the artist

free103point9 is pleased to contribute a program of works for the Video Gentlemen’s BYOTV exhibition at the New American Art Union in Portland Oregon. Artists contributing work to the free103point9 curated program are listed to the right. Stay tuned for additional artists and work details.

About BYOTV: Late March 2008, The Video Gentlemen’s BYOTV network launches a six-week season of special reports engaged with technocultural turnover from analog airwaves. Transmitted from within the New American Art Union, a variety of interdisciplinary artworks, live presentations, and workshops form inquisitive constellations around topics including e-waste, surveillance, haunted media and media archeology.

Low-wattage transmissions emanate from an array of re-configured electronic detritus distributed around the gallery. Telecommunications, and the distance implicit in its operation is countered by a physical proximity prescribed by the limited range of the BYOTV transmissions. Visitors are encouraged to “bring their own TV,” or borrow one from the gallery, intercepting transmissions from their immediate airspace.

Closely scrutinizing the premise of obsolescence, BYOTV tunes into an alternative agenda, encouraging new modes of cultural production, collaboration and exchange.

Off The Grid features contemporary works which formally and/or conceptually challenge conventional and commercial infrastructures.

Co-presented by the Neuberger Museum of Art and free103point9. Curated by Jacqueline Shilkoff (Neuberger Museum) and Galen Joseph-Hunter, Tianna Kennedy, Tom Roe (free103point9)

Curators’ Statements

Has humankind’s irresponsible production and consumption of energy and resources reached its peak? While regulatory agencies scramble to meet and control the demands of a wireless-obsessed market, a burgeoning urgency about the need to be ecologically responsible has emerged. Off The Grid presents work by thirteen artists examining and reacting to these currents. Works on view propose alternate territories. They repurpose, reuse, and recast communication devices, consumer byproducts, and environmental data. Our culture has long relied on creative practice to invent, innovate, and inspire. Here, the participating artists do so with works that inform, alarm, and entertain.
– Galen Joseph-Hunter

Most of us live, work, and play on the grid. The artists in Off The Grid do not present utopian solutions to complex problems (unsustainability, overconsumption, waste, alienation), but rather invite us all to reinvent, reimagine, and subvert our daily practices through accessible work completed on a human scale. I've enjoyed my conversations with the artists in this exhibition and have been reminded that cultural gridlock is best addressed not with sweeping gestures and apocalyptic arguments, but by working within, around, and perhaps a little outside expectations of art and engagement.
-Tianna Kennedy

The grid is a shifting network of power, distributing social, ecological and intellectual resources. Individuals have agency to engage or withdraw, privatize or empower, collude or disclose. By reevaluating what resources exist and how they are allocated, we redefine our collective identity and personal ideology. It is hopeful that art as activism, as intervention, can produce awareness and change.
-Jacqueline Shilkoff

Checklist of exhibited works
(Please select an artist or work title from the menu to the right for additional information.)

Matt Bua
World Grid – Square World, 2008
ink, collage, paint, pencil on paper
39 x 63 1/2 inches
Courtesy of the artist and Derek Eller Gallery, New York

Benjamin Cohen, Dylan J. Gauthier, and Stephan von Muehlen
Mare Liberum, 2008
blueprint, distributed broadsheet, boat
broadsheet: 24 x 36 inches, boat: 12 feet
Courtesy of the artists

EcoArtTech: Christine Nadir and Cary Peppermint
Environmental Risk Assessment Rover - AT, 2008
solar panels, recycled shipping pallets, industrial garden wagon, video projector, MAC-mini computer, GPS, WiFi, found built and natural surfaces
Courtesy of the artists

eteam International Airport Montello, 2007-08
three-channel projection, map, figures, photographs
Courtesy of the artists

Max Goldfarb
Ambulant Transceivers, 2008
vintage first-aid kits made into two-way radios
Courtesy of the artist

Louis Hock
Nightscope Series, 1985-2003
digital pigment prints
17 x 24 inches each
Courtesy of the artist

Louis Hock
Feral, 2004
two-channel video installation
sound: Louis Hock and Peter Otto
Courtesy of the artist

Nina Katchadourian
Quit Using Us, 2002
c-print mounted on aluminum
18 x 96 inches
Courtesy of the artist and Sara Meltzer Gallery

Nina Katchadourian
Ant Static, 2003
video loop with sound
Courtesy of the artist and Sara Meltzer Gallery

Kristin Lucas
More Melting, 2008
wax, wick, fire
Courtesy of the artist

Joe McKay
Hi Hat Phone, 2007
cell phone, high hat stand, wood, speakers
Courtesy of the artist

Trevor Paglen
Workers / Las Vegas, NV / Distance – 1 mile, 2006
from the series Limit Telephotography
video
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Chemical and Biological Weapons Proving Ground / Dugway, UT / Distance – 42 miles / 10:51 a.m., 2005
from the series Limit Telephotography
C-print, 3 from an edition of 5
50 x 50 inches
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Unidentified Light Source / Cactus Flats, NV / Distance – 17 miles / 9:45 p.m., 2007
from the series Limit Telephotography
C-print, 1 from an edition of 5
30 x 36 inches
Courtesy of the artist and Bellwether Gallery, New York

Temporary Services
Personal Plastic, 2007
photocopied and offset publications, mounted photographs, banners made from plastic bags, unwanted plastic bags
Courtesy of the artists

Seth Weiner
Cryptographic Payphone, 2008
interactive payphone, chaotic motion system
63 x 15 x 10 inches
Courtesy of the artist

Bart Bridger Woodstrup
Gathering Lore, 2008
computer, custom video software, electronic sensors, weather
Courtesy of the artist

free103point9 is pleased to contribute a program of works for the Video Gentlemen’s BYOTV exhibition at the New American Art Union in Portland Oregon. Artists contributing work to the free103point9 curated program are listed to the right. Stay tuned for additional artists and work details.

About BYOTV: Late March 2008, The Video Gentlemen’s BYOTV network launches a six-week season of special reports engaged with technocultural turnover from analog airwaves. Transmitted from within the New American Art Union, a variety of interdisciplinary artworks, live presentations, and workshops form inquisitive constellations around topics including e-waste, surveillance, haunted media and media archeology.

Low-wattage transmissions emanate from an array of re-configured electronic detritus distributed around the gallery. Telecommunications, and the distance implicit in its operation is countered by a physical proximity prescribed by the limited range of the BYOTV transmissions. Visitors are encouraged to “bring their own TV,” or borrow one from the gallery, intercepting transmissions from their immediate airspace.

Closely scrutinizing the premise of obsolescence, BYOTV tunes into an alternative agenda, encouraging new modes of cultural production, collaboration and exchange.

Off The Grid features contemporary works which formally and/or conceptually challenge conventional and commercial infrastructures.

Co-presented by the Neuberger Museum of Art and free103point9. Curated by Jacqueline Shilkoff (Neuberger Museum) and Galen Joseph-Hunter, Tianna Kennedy, Tom Roe (free103point9)

Curators’ Statements

Has humankind’s irresponsible production and consumption of energy and resources reached its peak? While regulatory agencies scramble to meet and control the demands of a wireless-obsessed market, a burgeoning urgency about the need to be ecologically responsible has emerged. Off The Grid presents work by thirteen artists examining and reacting to these currents. Works on view propose alternate territories. They repurpose, reuse, and recast communication devices, consumer byproducts, and environmental data. Our culture has long relied on creative practice to invent, innovate, and inspire. Here, the participating artists do so with works that inform, alarm, and entertain.
– Galen Joseph-Hunter

Most of us live, work, and play on the grid. The artists in Off The Grid do not present utopian solutions to complex problems (unsustainability, overconsumption, waste, alienation), but rather invite us all to reinvent, reimagine, and subvert our daily practices through accessible work completed on a human scale. I've enjoyed my conversations with the artists in this exhibition and have been reminded that cultural gridlock is best addressed not with sweeping gestures and apocalyptic arguments, but by working within, around, and perhaps a little outside expectations of art and engagement.
-Tianna Kennedy

The grid is a shifting network of power, distributing social, ecological and intellectual resources. Individuals have agency to engage or withdraw, privatize or empower, collude or disclose. By reevaluating what resources exist and how they are allocated, we redefine our collective identity and personal ideology. It is hopeful that art as activism, as intervention, can produce awareness and change.
-Jacqueline Shilkoff

Checklist of exhibited works
(Please select an artist or work title from the menu to the right for additional information.)

Matt Bua
World Grid – Square World, 2008
ink, collage, paint, pencil on paper
39 x 63 1/2 inches
Courtesy of the artist and Derek Eller Gallery, New York

Benjamin Cohen, Dylan J. Gauthier, and Stephan von Muehlen
Mare Liberum, 2008
blueprint, distributed broadsheet, boat
broadsheet: 24 x 36 inches, boat: 12 feet
Courtesy of the artists

EcoArtTech: Christine Nadir and Cary Peppermint
Environmental Risk Assessment Rover - AT, 2008
solar panels, recycled shipping pallets, industrial garden wagon, video projector, MAC-mini computer, GPS, WiFi, found built and natural surfaces
Courtesy of the artists

eteam International Airport Montello, 2007-08
three-channel projection, map, figures, photographs
Courtesy of the artists

Max Goldfarb
Ambulant Transceivers, 2008
vintage first-aid kits made into two-way radios
Courtesy of the artist

Louis Hock
Nightscope Series, 1985-2003
digital pigment prints
17 x 24 inches each
Courtesy of the artist

Louis Hock
Feral, 2004
two-channel video installation
sound: Louis Hock and Peter Otto
Courtesy of the artist

Nina Katchadourian
Quit Using Us, 2002
c-print mounted on aluminum
18 x 96 inches
Courtesy of the artist and Sara Meltzer Gallery

Nina Katchadourian
Ant Static, 2003
video loop with sound
Courtesy of the artist and Sara Meltzer Gallery

Kristin Lucas
More Melting, 2008
wax, wick, fire
Courtesy of the artist

Joe McKay
Hi Hat Phone, 2007
cell phone, high hat stand, wood, speakers
Courtesy of the artist

Trevor Paglen
Workers / Las Vegas, NV / Distance – 1 mile, 2006
from the series Limit Telephotography
video
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Chemical and Biological Weapons Proving Ground / Dugway, UT / Distance – 42 miles / 10:51 a.m., 2005
from the series Limit Telephotography
C-print, 3 from an edition of 5
50 x 50 inches
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Unidentified Light Source / Cactus Flats, NV / Distance – 17 miles / 9:45 p.m., 2007
from the series Limit Telephotography
C-print, 1 from an edition of 5
30 x 36 inches
Courtesy of the artist and Bellwether Gallery, New York

Temporary Services
Personal Plastic, 2007
photocopied and offset publications, mounted photographs, banners made from plastic bags, unwanted plastic bags
Courtesy of the artists

Seth Weiner
Cryptographic Payphone, 2008
interactive payphone, chaotic motion system
63 x 15 x 10 inches
Courtesy of the artist

Bart Bridger Woodstrup
Gathering Lore, 2008
computer, custom video software, electronic sensors, weather
Courtesy of the artist

Four sound artists are each invited to create an unchanging radio broadcast. Reacting to a radio culture which accustoms us to the division of time into a grid of discontinuous slices, "Simulcast 1.0b : Saskatoon" is a temporary condition webcast on www.free103point9.org during April, 2008. Four artists are each asked to create an unchanging sound or soundscape. Each of these is webcast continuously over seven consecutive nights. The resulting month-long series reflects on radio's relationship with night and proposes a renewal of radio's relationship with eternity.
"Simulcast 1.0b : Saskatoon" is curated by Montreal-based sound artist Emmanuel Madan, at the initiative of the Saskatoon media arts production centre Paved Arts. The webcasts are hosted by free103point9, a New York-based nonprofit arts organization devoted to Transmission Arts. Webcast nightly on free103point9 Online Radio at www.free103point9.org, April 1 - 28 2008.
Schedule:
Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
All times Central Standard Time (GMT -6). Sunset and sunrise times as observed in Saskatoon, Saskatchewan.

"Western broadcasting is tyrannized by an instrument we have accepted as inviolable: the clock... Radio has become the clock of Western civilization, taking over the function of social timekeeper from the church bell and the factory whistle," said R. Murray Schafer in “Radical Radio,” In EAR Magazine, “Festival for a New Radio” supplement, March 1987.

The idea of "programming" in radio is indissociable from notions of time: we speak of the programming "grid" which represents the subdivision of time according to a two-dimensional Cartesian co-ordinate system; a "schedule" which presumes predictability, punctuality, and periodicity. The time "slots" thus created are further dissected within the confines of each individual programme: news is expected on the hour, weather every seven to ten minutes, regular breaks for advertising spots of 30- or 60-second duration[s] punctuate the remainder. Music programmes fill their time with a battery of pre-recorded songs of similar length; these are then assembled into playlists whose duration is also fixed: "Stay tuned for another thirty-minute non-stop Rock Ride," said a radio DJ on CHOM-FM, Montreal, 2007.

Put simply, radio broadcasting today is an almost exclusively rhythmic affair. Other types of broadcasts do exist, of course. Arno Penzias and Robert Wilson stumbled upon one in 1965, while researching an entirely different phenomenon. They were convinced that their radio telescope was malfunctioning until they realized that they were in fact receiving a signal which had been rocking the universe (commercial-free) since the moment radiation began separating from matter, that is, shortly after the Big Bang. "Scientifically, radio is as old as time," wrote Neil Strauss in the introduction to "Radiotext(e)," published by Semiotext(e) New York 1993.

"Simulcast 1.0b : Saskatoon" proposes to renew radio's link with eternity. It asks four artists to provide a sound, only one sound, which broadcasts continuously and unchangingly for a period of between six and ten hours each night on www.free103point9.org. Each artist's sound is broadcast during seven consecutive nights. As late-night radio listeners well know, strange things can happen on the radio after midnight. There is something about the solitude of night-time listening which brings out radio's best and most original attributes. The densely-packed conformism of daytime programming is loosened. Many smaller broadcasters do not have the resources to staff their station with live DJs during the night hours and resort instead to pre-recorded or automated alternatives. It is unfortunate that the responsibility of broadcasting through the night is often seen as a burden, an unpopular time-slot which is difficult to fill. "Simulcast 1.0b : Saskatoon" recasts the problem as an opportunity, a short test-run for Radio Eternity.

Much has been said about radio's power to transcend space. The standard definition of the word "simulcast" refers to a live broadcast of some public ceremony: a football game, a coronation, a political debate, a state funeral. Events like these bind listeners together, joining disparate spaces into a single location. "Simulcast 1.0b : Saskatoon" applies the idea of simultaneity to time, rather than to space. By bathing listeners in an event which remains unitary for a period of many hours, it suggests a simultaneity between all moments of a broadcast: a collapsing of a long period of time into a single instant.

Schedule

Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
"Danby" is a broadcast composed of a single sound that is the most pervasive in our interior environments: 60 Hz. The frequency 60 Hz is the soundtrack to the electrical currents that power our radios, our appliances, our light. Yet, it is a soundtrack so prevalent in our everyday lives that only at night in the absence of noise do we realize that silence is continually filtered through the buzz and hum of electricity. "Danby" transmits an unchanging loop of the 60 Hz recorded from an everyday household object. By juxtaposing this constant frequency with the 60 Hz that is no doubt also present in listeners' homes, "Danby" creates unpredictable variations and harmonies - a spontaneous simulcast of the singular sound that infiltrates our lives.

GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
"In the 1980's, whenever I wanted to create an all-night broadcast using only a single sound, I would take a long tape-loop and play it through multiple playback heads. This technique always provided a seamless sound sculpture. For "Simulcast 1.0b : Saskatoon," I did something different. Instead of using analog based repetition, I took a short recording of 40 seconds and digitally stretched it into a single ten hour long wave form. The original recording was that of an auto accident, which is a favourite sound source of mine. The resulting effect is very much like ceaseless grinding. Which also happens to be a favourite of mine," wrote Jupitter-Larsen.

Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
"This piece is a recording of seven consecutive nights, each lasting 6 hours, 36 minutes. Two microphones are placed under a ceiling fan on the second floor of a central room in my house. Under the fan hangs a mobile composed of photographs of family members and close friends, illustrating different episodes from my past. In the foreground of the recording we hear the motor of the Westinghouse fan as well as the waving of the photos in the wind. In the background, we can distinguish the ambient sounds of our house at night, as we pass into sleep and back into wakefulness. Over the seven nights, the only measure of time is the evolution of the ambient sounds in the background, changing with the hours of the night and the nights of the week. "7 nuits sous le Westinghouse" is an intimate sound track which offers a view (or a listen) into the passing of time, the memories it leaves us and their effects on our identity," wrote Babin.

Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
In "Tot morgen (à demain)" a chord consisting in two tritones ('diaboli in musica') that overlap each other by a semitone sounds 140 times forwards and 140 times backwards. The unlawful sequence of these soundings forms a palindrome. It spans the interval that separates the beginning of a next day from the end of a previous one, the end of a previous day from the beginning of a next... "until, again, the roar of dawn." (In the first measure of Stockhausen's "Klavierstueck IX," the same chord is played 140 times in an evenly spaced decrescendo that lasts 48 seconds.) "...tezelfder tijd duizend duivels van beneden en van boven duizend goden ..." - a thousand demons from below and from above a thousand gods [ Tip Marugg - De morgen loeit weer aan (The roar of morning), 1988 ].

free103point9 is pleased to contribute a program of works for the Video Gentlemen’s BYOTV exhibition at the New American Art Union in Portland Oregon. Artists contributing work to the free103point9 curated program are listed to the right. Stay tuned for additional artists and work details.

About BYOTV: Late March 2008, The Video Gentlemen’s BYOTV network launches a six-week season of special reports engaged with technocultural turnover from analog airwaves. Transmitted from within the New American Art Union, a variety of interdisciplinary artworks, live presentations, and workshops form inquisitive constellations around topics including e-waste, surveillance, haunted media and media archeology.

Low-wattage transmissions emanate from an array of re-configured electronic detritus distributed around the gallery. Telecommunications, and the distance implicit in its operation is countered by a physical proximity prescribed by the limited range of the BYOTV transmissions. Visitors are encouraged to “bring their own TV,” or borrow one from the gallery, intercepting transmissions from their immediate airspace.

Closely scrutinizing the premise of obsolescence, BYOTV tunes into an alternative agenda, encouraging new modes of cultural production, collaboration and exchange.

Off The Grid features contemporary works which formally and/or conceptually challenge conventional and commercial infrastructures.

Co-presented by the Neuberger Museum of Art and free103point9. Curated by Jacqueline Shilkoff (Neuberger Museum) and Galen Joseph-Hunter, Tianna Kennedy, Tom Roe (free103point9)

Curators’ Statements

Has humankind’s irresponsible production and consumption of energy and resources reached its peak? While regulatory agencies scramble to meet and control the demands of a wireless-obsessed market, a burgeoning urgency about the need to be ecologically responsible has emerged. Off The Grid presents work by thirteen artists examining and reacting to these currents. Works on view propose alternate territories. They repurpose, reuse, and recast communication devices, consumer byproducts, and environmental data. Our culture has long relied on creative practice to invent, innovate, and inspire. Here, the participating artists do so with works that inform, alarm, and entertain.
– Galen Joseph-Hunter

Most of us live, work, and play on the grid. The artists in Off The Grid do not present utopian solutions to complex problems (unsustainability, overconsumption, waste, alienation), but rather invite us all to reinvent, reimagine, and subvert our daily practices through accessible work completed on a human scale. I've enjoyed my conversations with the artists in this exhibition and have been reminded that cultural gridlock is best addressed not with sweeping gestures and apocalyptic arguments, but by working within, around, and perhaps a little outside expectations of art and engagement.
-Tianna Kennedy

The grid is a shifting network of power, distributing social, ecological and intellectual resources. Individuals have agency to engage or withdraw, privatize or empower, collude or disclose. By reevaluating what resources exist and how they are allocated, we redefine our collective identity and personal ideology. It is hopeful that art as activism, as intervention, can produce awareness and change.
-Jacqueline Shilkoff

Checklist of exhibited works
(Please select an artist or work title from the menu to the right for additional information.)

Matt Bua
World Grid – Square World, 2008
ink, collage, paint, pencil on paper
39 x 63 1/2 inches
Courtesy of the artist and Derek Eller Gallery, New York

Benjamin Cohen, Dylan J. Gauthier, and Stephan von Muehlen
Mare Liberum, 2008
blueprint, distributed broadsheet, boat
broadsheet: 24 x 36 inches, boat: 12 feet
Courtesy of the artists

EcoArtTech: Christine Nadir and Cary Peppermint
Environmental Risk Assessment Rover - AT, 2008
solar panels, recycled shipping pallets, industrial garden wagon, video projector, MAC-mini computer, GPS, WiFi, found built and natural surfaces
Courtesy of the artists

eteam International Airport Montello, 2007-08
three-channel projection, map, figures, photographs
Courtesy of the artists

Max Goldfarb
Ambulant Transceivers, 2008
vintage first-aid kits made into two-way radios
Courtesy of the artist

Louis Hock
Nightscope Series, 1985-2003
digital pigment prints
17 x 24 inches each
Courtesy of the artist

Louis Hock
Feral, 2004
two-channel video installation
sound: Louis Hock and Peter Otto
Courtesy of the artist

Nina Katchadourian
Quit Using Us, 2002
c-print mounted on aluminum
18 x 96 inches
Courtesy of the artist and Sara Meltzer Gallery

Nina Katchadourian
Ant Static, 2003
video loop with sound
Courtesy of the artist and Sara Meltzer Gallery

Kristin Lucas
More Melting, 2008
wax, wick, fire
Courtesy of the artist

Joe McKay
Hi Hat Phone, 2007
cell phone, high hat stand, wood, speakers
Courtesy of the artist

Trevor Paglen
Workers / Las Vegas, NV / Distance – 1 mile, 2006
from the series Limit Telephotography
video
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Chemical and Biological Weapons Proving Ground / Dugway, UT / Distance – 42 miles / 10:51 a.m., 2005
from the series Limit Telephotography
C-print, 3 from an edition of 5
50 x 50 inches
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Unidentified Light Source / Cactus Flats, NV / Distance – 17 miles / 9:45 p.m., 2007
from the series Limit Telephotography
C-print, 1 from an edition of 5
30 x 36 inches
Courtesy of the artist and Bellwether Gallery, New York

Temporary Services
Personal Plastic, 2007
photocopied and offset publications, mounted photographs, banners made from plastic bags, unwanted plastic bags
Courtesy of the artists

Seth Weiner
Cryptographic Payphone, 2008
interactive payphone, chaotic motion system
63 x 15 x 10 inches
Courtesy of the artist

Bart Bridger Woodstrup
Gathering Lore, 2008
computer, custom video software, electronic sensors, weather
Courtesy of the artist

Four sound artists are each invited to create an unchanging radio broadcast. Reacting to a radio culture which accustoms us to the division of time into a grid of discontinuous slices, "Simulcast 1.0b : Saskatoon" is a temporary condition webcast on www.free103point9.org during April, 2008. Four artists are each asked to create an unchanging sound or soundscape. Each of these is webcast continuously over seven consecutive nights. The resulting month-long series reflects on radio's relationship with night and proposes a renewal of radio's relationship with eternity.
"Simulcast 1.0b : Saskatoon" is curated by Montreal-based sound artist Emmanuel Madan, at the initiative of the Saskatoon media arts production centre Paved Arts. The webcasts are hosted by free103point9, a New York-based nonprofit arts organization devoted to Transmission Arts. Webcast nightly on free103point9 Online Radio at www.free103point9.org, April 1 - 28 2008.
Schedule:
Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
All times Central Standard Time (GMT -6). Sunset and sunrise times as observed in Saskatoon, Saskatchewan.

"Western broadcasting is tyrannized by an instrument we have accepted as inviolable: the clock... Radio has become the clock of Western civilization, taking over the function of social timekeeper from the church bell and the factory whistle," said R. Murray Schafer in “Radical Radio,” In EAR Magazine, “Festival for a New Radio” supplement, March 1987.

The idea of "programming" in radio is indissociable from notions of time: we speak of the programming "grid" which represents the subdivision of time according to a two-dimensional Cartesian co-ordinate system; a "schedule" which presumes predictability, punctuality, and periodicity. The time "slots" thus created are further dissected within the confines of each individual programme: news is expected on the hour, weather every seven to ten minutes, regular breaks for advertising spots of 30- or 60-second duration[s] punctuate the remainder. Music programmes fill their time with a battery of pre-recorded songs of similar length; these are then assembled into playlists whose duration is also fixed: "Stay tuned for another thirty-minute non-stop Rock Ride," said a radio DJ on CHOM-FM, Montreal, 2007.

Put simply, radio broadcasting today is an almost exclusively rhythmic affair. Other types of broadcasts do exist, of course. Arno Penzias and Robert Wilson stumbled upon one in 1965, while researching an entirely different phenomenon. They were convinced that their radio telescope was malfunctioning until they realized that they were in fact receiving a signal which had been rocking the universe (commercial-free) since the moment radiation began separating from matter, that is, shortly after the Big Bang. "Scientifically, radio is as old as time," wrote Neil Strauss in the introduction to "Radiotext(e)," published by Semiotext(e) New York 1993.

"Simulcast 1.0b : Saskatoon" proposes to renew radio's link with eternity. It asks four artists to provide a sound, only one sound, which broadcasts continuously and unchangingly for a period of between six and ten hours each night on www.free103point9.org. Each artist's sound is broadcast during seven consecutive nights. As late-night radio listeners well know, strange things can happen on the radio after midnight. There is something about the solitude of night-time listening which brings out radio's best and most original attributes. The densely-packed conformism of daytime programming is loosened. Many smaller broadcasters do not have the resources to staff their station with live DJs during the night hours and resort instead to pre-recorded or automated alternatives. It is unfortunate that the responsibility of broadcasting through the night is often seen as a burden, an unpopular time-slot which is difficult to fill. "Simulcast 1.0b : Saskatoon" recasts the problem as an opportunity, a short test-run for Radio Eternity.

Much has been said about radio's power to transcend space. The standard definition of the word "simulcast" refers to a live broadcast of some public ceremony: a football game, a coronation, a political debate, a state funeral. Events like these bind listeners together, joining disparate spaces into a single location. "Simulcast 1.0b : Saskatoon" applies the idea of simultaneity to time, rather than to space. By bathing listeners in an event which remains unitary for a period of many hours, it suggests a simultaneity between all moments of a broadcast: a collapsing of a long period of time into a single instant.

Schedule

Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
"Danby" is a broadcast composed of a single sound that is the most pervasive in our interior environments: 60 Hz. The frequency 60 Hz is the soundtrack to the electrical currents that power our radios, our appliances, our light. Yet, it is a soundtrack so prevalent in our everyday lives that only at night in the absence of noise do we realize that silence is continually filtered through the buzz and hum of electricity. "Danby" transmits an unchanging loop of the 60 Hz recorded from an everyday household object. By juxtaposing this constant frequency with the 60 Hz that is no doubt also present in listeners' homes, "Danby" creates unpredictable variations and harmonies - a spontaneous simulcast of the singular sound that infiltrates our lives.

GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
"In the 1980's, whenever I wanted to create an all-night broadcast using only a single sound, I would take a long tape-loop and play it through multiple playback heads. This technique always provided a seamless sound sculpture. For "Simulcast 1.0b : Saskatoon," I did something different. Instead of using analog based repetition, I took a short recording of 40 seconds and digitally stretched it into a single ten hour long wave form. The original recording was that of an auto accident, which is a favourite sound source of mine. The resulting effect is very much like ceaseless grinding. Which also happens to be a favourite of mine," wrote Jupitter-Larsen.

Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
"This piece is a recording of seven consecutive nights, each lasting 6 hours, 36 minutes. Two microphones are placed under a ceiling fan on the second floor of a central room in my house. Under the fan hangs a mobile composed of photographs of family members and close friends, illustrating different episodes from my past. In the foreground of the recording we hear the motor of the Westinghouse fan as well as the waving of the photos in the wind. In the background, we can distinguish the ambient sounds of our house at night, as we pass into sleep and back into wakefulness. Over the seven nights, the only measure of time is the evolution of the ambient sounds in the background, changing with the hours of the night and the nights of the week. "7 nuits sous le Westinghouse" is an intimate sound track which offers a view (or a listen) into the passing of time, the memories it leaves us and their effects on our identity," wrote Babin.

Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
In "Tot morgen (à demain)" a chord consisting in two tritones ('diaboli in musica') that overlap each other by a semitone sounds 140 times forwards and 140 times backwards. The unlawful sequence of these soundings forms a palindrome. It spans the interval that separates the beginning of a next day from the end of a previous one, the end of a previous day from the beginning of a next... "until, again, the roar of dawn." (In the first measure of Stockhausen's "Klavierstueck IX," the same chord is played 140 times in an evenly spaced decrescendo that lasts 48 seconds.) "...tezelfder tijd duizend duivels van beneden en van boven duizend goden ..." - a thousand demons from below and from above a thousand gods [ Tip Marugg - De morgen loeit weer aan (The roar of morning), 1988 ].

free103point9 is pleased to contribute a program of works for the Video Gentlemen’s BYOTV exhibition at the New American Art Union in Portland Oregon. Artists contributing work to the free103point9 curated program are listed to the right. Stay tuned for additional artists and work details.

About BYOTV: Late March 2008, The Video Gentlemen’s BYOTV network launches a six-week season of special reports engaged with technocultural turnover from analog airwaves. Transmitted from within the New American Art Union, a variety of interdisciplinary artworks, live presentations, and workshops form inquisitive constellations around topics including e-waste, surveillance, haunted media and media archeology.

Low-wattage transmissions emanate from an array of re-configured electronic detritus distributed around the gallery. Telecommunications, and the distance implicit in its operation is countered by a physical proximity prescribed by the limited range of the BYOTV transmissions. Visitors are encouraged to “bring their own TV,” or borrow one from the gallery, intercepting transmissions from their immediate airspace.

Closely scrutinizing the premise of obsolescence, BYOTV tunes into an alternative agenda, encouraging new modes of cultural production, collaboration and exchange.

Off The Grid features contemporary works which formally and/or conceptually challenge conventional and commercial infrastructures.

Co-presented by the Neuberger Museum of Art and free103point9. Curated by Jacqueline Shilkoff (Neuberger Museum) and Galen Joseph-Hunter, Tianna Kennedy, Tom Roe (free103point9)

Curators’ Statements

Has humankind’s irresponsible production and consumption of energy and resources reached its peak? While regulatory agencies scramble to meet and control the demands of a wireless-obsessed market, a burgeoning urgency about the need to be ecologically responsible has emerged. Off The Grid presents work by thirteen artists examining and reacting to these currents. Works on view propose alternate territories. They repurpose, reuse, and recast communication devices, consumer byproducts, and environmental data. Our culture has long relied on creative practice to invent, innovate, and inspire. Here, the participating artists do so with works that inform, alarm, and entertain.
– Galen Joseph-Hunter

Most of us live, work, and play on the grid. The artists in Off The Grid do not present utopian solutions to complex problems (unsustainability, overconsumption, waste, alienation), but rather invite us all to reinvent, reimagine, and subvert our daily practices through accessible work completed on a human scale. I've enjoyed my conversations with the artists in this exhibition and have been reminded that cultural gridlock is best addressed not with sweeping gestures and apocalyptic arguments, but by working within, around, and perhaps a little outside expectations of art and engagement.
-Tianna Kennedy

The grid is a shifting network of power, distributing social, ecological and intellectual resources. Individuals have agency to engage or withdraw, privatize or empower, collude or disclose. By reevaluating what resources exist and how they are allocated, we redefine our collective identity and personal ideology. It is hopeful that art as activism, as intervention, can produce awareness and change.
-Jacqueline Shilkoff

Checklist of exhibited works
(Please select an artist or work title from the menu to the right for additional information.)

Matt Bua
World Grid – Square World, 2008
ink, collage, paint, pencil on paper
39 x 63 1/2 inches
Courtesy of the artist and Derek Eller Gallery, New York

Benjamin Cohen, Dylan J. Gauthier, and Stephan von Muehlen
Mare Liberum, 2008
blueprint, distributed broadsheet, boat
broadsheet: 24 x 36 inches, boat: 12 feet
Courtesy of the artists

EcoArtTech: Christine Nadir and Cary Peppermint
Environmental Risk Assessment Rover - AT, 2008
solar panels, recycled shipping pallets, industrial garden wagon, video projector, MAC-mini computer, GPS, WiFi, found built and natural surfaces
Courtesy of the artists

eteam International Airport Montello, 2007-08
three-channel projection, map, figures, photographs
Courtesy of the artists

Max Goldfarb
Ambulant Transceivers, 2008
vintage first-aid kits made into two-way radios
Courtesy of the artist

Louis Hock
Nightscope Series, 1985-2003
digital pigment prints
17 x 24 inches each
Courtesy of the artist

Louis Hock
Feral, 2004
two-channel video installation
sound: Louis Hock and Peter Otto
Courtesy of the artist

Nina Katchadourian
Quit Using Us, 2002
c-print mounted on aluminum
18 x 96 inches
Courtesy of the artist and Sara Meltzer Gallery

Nina Katchadourian
Ant Static, 2003
video loop with sound
Courtesy of the artist and Sara Meltzer Gallery

Kristin Lucas
More Melting, 2008
wax, wick, fire
Courtesy of the artist

Joe McKay
Hi Hat Phone, 2007
cell phone, high hat stand, wood, speakers
Courtesy of the artist

Trevor Paglen
Workers / Las Vegas, NV / Distance – 1 mile, 2006
from the series Limit Telephotography
video
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Chemical and Biological Weapons Proving Ground / Dugway, UT / Distance – 42 miles / 10:51 a.m., 2005
from the series Limit Telephotography
C-print, 3 from an edition of 5
50 x 50 inches
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Unidentified Light Source / Cactus Flats, NV / Distance – 17 miles / 9:45 p.m., 2007
from the series Limit Telephotography
C-print, 1 from an edition of 5
30 x 36 inches
Courtesy of the artist and Bellwether Gallery, New York

Temporary Services
Personal Plastic, 2007
photocopied and offset publications, mounted photographs, banners made from plastic bags, unwanted plastic bags
Courtesy of the artists

Seth Weiner
Cryptographic Payphone, 2008
interactive payphone, chaotic motion system
63 x 15 x 10 inches
Courtesy of the artist

Bart Bridger Woodstrup
Gathering Lore, 2008
computer, custom video software, electronic sensors, weather
Courtesy of the artist

Four sound artists are each invited to create an unchanging radio broadcast. Reacting to a radio culture which accustoms us to the division of time into a grid of discontinuous slices, "Simulcast 1.0b : Saskatoon" is a temporary condition webcast on www.free103point9.org during April, 2008. Four artists are each asked to create an unchanging sound or soundscape. Each of these is webcast continuously over seven consecutive nights. The resulting month-long series reflects on radio's relationship with night and proposes a renewal of radio's relationship with eternity.
"Simulcast 1.0b : Saskatoon" is curated by Montreal-based sound artist Emmanuel Madan, at the initiative of the Saskatoon media arts production centre Paved Arts. The webcasts are hosted by free103point9, a New York-based nonprofit arts organization devoted to Transmission Arts. Webcast nightly on free103point9 Online Radio at www.free103point9.org, April 1 - 28 2008.
Schedule:
Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
All times Central Standard Time (GMT -6). Sunset and sunrise times as observed in Saskatoon, Saskatchewan.

"Western broadcasting is tyrannized by an instrument we have accepted as inviolable: the clock... Radio has become the clock of Western civilization, taking over the function of social timekeeper from the church bell and the factory whistle," said R. Murray Schafer in “Radical Radio,” In EAR Magazine, “Festival for a New Radio” supplement, March 1987.

The idea of "programming" in radio is indissociable from notions of time: we speak of the programming "grid" which represents the subdivision of time according to a two-dimensional Cartesian co-ordinate system; a "schedule" which presumes predictability, punctuality, and periodicity. The time "slots" thus created are further dissected within the confines of each individual programme: news is expected on the hour, weather every seven to ten minutes, regular breaks for advertising spots of 30- or 60-second duration[s] punctuate the remainder. Music programmes fill their time with a battery of pre-recorded songs of similar length; these are then assembled into playlists whose duration is also fixed: "Stay tuned for another thirty-minute non-stop Rock Ride," said a radio DJ on CHOM-FM, Montreal, 2007.

Put simply, radio broadcasting today is an almost exclusively rhythmic affair. Other types of broadcasts do exist, of course. Arno Penzias and Robert Wilson stumbled upon one in 1965, while researching an entirely different phenomenon. They were convinced that their radio telescope was malfunctioning until they realized that they were in fact receiving a signal which had been rocking the universe (commercial-free) since the moment radiation began separating from matter, that is, shortly after the Big Bang. "Scientifically, radio is as old as time," wrote Neil Strauss in the introduction to "Radiotext(e)," published by Semiotext(e) New York 1993.

"Simulcast 1.0b : Saskatoon" proposes to renew radio's link with eternity. It asks four artists to provide a sound, only one sound, which broadcasts continuously and unchangingly for a period of between six and ten hours each night on www.free103point9.org. Each artist's sound is broadcast during seven consecutive nights. As late-night radio listeners well know, strange things can happen on the radio after midnight. There is something about the solitude of night-time listening which brings out radio's best and most original attributes. The densely-packed conformism of daytime programming is loosened. Many smaller broadcasters do not have the resources to staff their station with live DJs during the night hours and resort instead to pre-recorded or automated alternatives. It is unfortunate that the responsibility of broadcasting through the night is often seen as a burden, an unpopular time-slot which is difficult to fill. "Simulcast 1.0b : Saskatoon" recasts the problem as an opportunity, a short test-run for Radio Eternity.

Much has been said about radio's power to transcend space. The standard definition of the word "simulcast" refers to a live broadcast of some public ceremony: a football game, a coronation, a political debate, a state funeral. Events like these bind listeners together, joining disparate spaces into a single location. "Simulcast 1.0b : Saskatoon" applies the idea of simultaneity to time, rather than to space. By bathing listeners in an event which remains unitary for a period of many hours, it suggests a simultaneity between all moments of a broadcast: a collapsing of a long period of time into a single instant.

Schedule

Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
"Danby" is a broadcast composed of a single sound that is the most pervasive in our interior environments: 60 Hz. The frequency 60 Hz is the soundtrack to the electrical currents that power our radios, our appliances, our light. Yet, it is a soundtrack so prevalent in our everyday lives that only at night in the absence of noise do we realize that silence is continually filtered through the buzz and hum of electricity. "Danby" transmits an unchanging loop of the 60 Hz recorded from an everyday household object. By juxtaposing this constant frequency with the 60 Hz that is no doubt also present in listeners' homes, "Danby" creates unpredictable variations and harmonies - a spontaneous simulcast of the singular sound that infiltrates our lives.

GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
"In the 1980's, whenever I wanted to create an all-night broadcast using only a single sound, I would take a long tape-loop and play it through multiple playback heads. This technique always provided a seamless sound sculpture. For "Simulcast 1.0b : Saskatoon," I did something different. Instead of using analog based repetition, I took a short recording of 40 seconds and digitally stretched it into a single ten hour long wave form. The original recording was that of an auto accident, which is a favourite sound source of mine. The resulting effect is very much like ceaseless grinding. Which also happens to be a favourite of mine," wrote Jupitter-Larsen.

Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
"This piece is a recording of seven consecutive nights, each lasting 6 hours, 36 minutes. Two microphones are placed under a ceiling fan on the second floor of a central room in my house. Under the fan hangs a mobile composed of photographs of family members and close friends, illustrating different episodes from my past. In the foreground of the recording we hear the motor of the Westinghouse fan as well as the waving of the photos in the wind. In the background, we can distinguish the ambient sounds of our house at night, as we pass into sleep and back into wakefulness. Over the seven nights, the only measure of time is the evolution of the ambient sounds in the background, changing with the hours of the night and the nights of the week. "7 nuits sous le Westinghouse" is an intimate sound track which offers a view (or a listen) into the passing of time, the memories it leaves us and their effects on our identity," wrote Babin.

Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
In "Tot morgen (à demain)" a chord consisting in two tritones ('diaboli in musica') that overlap each other by a semitone sounds 140 times forwards and 140 times backwards. The unlawful sequence of these soundings forms a palindrome. It spans the interval that separates the beginning of a next day from the end of a previous one, the end of a previous day from the beginning of a next... "until, again, the roar of dawn." (In the first measure of Stockhausen's "Klavierstueck IX," the same chord is played 140 times in an evenly spaced decrescendo that lasts 48 seconds.) "...tezelfder tijd duizend duivels van beneden en van boven duizend goden ..." - a thousand demons from below and from above a thousand gods [ Tip Marugg - De morgen loeit weer aan (The roar of morning), 1988 ].

free103point9 is pleased to contribute a program of works for the Video Gentlemen’s BYOTV exhibition at the New American Art Union in Portland Oregon. Artists contributing work to the free103point9 curated program are listed to the right. Stay tuned for additional artists and work details.

About BYOTV: Late March 2008, The Video Gentlemen’s BYOTV network launches a six-week season of special reports engaged with technocultural turnover from analog airwaves. Transmitted from within the New American Art Union, a variety of interdisciplinary artworks, live presentations, and workshops form inquisitive constellations around topics including e-waste, surveillance, haunted media and media archeology.

Low-wattage transmissions emanate from an array of re-configured electronic detritus distributed around the gallery. Telecommunications, and the distance implicit in its operation is countered by a physical proximity prescribed by the limited range of the BYOTV transmissions. Visitors are encouraged to “bring their own TV,” or borrow one from the gallery, intercepting transmissions from their immediate airspace.

Closely scrutinizing the premise of obsolescence, BYOTV tunes into an alternative agenda, encouraging new modes of cultural production, collaboration and exchange.

Off The Grid features contemporary works which formally and/or conceptually challenge conventional and commercial infrastructures.

Co-presented by the Neuberger Museum of Art and free103point9. Curated by Jacqueline Shilkoff (Neuberger Museum) and Galen Joseph-Hunter, Tianna Kennedy, Tom Roe (free103point9)

Curators’ Statements

Has humankind’s irresponsible production and consumption of energy and resources reached its peak? While regulatory agencies scramble to meet and control the demands of a wireless-obsessed market, a burgeoning urgency about the need to be ecologically responsible has emerged. Off The Grid presents work by thirteen artists examining and reacting to these currents. Works on view propose alternate territories. They repurpose, reuse, and recast communication devices, consumer byproducts, and environmental data. Our culture has long relied on creative practice to invent, innovate, and inspire. Here, the participating artists do so with works that inform, alarm, and entertain.
– Galen Joseph-Hunter

Most of us live, work, and play on the grid. The artists in Off The Grid do not present utopian solutions to complex problems (unsustainability, overconsumption, waste, alienation), but rather invite us all to reinvent, reimagine, and subvert our daily practices through accessible work completed on a human scale. I've enjoyed my conversations with the artists in this exhibition and have been reminded that cultural gridlock is best addressed not with sweeping gestures and apocalyptic arguments, but by working within, around, and perhaps a little outside expectations of art and engagement.
-Tianna Kennedy

The grid is a shifting network of power, distributing social, ecological and intellectual resources. Individuals have agency to engage or withdraw, privatize or empower, collude or disclose. By reevaluating what resources exist and how they are allocated, we redefine our collective identity and personal ideology. It is hopeful that art as activism, as intervention, can produce awareness and change.
-Jacqueline Shilkoff

Checklist of exhibited works
(Please select an artist or work title from the menu to the right for additional information.)

Matt Bua
World Grid – Square World, 2008
ink, collage, paint, pencil on paper
39 x 63 1/2 inches
Courtesy of the artist and Derek Eller Gallery, New York

Benjamin Cohen, Dylan J. Gauthier, and Stephan von Muehlen
Mare Liberum, 2008
blueprint, distributed broadsheet, boat
broadsheet: 24 x 36 inches, boat: 12 feet
Courtesy of the artists

EcoArtTech: Christine Nadir and Cary Peppermint
Environmental Risk Assessment Rover - AT, 2008
solar panels, recycled shipping pallets, industrial garden wagon, video projector, MAC-mini computer, GPS, WiFi, found built and natural surfaces
Courtesy of the artists

eteam International Airport Montello, 2007-08
three-channel projection, map, figures, photographs
Courtesy of the artists

Max Goldfarb
Ambulant Transceivers, 2008
vintage first-aid kits made into two-way radios
Courtesy of the artist

Louis Hock
Nightscope Series, 1985-2003
digital pigment prints
17 x 24 inches each
Courtesy of the artist

Louis Hock
Feral, 2004
two-channel video installation
sound: Louis Hock and Peter Otto
Courtesy of the artist

Nina Katchadourian
Quit Using Us, 2002
c-print mounted on aluminum
18 x 96 inches
Courtesy of the artist and Sara Meltzer Gallery

Nina Katchadourian
Ant Static, 2003
video loop with sound
Courtesy of the artist and Sara Meltzer Gallery

Kristin Lucas
More Melting, 2008
wax, wick, fire
Courtesy of the artist

Joe McKay
Hi Hat Phone, 2007
cell phone, high hat stand, wood, speakers
Courtesy of the artist

Trevor Paglen
Workers / Las Vegas, NV / Distance – 1 mile, 2006
from the series Limit Telephotography
video
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Chemical and Biological Weapons Proving Ground / Dugway, UT / Distance – 42 miles / 10:51 a.m., 2005
from the series Limit Telephotography
C-print, 3 from an edition of 5
50 x 50 inches
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Unidentified Light Source / Cactus Flats, NV / Distance – 17 miles / 9:45 p.m., 2007
from the series Limit Telephotography
C-print, 1 from an edition of 5
30 x 36 inches
Courtesy of the artist and Bellwether Gallery, New York

Temporary Services
Personal Plastic, 2007
photocopied and offset publications, mounted photographs, banners made from plastic bags, unwanted plastic bags
Courtesy of the artists

Seth Weiner
Cryptographic Payphone, 2008
interactive payphone, chaotic motion system
63 x 15 x 10 inches
Courtesy of the artist

Bart Bridger Woodstrup
Gathering Lore, 2008
computer, custom video software, electronic sensors, weather
Courtesy of the artist

Four sound artists are each invited to create an unchanging radio broadcast. Reacting to a radio culture which accustoms us to the division of time into a grid of discontinuous slices, "Simulcast 1.0b : Saskatoon" is a temporary condition webcast on www.free103point9.org during April, 2008. Four artists are each asked to create an unchanging sound or soundscape. Each of these is webcast continuously over seven consecutive nights. The resulting month-long series reflects on radio's relationship with night and proposes a renewal of radio's relationship with eternity.
"Simulcast 1.0b : Saskatoon" is curated by Montreal-based sound artist Emmanuel Madan, at the initiative of the Saskatoon media arts production centre Paved Arts. The webcasts are hosted by free103point9, a New York-based nonprofit arts organization devoted to Transmission Arts. Webcast nightly on free103point9 Online Radio at www.free103point9.org, April 1 - 28 2008.
Schedule:
Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
All times Central Standard Time (GMT -6). Sunset and sunrise times as observed in Saskatoon, Saskatchewan.

"Western broadcasting is tyrannized by an instrument we have accepted as inviolable: the clock... Radio has become the clock of Western civilization, taking over the function of social timekeeper from the church bell and the factory whistle," said R. Murray Schafer in “Radical Radio,” In EAR Magazine, “Festival for a New Radio” supplement, March 1987.

The idea of "programming" in radio is indissociable from notions of time: we speak of the programming "grid" which represents the subdivision of time according to a two-dimensional Cartesian co-ordinate system; a "schedule" which presumes predictability, punctuality, and periodicity. The time "slots" thus created are further dissected within the confines of each individual programme: news is expected on the hour, weather every seven to ten minutes, regular breaks for advertising spots of 30- or 60-second duration[s] punctuate the remainder. Music programmes fill their time with a battery of pre-recorded songs of similar length; these are then assembled into playlists whose duration is also fixed: "Stay tuned for another thirty-minute non-stop Rock Ride," said a radio DJ on CHOM-FM, Montreal, 2007.

Put simply, radio broadcasting today is an almost exclusively rhythmic affair. Other types of broadcasts do exist, of course. Arno Penzias and Robert Wilson stumbled upon one in 1965, while researching an entirely different phenomenon. They were convinced that their radio telescope was malfunctioning until they realized that they were in fact receiving a signal which had been rocking the universe (commercial-free) since the moment radiation began separating from matter, that is, shortly after the Big Bang. "Scientifically, radio is as old as time," wrote Neil Strauss in the introduction to "Radiotext(e)," published by Semiotext(e) New York 1993.

"Simulcast 1.0b : Saskatoon" proposes to renew radio's link with eternity. It asks four artists to provide a sound, only one sound, which broadcasts continuously and unchangingly for a period of between six and ten hours each night on www.free103point9.org. Each artist's sound is broadcast during seven consecutive nights. As late-night radio listeners well know, strange things can happen on the radio after midnight. There is something about the solitude of night-time listening which brings out radio's best and most original attributes. The densely-packed conformism of daytime programming is loosened. Many smaller broadcasters do not have the resources to staff their station with live DJs during the night hours and resort instead to pre-recorded or automated alternatives. It is unfortunate that the responsibility of broadcasting through the night is often seen as a burden, an unpopular time-slot which is difficult to fill. "Simulcast 1.0b : Saskatoon" recasts the problem as an opportunity, a short test-run for Radio Eternity.

Much has been said about radio's power to transcend space. The standard definition of the word "simulcast" refers to a live broadcast of some public ceremony: a football game, a coronation, a political debate, a state funeral. Events like these bind listeners together, joining disparate spaces into a single location. "Simulcast 1.0b : Saskatoon" applies the idea of simultaneity to time, rather than to space. By bathing listeners in an event which remains unitary for a period of many hours, it suggests a simultaneity between all moments of a broadcast: a collapsing of a long period of time into a single instant.

Schedule

Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
"Danby" is a broadcast composed of a single sound that is the most pervasive in our interior environments: 60 Hz. The frequency 60 Hz is the soundtrack to the electrical currents that power our radios, our appliances, our light. Yet, it is a soundtrack so prevalent in our everyday lives that only at night in the absence of noise do we realize that silence is continually filtered through the buzz and hum of electricity. "Danby" transmits an unchanging loop of the 60 Hz recorded from an everyday household object. By juxtaposing this constant frequency with the 60 Hz that is no doubt also present in listeners' homes, "Danby" creates unpredictable variations and harmonies - a spontaneous simulcast of the singular sound that infiltrates our lives.

GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
"In the 1980's, whenever I wanted to create an all-night broadcast using only a single sound, I would take a long tape-loop and play it through multiple playback heads. This technique always provided a seamless sound sculpture. For "Simulcast 1.0b : Saskatoon," I did something different. Instead of using analog based repetition, I took a short recording of 40 seconds and digitally stretched it into a single ten hour long wave form. The original recording was that of an auto accident, which is a favourite sound source of mine. The resulting effect is very much like ceaseless grinding. Which also happens to be a favourite of mine," wrote Jupitter-Larsen.

Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
"This piece is a recording of seven consecutive nights, each lasting 6 hours, 36 minutes. Two microphones are placed under a ceiling fan on the second floor of a central room in my house. Under the fan hangs a mobile composed of photographs of family members and close friends, illustrating different episodes from my past. In the foreground of the recording we hear the motor of the Westinghouse fan as well as the waving of the photos in the wind. In the background, we can distinguish the ambient sounds of our house at night, as we pass into sleep and back into wakefulness. Over the seven nights, the only measure of time is the evolution of the ambient sounds in the background, changing with the hours of the night and the nights of the week. "7 nuits sous le Westinghouse" is an intimate sound track which offers a view (or a listen) into the passing of time, the memories it leaves us and their effects on our identity," wrote Babin.

Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
In "Tot morgen (à demain)" a chord consisting in two tritones ('diaboli in musica') that overlap each other by a semitone sounds 140 times forwards and 140 times backwards. The unlawful sequence of these soundings forms a palindrome. It spans the interval that separates the beginning of a next day from the end of a previous one, the end of a previous day from the beginning of a next... "until, again, the roar of dawn." (In the first measure of Stockhausen's "Klavierstueck IX," the same chord is played 140 times in an evenly spaced decrescendo that lasts 48 seconds.) "...tezelfder tijd duizend duivels van beneden en van boven duizend goden ..." - a thousand demons from below and from above a thousand gods [ Tip Marugg - De morgen loeit weer aan (The roar of morning), 1988 ].

free103point9 is pleased to contribute a program of works for the Video Gentlemen’s BYOTV exhibition at the New American Art Union in Portland Oregon. Artists contributing work to the free103point9 curated program are listed to the right. Stay tuned for additional artists and work details.

About BYOTV: Late March 2008, The Video Gentlemen’s BYOTV network launches a six-week season of special reports engaged with technocultural turnover from analog airwaves. Transmitted from within the New American Art Union, a variety of interdisciplinary artworks, live presentations, and workshops form inquisitive constellations around topics including e-waste, surveillance, haunted media and media archeology.

Low-wattage transmissions emanate from an array of re-configured electronic detritus distributed around the gallery. Telecommunications, and the distance implicit in its operation is countered by a physical proximity prescribed by the limited range of the BYOTV transmissions. Visitors are encouraged to “bring their own TV,” or borrow one from the gallery, intercepting transmissions from their immediate airspace.

Closely scrutinizing the premise of obsolescence, BYOTV tunes into an alternative agenda, encouraging new modes of cultural production, collaboration and exchange.

Off The Grid features contemporary works which formally and/or conceptually challenge conventional and commercial infrastructures.

Co-presented by the Neuberger Museum of Art and free103point9. Curated by Jacqueline Shilkoff (Neuberger Museum) and Galen Joseph-Hunter, Tianna Kennedy, Tom Roe (free103point9)

Curators’ Statements

Has humankind’s irresponsible production and consumption of energy and resources reached its peak? While regulatory agencies scramble to meet and control the demands of a wireless-obsessed market, a burgeoning urgency about the need to be ecologically responsible has emerged. Off The Grid presents work by thirteen artists examining and reacting to these currents. Works on view propose alternate territories. They repurpose, reuse, and recast communication devices, consumer byproducts, and environmental data. Our culture has long relied on creative practice to invent, innovate, and inspire. Here, the participating artists do so with works that inform, alarm, and entertain.
– Galen Joseph-Hunter

Most of us live, work, and play on the grid. The artists in Off The Grid do not present utopian solutions to complex problems (unsustainability, overconsumption, waste, alienation), but rather invite us all to reinvent, reimagine, and subvert our daily practices through accessible work completed on a human scale. I've enjoyed my conversations with the artists in this exhibition and have been reminded that cultural gridlock is best addressed not with sweeping gestures and apocalyptic arguments, but by working within, around, and perhaps a little outside expectations of art and engagement.
-Tianna Kennedy

The grid is a shifting network of power, distributing social, ecological and intellectual resources. Individuals have agency to engage or withdraw, privatize or empower, collude or disclose. By reevaluating what resources exist and how they are allocated, we redefine our collective identity and personal ideology. It is hopeful that art as activism, as intervention, can produce awareness and change.
-Jacqueline Shilkoff

Checklist of exhibited works
(Please select an artist or work title from the menu to the right for additional information.)

Matt Bua
World Grid – Square World, 2008
ink, collage, paint, pencil on paper
39 x 63 1/2 inches
Courtesy of the artist and Derek Eller Gallery, New York

Benjamin Cohen, Dylan J. Gauthier, and Stephan von Muehlen
Mare Liberum, 2008
blueprint, distributed broadsheet, boat
broadsheet: 24 x 36 inches, boat: 12 feet
Courtesy of the artists

EcoArtTech: Christine Nadir and Cary Peppermint
Environmental Risk Assessment Rover - AT, 2008
solar panels, recycled shipping pallets, industrial garden wagon, video projector, MAC-mini computer, GPS, WiFi, found built and natural surfaces
Courtesy of the artists

eteam International Airport Montello, 2007-08
three-channel projection, map, figures, photographs
Courtesy of the artists

Max Goldfarb
Ambulant Transceivers, 2008
vintage first-aid kits made into two-way radios
Courtesy of the artist

Louis Hock
Nightscope Series, 1985-2003
digital pigment prints
17 x 24 inches each
Courtesy of the artist

Louis Hock
Feral, 2004
two-channel video installation
sound: Louis Hock and Peter Otto
Courtesy of the artist

Nina Katchadourian
Quit Using Us, 2002
c-print mounted on aluminum
18 x 96 inches
Courtesy of the artist and Sara Meltzer Gallery

Nina Katchadourian
Ant Static, 2003
video loop with sound
Courtesy of the artist and Sara Meltzer Gallery

Kristin Lucas
More Melting, 2008
wax, wick, fire
Courtesy of the artist

Joe McKay
Hi Hat Phone, 2007
cell phone, high hat stand, wood, speakers
Courtesy of the artist

Trevor Paglen
Workers / Las Vegas, NV / Distance – 1 mile, 2006
from the series Limit Telephotography
video
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Chemical and Biological Weapons Proving Ground / Dugway, UT / Distance – 42 miles / 10:51 a.m., 2005
from the series Limit Telephotography
C-print, 3 from an edition of 5
50 x 50 inches
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Unidentified Light Source / Cactus Flats, NV / Distance – 17 miles / 9:45 p.m., 2007
from the series Limit Telephotography
C-print, 1 from an edition of 5
30 x 36 inches
Courtesy of the artist and Bellwether Gallery, New York

Temporary Services
Personal Plastic, 2007
photocopied and offset publications, mounted photographs, banners made from plastic bags, unwanted plastic bags
Courtesy of the artists

Seth Weiner
Cryptographic Payphone, 2008
interactive payphone, chaotic motion system
63 x 15 x 10 inches
Courtesy of the artist

Bart Bridger Woodstrup
Gathering Lore, 2008
computer, custom video software, electronic sensors, weather
Courtesy of the artist

Four sound artists are each invited to create an unchanging radio broadcast. Reacting to a radio culture which accustoms us to the division of time into a grid of discontinuous slices, "Simulcast 1.0b : Saskatoon" is a temporary condition webcast on www.free103point9.org during April, 2008. Four artists are each asked to create an unchanging sound or soundscape. Each of these is webcast continuously over seven consecutive nights. The resulting month-long series reflects on radio's relationship with night and proposes a renewal of radio's relationship with eternity.
"Simulcast 1.0b : Saskatoon" is curated by Montreal-based sound artist Emmanuel Madan, at the initiative of the Saskatoon media arts production centre Paved Arts. The webcasts are hosted by free103point9, a New York-based nonprofit arts organization devoted to Transmission Arts. Webcast nightly on free103point9 Online Radio at www.free103point9.org, April 1 - 28 2008.
Schedule:
Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
All times Central Standard Time (GMT -6). Sunset and sunrise times as observed in Saskatoon, Saskatchewan.

"Western broadcasting is tyrannized by an instrument we have accepted as inviolable: the clock... Radio has become the clock of Western civilization, taking over the function of social timekeeper from the church bell and the factory whistle," said R. Murray Schafer in “Radical Radio,” In EAR Magazine, “Festival for a New Radio” supplement, March 1987.

The idea of "programming" in radio is indissociable from notions of time: we speak of the programming "grid" which represents the subdivision of time according to a two-dimensional Cartesian co-ordinate system; a "schedule" which presumes predictability, punctuality, and periodicity. The time "slots" thus created are further dissected within the confines of each individual programme: news is expected on the hour, weather every seven to ten minutes, regular breaks for advertising spots of 30- or 60-second duration[s] punctuate the remainder. Music programmes fill their time with a battery of pre-recorded songs of similar length; these are then assembled into playlists whose duration is also fixed: "Stay tuned for another thirty-minute non-stop Rock Ride," said a radio DJ on CHOM-FM, Montreal, 2007.

Put simply, radio broadcasting today is an almost exclusively rhythmic affair. Other types of broadcasts do exist, of course. Arno Penzias and Robert Wilson stumbled upon one in 1965, while researching an entirely different phenomenon. They were convinced that their radio telescope was malfunctioning until they realized that they were in fact receiving a signal which had been rocking the universe (commercial-free) since the moment radiation began separating from matter, that is, shortly after the Big Bang. "Scientifically, radio is as old as time," wrote Neil Strauss in the introduction to "Radiotext(e)," published by Semiotext(e) New York 1993.

"Simulcast 1.0b : Saskatoon" proposes to renew radio's link with eternity. It asks four artists to provide a sound, only one sound, which broadcasts continuously and unchangingly for a period of between six and ten hours each night on www.free103point9.org. Each artist's sound is broadcast during seven consecutive nights. As late-night radio listeners well know, strange things can happen on the radio after midnight. There is something about the solitude of night-time listening which brings out radio's best and most original attributes. The densely-packed conformism of daytime programming is loosened. Many smaller broadcasters do not have the resources to staff their station with live DJs during the night hours and resort instead to pre-recorded or automated alternatives. It is unfortunate that the responsibility of broadcasting through the night is often seen as a burden, an unpopular time-slot which is difficult to fill. "Simulcast 1.0b : Saskatoon" recasts the problem as an opportunity, a short test-run for Radio Eternity.

Much has been said about radio's power to transcend space. The standard definition of the word "simulcast" refers to a live broadcast of some public ceremony: a football game, a coronation, a political debate, a state funeral. Events like these bind listeners together, joining disparate spaces into a single location. "Simulcast 1.0b : Saskatoon" applies the idea of simultaneity to time, rather than to space. By bathing listeners in an event which remains unitary for a period of many hours, it suggests a simultaneity between all moments of a broadcast: a collapsing of a long period of time into a single instant.

Schedule

Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
"Danby" is a broadcast composed of a single sound that is the most pervasive in our interior environments: 60 Hz. The frequency 60 Hz is the soundtrack to the electrical currents that power our radios, our appliances, our light. Yet, it is a soundtrack so prevalent in our everyday lives that only at night in the absence of noise do we realize that silence is continually filtered through the buzz and hum of electricity. "Danby" transmits an unchanging loop of the 60 Hz recorded from an everyday household object. By juxtaposing this constant frequency with the 60 Hz that is no doubt also present in listeners' homes, "Danby" creates unpredictable variations and harmonies - a spontaneous simulcast of the singular sound that infiltrates our lives.

GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
"In the 1980's, whenever I wanted to create an all-night broadcast using only a single sound, I would take a long tape-loop and play it through multiple playback heads. This technique always provided a seamless sound sculpture. For "Simulcast 1.0b : Saskatoon," I did something different. Instead of using analog based repetition, I took a short recording of 40 seconds and digitally stretched it into a single ten hour long wave form. The original recording was that of an auto accident, which is a favourite sound source of mine. The resulting effect is very much like ceaseless grinding. Which also happens to be a favourite of mine," wrote Jupitter-Larsen.

Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
"This piece is a recording of seven consecutive nights, each lasting 6 hours, 36 minutes. Two microphones are placed under a ceiling fan on the second floor of a central room in my house. Under the fan hangs a mobile composed of photographs of family members and close friends, illustrating different episodes from my past. In the foreground of the recording we hear the motor of the Westinghouse fan as well as the waving of the photos in the wind. In the background, we can distinguish the ambient sounds of our house at night, as we pass into sleep and back into wakefulness. Over the seven nights, the only measure of time is the evolution of the ambient sounds in the background, changing with the hours of the night and the nights of the week. "7 nuits sous le Westinghouse" is an intimate sound track which offers a view (or a listen) into the passing of time, the memories it leaves us and their effects on our identity," wrote Babin.

Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
In "Tot morgen (à demain)" a chord consisting in two tritones ('diaboli in musica') that overlap each other by a semitone sounds 140 times forwards and 140 times backwards. The unlawful sequence of these soundings forms a palindrome. It spans the interval that separates the beginning of a next day from the end of a previous one, the end of a previous day from the beginning of a next... "until, again, the roar of dawn." (In the first measure of Stockhausen's "Klavierstueck IX," the same chord is played 140 times in an evenly spaced decrescendo that lasts 48 seconds.) "...tezelfder tijd duizend duivels van beneden en van boven duizend goden ..." - a thousand demons from below and from above a thousand gods [ Tip Marugg - De morgen loeit weer aan (The roar of morning), 1988 ].

free103point9 is pleased to contribute a program of works for the Video Gentlemen’s BYOTV exhibition at the New American Art Union in Portland Oregon. Artists contributing work to the free103point9 curated program are listed to the right. Stay tuned for additional artists and work details.

About BYOTV: Late March 2008, The Video Gentlemen’s BYOTV network launches a six-week season of special reports engaged with technocultural turnover from analog airwaves. Transmitted from within the New American Art Union, a variety of interdisciplinary artworks, live presentations, and workshops form inquisitive constellations around topics including e-waste, surveillance, haunted media and media archeology.

Low-wattage transmissions emanate from an array of re-configured electronic detritus distributed around the gallery. Telecommunications, and the distance implicit in its operation is countered by a physical proximity prescribed by the limited range of the BYOTV transmissions. Visitors are encouraged to “bring their own TV,” or borrow one from the gallery, intercepting transmissions from their immediate airspace.

Closely scrutinizing the premise of obsolescence, BYOTV tunes into an alternative agenda, encouraging new modes of cultural production, collaboration and exchange.

Off The Grid features contemporary works which formally and/or conceptually challenge conventional and commercial infrastructures.

Co-presented by the Neuberger Museum of Art and free103point9. Curated by Jacqueline Shilkoff (Neuberger Museum) and Galen Joseph-Hunter, Tianna Kennedy, Tom Roe (free103point9)

Curators’ Statements

Has humankind’s irresponsible production and consumption of energy and resources reached its peak? While regulatory agencies scramble to meet and control the demands of a wireless-obsessed market, a burgeoning urgency about the need to be ecologically responsible has emerged. Off The Grid presents work by thirteen artists examining and reacting to these currents. Works on view propose alternate territories. They repurpose, reuse, and recast communication devices, consumer byproducts, and environmental data. Our culture has long relied on creative practice to invent, innovate, and inspire. Here, the participating artists do so with works that inform, alarm, and entertain.
– Galen Joseph-Hunter

Most of us live, work, and play on the grid. The artists in Off The Grid do not present utopian solutions to complex problems (unsustainability, overconsumption, waste, alienation), but rather invite us all to reinvent, reimagine, and subvert our daily practices through accessible work completed on a human scale. I've enjoyed my conversations with the artists in this exhibition and have been reminded that cultural gridlock is best addressed not with sweeping gestures and apocalyptic arguments, but by working within, around, and perhaps a little outside expectations of art and engagement.
-Tianna Kennedy

The grid is a shifting network of power, distributing social, ecological and intellectual resources. Individuals have agency to engage or withdraw, privatize or empower, collude or disclose. By reevaluating what resources exist and how they are allocated, we redefine our collective identity and personal ideology. It is hopeful that art as activism, as intervention, can produce awareness and change.
-Jacqueline Shilkoff

Checklist of exhibited works
(Please select an artist or work title from the menu to the right for additional information.)

Matt Bua
World Grid – Square World, 2008
ink, collage, paint, pencil on paper
39 x 63 1/2 inches
Courtesy of the artist and Derek Eller Gallery, New York

Benjamin Cohen, Dylan J. Gauthier, and Stephan von Muehlen
Mare Liberum, 2008
blueprint, distributed broadsheet, boat
broadsheet: 24 x 36 inches, boat: 12 feet
Courtesy of the artists

EcoArtTech: Christine Nadir and Cary Peppermint
Environmental Risk Assessment Rover - AT, 2008
solar panels, recycled shipping pallets, industrial garden wagon, video projector, MAC-mini computer, GPS, WiFi, found built and natural surfaces
Courtesy of the artists

eteam International Airport Montello, 2007-08
three-channel projection, map, figures, photographs
Courtesy of the artists

Max Goldfarb
Ambulant Transceivers, 2008
vintage first-aid kits made into two-way radios
Courtesy of the artist

Louis Hock
Nightscope Series, 1985-2003
digital pigment prints
17 x 24 inches each
Courtesy of the artist

Louis Hock
Feral, 2004
two-channel video installation
sound: Louis Hock and Peter Otto
Courtesy of the artist

Nina Katchadourian
Quit Using Us, 2002
c-print mounted on aluminum
18 x 96 inches
Courtesy of the artist and Sara Meltzer Gallery

Nina Katchadourian
Ant Static, 2003
video loop with sound
Courtesy of the artist and Sara Meltzer Gallery

Kristin Lucas
More Melting, 2008
wax, wick, fire
Courtesy of the artist

Joe McKay
Hi Hat Phone, 2007
cell phone, high hat stand, wood, speakers
Courtesy of the artist

Trevor Paglen
Workers / Las Vegas, NV / Distance – 1 mile, 2006
from the series Limit Telephotography
video
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Chemical and Biological Weapons Proving Ground / Dugway, UT / Distance – 42 miles / 10:51 a.m., 2005
from the series Limit Telephotography
C-print, 3 from an edition of 5
50 x 50 inches
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Unidentified Light Source / Cactus Flats, NV / Distance – 17 miles / 9:45 p.m., 2007
from the series Limit Telephotography
C-print, 1 from an edition of 5
30 x 36 inches
Courtesy of the artist and Bellwether Gallery, New York

Temporary Services
Personal Plastic, 2007
photocopied and offset publications, mounted photographs, banners made from plastic bags, unwanted plastic bags
Courtesy of the artists

Seth Weiner
Cryptographic Payphone, 2008
interactive payphone, chaotic motion system
63 x 15 x 10 inches
Courtesy of the artist

Bart Bridger Woodstrup
Gathering Lore, 2008
computer, custom video software, electronic sensors, weather
Courtesy of the artist

Four sound artists are each invited to create an unchanging radio broadcast. Reacting to a radio culture which accustoms us to the division of time into a grid of discontinuous slices, "Simulcast 1.0b : Saskatoon" is a temporary condition webcast on www.free103point9.org during April, 2008. Four artists are each asked to create an unchanging sound or soundscape. Each of these is webcast continuously over seven consecutive nights. The resulting month-long series reflects on radio's relationship with night and proposes a renewal of radio's relationship with eternity.
"Simulcast 1.0b : Saskatoon" is curated by Montreal-based sound artist Emmanuel Madan, at the initiative of the Saskatoon media arts production centre Paved Arts. The webcasts are hosted by free103point9, a New York-based nonprofit arts organization devoted to Transmission Arts. Webcast nightly on free103point9 Online Radio at www.free103point9.org, April 1 - 28 2008.
Schedule:
Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
All times Central Standard Time (GMT -6). Sunset and sunrise times as observed in Saskatoon, Saskatchewan.

"Western broadcasting is tyrannized by an instrument we have accepted as inviolable: the clock... Radio has become the clock of Western civilization, taking over the function of social timekeeper from the church bell and the factory whistle," said R. Murray Schafer in “Radical Radio,” In EAR Magazine, “Festival for a New Radio” supplement, March 1987.

The idea of "programming" in radio is indissociable from notions of time: we speak of the programming "grid" which represents the subdivision of time according to a two-dimensional Cartesian co-ordinate system; a "schedule" which presumes predictability, punctuality, and periodicity. The time "slots" thus created are further dissected within the confines of each individual programme: news is expected on the hour, weather every seven to ten minutes, regular breaks for advertising spots of 30- or 60-second duration[s] punctuate the remainder. Music programmes fill their time with a battery of pre-recorded songs of similar length; these are then assembled into playlists whose duration is also fixed: "Stay tuned for another thirty-minute non-stop Rock Ride," said a radio DJ on CHOM-FM, Montreal, 2007.

Put simply, radio broadcasting today is an almost exclusively rhythmic affair. Other types of broadcasts do exist, of course. Arno Penzias and Robert Wilson stumbled upon one in 1965, while researching an entirely different phenomenon. They were convinced that their radio telescope was malfunctioning until they realized that they were in fact receiving a signal which had been rocking the universe (commercial-free) since the moment radiation began separating from matter, that is, shortly after the Big Bang. "Scientifically, radio is as old as time," wrote Neil Strauss in the introduction to "Radiotext(e)," published by Semiotext(e) New York 1993.

"Simulcast 1.0b : Saskatoon" proposes to renew radio's link with eternity. It asks four artists to provide a sound, only one sound, which broadcasts continuously and unchangingly for a period of between six and ten hours each night on www.free103point9.org. Each artist's sound is broadcast during seven consecutive nights. As late-night radio listeners well know, strange things can happen on the radio after midnight. There is something about the solitude of night-time listening which brings out radio's best and most original attributes. The densely-packed conformism of daytime programming is loosened. Many smaller broadcasters do not have the resources to staff their station with live DJs during the night hours and resort instead to pre-recorded or automated alternatives. It is unfortunate that the responsibility of broadcasting through the night is often seen as a burden, an unpopular time-slot which is difficult to fill. "Simulcast 1.0b : Saskatoon" recasts the problem as an opportunity, a short test-run for Radio Eternity.

Much has been said about radio's power to transcend space. The standard definition of the word "simulcast" refers to a live broadcast of some public ceremony: a football game, a coronation, a political debate, a state funeral. Events like these bind listeners together, joining disparate spaces into a single location. "Simulcast 1.0b : Saskatoon" applies the idea of simultaneity to time, rather than to space. By bathing listeners in an event which remains unitary for a period of many hours, it suggests a simultaneity between all moments of a broadcast: a collapsing of a long period of time into a single instant.

Schedule

Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
"Danby" is a broadcast composed of a single sound that is the most pervasive in our interior environments: 60 Hz. The frequency 60 Hz is the soundtrack to the electrical currents that power our radios, our appliances, our light. Yet, it is a soundtrack so prevalent in our everyday lives that only at night in the absence of noise do we realize that silence is continually filtered through the buzz and hum of electricity. "Danby" transmits an unchanging loop of the 60 Hz recorded from an everyday household object. By juxtaposing this constant frequency with the 60 Hz that is no doubt also present in listeners' homes, "Danby" creates unpredictable variations and harmonies - a spontaneous simulcast of the singular sound that infiltrates our lives.

GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
"In the 1980's, whenever I wanted to create an all-night broadcast using only a single sound, I would take a long tape-loop and play it through multiple playback heads. This technique always provided a seamless sound sculpture. For "Simulcast 1.0b : Saskatoon," I did something different. Instead of using analog based repetition, I took a short recording of 40 seconds and digitally stretched it into a single ten hour long wave form. The original recording was that of an auto accident, which is a favourite sound source of mine. The resulting effect is very much like ceaseless grinding. Which also happens to be a favourite of mine," wrote Jupitter-Larsen.

Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
"This piece is a recording of seven consecutive nights, each lasting 6 hours, 36 minutes. Two microphones are placed under a ceiling fan on the second floor of a central room in my house. Under the fan hangs a mobile composed of photographs of family members and close friends, illustrating different episodes from my past. In the foreground of the recording we hear the motor of the Westinghouse fan as well as the waving of the photos in the wind. In the background, we can distinguish the ambient sounds of our house at night, as we pass into sleep and back into wakefulness. Over the seven nights, the only measure of time is the evolution of the ambient sounds in the background, changing with the hours of the night and the nights of the week. "7 nuits sous le Westinghouse" is an intimate sound track which offers a view (or a listen) into the passing of time, the memories it leaves us and their effects on our identity," wrote Babin.

Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
In "Tot morgen (à demain)" a chord consisting in two tritones ('diaboli in musica') that overlap each other by a semitone sounds 140 times forwards and 140 times backwards. The unlawful sequence of these soundings forms a palindrome. It spans the interval that separates the beginning of a next day from the end of a previous one, the end of a previous day from the beginning of a next... "until, again, the roar of dawn." (In the first measure of Stockhausen's "Klavierstueck IX," the same chord is played 140 times in an evenly spaced decrescendo that lasts 48 seconds.) "...tezelfder tijd duizend duivels van beneden en van boven duizend goden ..." - a thousand demons from below and from above a thousand gods [ Tip Marugg - De morgen loeit weer aan (The roar of morning), 1988 ].

free103point9 is pleased to contribute a program of works for the Video Gentlemen’s BYOTV exhibition at the New American Art Union in Portland Oregon. Artists contributing work to the free103point9 curated program are listed to the right. Stay tuned for additional artists and work details.

About BYOTV: Late March 2008, The Video Gentlemen’s BYOTV network launches a six-week season of special reports engaged with technocultural turnover from analog airwaves. Transmitted from within the New American Art Union, a variety of interdisciplinary artworks, live presentations, and workshops form inquisitive constellations around topics including e-waste, surveillance, haunted media and media archeology.

Low-wattage transmissions emanate from an array of re-configured electronic detritus distributed around the gallery. Telecommunications, and the distance implicit in its operation is countered by a physical proximity prescribed by the limited range of the BYOTV transmissions. Visitors are encouraged to “bring their own TV,” or borrow one from the gallery, intercepting transmissions from their immediate airspace.

Closely scrutinizing the premise of obsolescence, BYOTV tunes into an alternative agenda, encouraging new modes of cultural production, collaboration and exchange.

Off The Grid features contemporary works which formally and/or conceptually challenge conventional and commercial infrastructures.

Co-presented by the Neuberger Museum of Art and free103point9. Curated by Jacqueline Shilkoff (Neuberger Museum) and Galen Joseph-Hunter, Tianna Kennedy, Tom Roe (free103point9)

Curators’ Statements

Has humankind’s irresponsible production and consumption of energy and resources reached its peak? While regulatory agencies scramble to meet and control the demands of a wireless-obsessed market, a burgeoning urgency about the need to be ecologically responsible has emerged. Off The Grid presents work by thirteen artists examining and reacting to these currents. Works on view propose alternate territories. They repurpose, reuse, and recast communication devices, consumer byproducts, and environmental data. Our culture has long relied on creative practice to invent, innovate, and inspire. Here, the participating artists do so with works that inform, alarm, and entertain.
– Galen Joseph-Hunter

Most of us live, work, and play on the grid. The artists in Off The Grid do not present utopian solutions to complex problems (unsustainability, overconsumption, waste, alienation), but rather invite us all to reinvent, reimagine, and subvert our daily practices through accessible work completed on a human scale. I've enjoyed my conversations with the artists in this exhibition and have been reminded that cultural gridlock is best addressed not with sweeping gestures and apocalyptic arguments, but by working within, around, and perhaps a little outside expectations of art and engagement.
-Tianna Kennedy

The grid is a shifting network of power, distributing social, ecological and intellectual resources. Individuals have agency to engage or withdraw, privatize or empower, collude or disclose. By reevaluating what resources exist and how they are allocated, we redefine our collective identity and personal ideology. It is hopeful that art as activism, as intervention, can produce awareness and change.
-Jacqueline Shilkoff

Checklist of exhibited works
(Please select an artist or work title from the menu to the right for additional information.)

Matt Bua
World Grid – Square World, 2008
ink, collage, paint, pencil on paper
39 x 63 1/2 inches
Courtesy of the artist and Derek Eller Gallery, New York

Benjamin Cohen, Dylan J. Gauthier, and Stephan von Muehlen
Mare Liberum, 2008
blueprint, distributed broadsheet, boat
broadsheet: 24 x 36 inches, boat: 12 feet
Courtesy of the artists

EcoArtTech: Christine Nadir and Cary Peppermint
Environmental Risk Assessment Rover - AT, 2008
solar panels, recycled shipping pallets, industrial garden wagon, video projector, MAC-mini computer, GPS, WiFi, found built and natural surfaces
Courtesy of the artists

eteam International Airport Montello, 2007-08
three-channel projection, map, figures, photographs
Courtesy of the artists

Max Goldfarb
Ambulant Transceivers, 2008
vintage first-aid kits made into two-way radios
Courtesy of the artist

Louis Hock
Nightscope Series, 1985-2003
digital pigment prints
17 x 24 inches each
Courtesy of the artist

Louis Hock
Feral, 2004
two-channel video installation
sound: Louis Hock and Peter Otto
Courtesy of the artist

Nina Katchadourian
Quit Using Us, 2002
c-print mounted on aluminum
18 x 96 inches
Courtesy of the artist and Sara Meltzer Gallery

Nina Katchadourian
Ant Static, 2003
video loop with sound
Courtesy of the artist and Sara Meltzer Gallery

Kristin Lucas
More Melting, 2008
wax, wick, fire
Courtesy of the artist

Joe McKay
Hi Hat Phone, 2007
cell phone, high hat stand, wood, speakers
Courtesy of the artist

Trevor Paglen
Workers / Las Vegas, NV / Distance – 1 mile, 2006
from the series Limit Telephotography
video
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Chemical and Biological Weapons Proving Ground / Dugway, UT / Distance – 42 miles / 10:51 a.m., 2005
from the series Limit Telephotography
C-print, 3 from an edition of 5
50 x 50 inches
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Unidentified Light Source / Cactus Flats, NV / Distance – 17 miles / 9:45 p.m., 2007
from the series Limit Telephotography
C-print, 1 from an edition of 5
30 x 36 inches
Courtesy of the artist and Bellwether Gallery, New York

Temporary Services
Personal Plastic, 2007
photocopied and offset publications, mounted photographs, banners made from plastic bags, unwanted plastic bags
Courtesy of the artists

Seth Weiner
Cryptographic Payphone, 2008
interactive payphone, chaotic motion system
63 x 15 x 10 inches
Courtesy of the artist

Bart Bridger Woodstrup
Gathering Lore, 2008
computer, custom video software, electronic sensors, weather
Courtesy of the artist

Four sound artists are each invited to create an unchanging radio broadcast. Reacting to a radio culture which accustoms us to the division of time into a grid of discontinuous slices, "Simulcast 1.0b : Saskatoon" is a temporary condition webcast on www.free103point9.org during April, 2008. Four artists are each asked to create an unchanging sound or soundscape. Each of these is webcast continuously over seven consecutive nights. The resulting month-long series reflects on radio's relationship with night and proposes a renewal of radio's relationship with eternity.
"Simulcast 1.0b : Saskatoon" is curated by Montreal-based sound artist Emmanuel Madan, at the initiative of the Saskatoon media arts production centre Paved Arts. The webcasts are hosted by free103point9, a New York-based nonprofit arts organization devoted to Transmission Arts. Webcast nightly on free103point9 Online Radio at www.free103point9.org, April 1 - 28 2008.
Schedule:
Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
All times Central Standard Time (GMT -6). Sunset and sunrise times as observed in Saskatoon, Saskatchewan.

"Western broadcasting is tyrannized by an instrument we have accepted as inviolable: the clock... Radio has become the clock of Western civilization, taking over the function of social timekeeper from the church bell and the factory whistle," said R. Murray Schafer in “Radical Radio,” In EAR Magazine, “Festival for a New Radio” supplement, March 1987.

The idea of "programming" in radio is indissociable from notions of time: we speak of the programming "grid" which represents the subdivision of time according to a two-dimensional Cartesian co-ordinate system; a "schedule" which presumes predictability, punctuality, and periodicity. The time "slots" thus created are further dissected within the confines of each individual programme: news is expected on the hour, weather every seven to ten minutes, regular breaks for advertising spots of 30- or 60-second duration[s] punctuate the remainder. Music programmes fill their time with a battery of pre-recorded songs of similar length; these are then assembled into playlists whose duration is also fixed: "Stay tuned for another thirty-minute non-stop Rock Ride," said a radio DJ on CHOM-FM, Montreal, 2007.

Put simply, radio broadcasting today is an almost exclusively rhythmic affair. Other types of broadcasts do exist, of course. Arno Penzias and Robert Wilson stumbled upon one in 1965, while researching an entirely different phenomenon. They were convinced that their radio telescope was malfunctioning until they realized that they were in fact receiving a signal which had been rocking the universe (commercial-free) since the moment radiation began separating from matter, that is, shortly after the Big Bang. "Scientifically, radio is as old as time," wrote Neil Strauss in the introduction to "Radiotext(e)," published by Semiotext(e) New York 1993.

"Simulcast 1.0b : Saskatoon" proposes to renew radio's link with eternity. It asks four artists to provide a sound, only one sound, which broadcasts continuously and unchangingly for a period of between six and ten hours each night on www.free103point9.org. Each artist's sound is broadcast during seven consecutive nights. As late-night radio listeners well know, strange things can happen on the radio after midnight. There is something about the solitude of night-time listening which brings out radio's best and most original attributes. The densely-packed conformism of daytime programming is loosened. Many smaller broadcasters do not have the resources to staff their station with live DJs during the night hours and resort instead to pre-recorded or automated alternatives. It is unfortunate that the responsibility of broadcasting through the night is often seen as a burden, an unpopular time-slot which is difficult to fill. "Simulcast 1.0b : Saskatoon" recasts the problem as an opportunity, a short test-run for Radio Eternity.

Much has been said about radio's power to transcend space. The standard definition of the word "simulcast" refers to a live broadcast of some public ceremony: a football game, a coronation, a political debate, a state funeral. Events like these bind listeners together, joining disparate spaces into a single location. "Simulcast 1.0b : Saskatoon" applies the idea of simultaneity to time, rather than to space. By bathing listeners in an event which remains unitary for a period of many hours, it suggests a simultaneity between all moments of a broadcast: a collapsing of a long period of time into a single instant.

Schedule

Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
"Danby" is a broadcast composed of a single sound that is the most pervasive in our interior environments: 60 Hz. The frequency 60 Hz is the soundtrack to the electrical currents that power our radios, our appliances, our light. Yet, it is a soundtrack so prevalent in our everyday lives that only at night in the absence of noise do we realize that silence is continually filtered through the buzz and hum of electricity. "Danby" transmits an unchanging loop of the 60 Hz recorded from an everyday household object. By juxtaposing this constant frequency with the 60 Hz that is no doubt also present in listeners' homes, "Danby" creates unpredictable variations and harmonies - a spontaneous simulcast of the singular sound that infiltrates our lives.

GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
"In the 1980's, whenever I wanted to create an all-night broadcast using only a single sound, I would take a long tape-loop and play it through multiple playback heads. This technique always provided a seamless sound sculpture. For "Simulcast 1.0b : Saskatoon," I did something different. Instead of using analog based repetition, I took a short recording of 40 seconds and digitally stretched it into a single ten hour long wave form. The original recording was that of an auto accident, which is a favourite sound source of mine. The resulting effect is very much like ceaseless grinding. Which also happens to be a favourite of mine," wrote Jupitter-Larsen.

Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
"This piece is a recording of seven consecutive nights, each lasting 6 hours, 36 minutes. Two microphones are placed under a ceiling fan on the second floor of a central room in my house. Under the fan hangs a mobile composed of photographs of family members and close friends, illustrating different episodes from my past. In the foreground of the recording we hear the motor of the Westinghouse fan as well as the waving of the photos in the wind. In the background, we can distinguish the ambient sounds of our house at night, as we pass into sleep and back into wakefulness. Over the seven nights, the only measure of time is the evolution of the ambient sounds in the background, changing with the hours of the night and the nights of the week. "7 nuits sous le Westinghouse" is an intimate sound track which offers a view (or a listen) into the passing of time, the memories it leaves us and their effects on our identity," wrote Babin.

Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
In "Tot morgen (à demain)" a chord consisting in two tritones ('diaboli in musica') that overlap each other by a semitone sounds 140 times forwards and 140 times backwards. The unlawful sequence of these soundings forms a palindrome. It spans the interval that separates the beginning of a next day from the end of a previous one, the end of a previous day from the beginning of a next... "until, again, the roar of dawn." (In the first measure of Stockhausen's "Klavierstueck IX," the same chord is played 140 times in an evenly spaced decrescendo that lasts 48 seconds.) "...tezelfder tijd duizend duivels van beneden en van boven duizend goden ..." - a thousand demons from below and from above a thousand gods [ Tip Marugg - De morgen loeit weer aan (The roar of morning), 1988 ].

free103point9 is pleased to contribute a program of works for the Video Gentlemen’s BYOTV exhibition at the New American Art Union in Portland Oregon. Artists contributing work to the free103point9 curated program are listed to the right. Stay tuned for additional artists and work details.

About BYOTV: Late March 2008, The Video Gentlemen’s BYOTV network launches a six-week season of special reports engaged with technocultural turnover from analog airwaves. Transmitted from within the New American Art Union, a variety of interdisciplinary artworks, live presentations, and workshops form inquisitive constellations around topics including e-waste, surveillance, haunted media and media archeology.

Low-wattage transmissions emanate from an array of re-configured electronic detritus distributed around the gallery. Telecommunications, and the distance implicit in its operation is countered by a physical proximity prescribed by the limited range of the BYOTV transmissions. Visitors are encouraged to “bring their own TV,” or borrow one from the gallery, intercepting transmissions from their immediate airspace.

Closely scrutinizing the premise of obsolescence, BYOTV tunes into an alternative agenda, encouraging new modes of cultural production, collaboration and exchange.

Off The Grid features contemporary works which formally and/or conceptually challenge conventional and commercial infrastructures.

Co-presented by the Neuberger Museum of Art and free103point9. Curated by Jacqueline Shilkoff (Neuberger Museum) and Galen Joseph-Hunter, Tianna Kennedy, Tom Roe (free103point9)

Curators’ Statements

Has humankind’s irresponsible production and consumption of energy and resources reached its peak? While regulatory agencies scramble to meet and control the demands of a wireless-obsessed market, a burgeoning urgency about the need to be ecologically responsible has emerged. Off The Grid presents work by thirteen artists examining and reacting to these currents. Works on view propose alternate territories. They repurpose, reuse, and recast communication devices, consumer byproducts, and environmental data. Our culture has long relied on creative practice to invent, innovate, and inspire. Here, the participating artists do so with works that inform, alarm, and entertain.
– Galen Joseph-Hunter

Most of us live, work, and play on the grid. The artists in Off The Grid do not present utopian solutions to complex problems (unsustainability, overconsumption, waste, alienation), but rather invite us all to reinvent, reimagine, and subvert our daily practices through accessible work completed on a human scale. I've enjoyed my conversations with the artists in this exhibition and have been reminded that cultural gridlock is best addressed not with sweeping gestures and apocalyptic arguments, but by working within, around, and perhaps a little outside expectations of art and engagement.
-Tianna Kennedy

The grid is a shifting network of power, distributing social, ecological and intellectual resources. Individuals have agency to engage or withdraw, privatize or empower, collude or disclose. By reevaluating what resources exist and how they are allocated, we redefine our collective identity and personal ideology. It is hopeful that art as activism, as intervention, can produce awareness and change.
-Jacqueline Shilkoff

Checklist of exhibited works
(Please select an artist or work title from the menu to the right for additional information.)

Matt Bua
World Grid – Square World, 2008
ink, collage, paint, pencil on paper
39 x 63 1/2 inches
Courtesy of the artist and Derek Eller Gallery, New York

Benjamin Cohen, Dylan J. Gauthier, and Stephan von Muehlen
Mare Liberum, 2008
blueprint, distributed broadsheet, boat
broadsheet: 24 x 36 inches, boat: 12 feet
Courtesy of the artists

EcoArtTech: Christine Nadir and Cary Peppermint
Environmental Risk Assessment Rover - AT, 2008
solar panels, recycled shipping pallets, industrial garden wagon, video projector, MAC-mini computer, GPS, WiFi, found built and natural surfaces
Courtesy of the artists

eteam International Airport Montello, 2007-08
three-channel projection, map, figures, photographs
Courtesy of the artists

Max Goldfarb
Ambulant Transceivers, 2008
vintage first-aid kits made into two-way radios
Courtesy of the artist

Louis Hock
Nightscope Series, 1985-2003
digital pigment prints
17 x 24 inches each
Courtesy of the artist

Louis Hock
Feral, 2004
two-channel video installation
sound: Louis Hock and Peter Otto
Courtesy of the artist

Nina Katchadourian
Quit Using Us, 2002
c-print mounted on aluminum
18 x 96 inches
Courtesy of the artist and Sara Meltzer Gallery

Nina Katchadourian
Ant Static, 2003
video loop with sound
Courtesy of the artist and Sara Meltzer Gallery

Kristin Lucas
More Melting, 2008
wax, wick, fire
Courtesy of the artist

Joe McKay
Hi Hat Phone, 2007
cell phone, high hat stand, wood, speakers
Courtesy of the artist

Trevor Paglen
Workers / Las Vegas, NV / Distance – 1 mile, 2006
from the series Limit Telephotography
video
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Chemical and Biological Weapons Proving Ground / Dugway, UT / Distance – 42 miles / 10:51 a.m., 2005
from the series Limit Telephotography
C-print, 3 from an edition of 5
50 x 50 inches
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Unidentified Light Source / Cactus Flats, NV / Distance – 17 miles / 9:45 p.m., 2007
from the series Limit Telephotography
C-print, 1 from an edition of 5
30 x 36 inches
Courtesy of the artist and Bellwether Gallery, New York

Temporary Services
Personal Plastic, 2007
photocopied and offset publications, mounted photographs, banners made from plastic bags, unwanted plastic bags
Courtesy of the artists

Seth Weiner
Cryptographic Payphone, 2008
interactive payphone, chaotic motion system
63 x 15 x 10 inches
Courtesy of the artist

Bart Bridger Woodstrup
Gathering Lore, 2008
computer, custom video software, electronic sensors, weather
Courtesy of the artist

Four sound artists are each invited to create an unchanging radio broadcast. Reacting to a radio culture which accustoms us to the division of time into a grid of discontinuous slices, "Simulcast 1.0b : Saskatoon" is a temporary condition webcast on www.free103point9.org during April, 2008. Four artists are each asked to create an unchanging sound or soundscape. Each of these is webcast continuously over seven consecutive nights. The resulting month-long series reflects on radio's relationship with night and proposes a renewal of radio's relationship with eternity.
"Simulcast 1.0b : Saskatoon" is curated by Montreal-based sound artist Emmanuel Madan, at the initiative of the Saskatoon media arts production centre Paved Arts. The webcasts are hosted by free103point9, a New York-based nonprofit arts organization devoted to Transmission Arts. Webcast nightly on free103point9 Online Radio at www.free103point9.org, April 1 - 28 2008.
Schedule:
Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
All times Central Standard Time (GMT -6). Sunset and sunrise times as observed in Saskatoon, Saskatchewan.

"Western broadcasting is tyrannized by an instrument we have accepted as inviolable: the clock... Radio has become the clock of Western civilization, taking over the function of social timekeeper from the church bell and the factory whistle," said R. Murray Schafer in “Radical Radio,” In EAR Magazine, “Festival for a New Radio” supplement, March 1987.

The idea of "programming" in radio is indissociable from notions of time: we speak of the programming "grid" which represents the subdivision of time according to a two-dimensional Cartesian co-ordinate system; a "schedule" which presumes predictability, punctuality, and periodicity. The time "slots" thus created are further dissected within the confines of each individual programme: news is expected on the hour, weather every seven to ten minutes, regular breaks for advertising spots of 30- or 60-second duration[s] punctuate the remainder. Music programmes fill their time with a battery of pre-recorded songs of similar length; these are then assembled into playlists whose duration is also fixed: "Stay tuned for another thirty-minute non-stop Rock Ride," said a radio DJ on CHOM-FM, Montreal, 2007.

Put simply, radio broadcasting today is an almost exclusively rhythmic affair. Other types of broadcasts do exist, of course. Arno Penzias and Robert Wilson stumbled upon one in 1965, while researching an entirely different phenomenon. They were convinced that their radio telescope was malfunctioning until they realized that they were in fact receiving a signal which had been rocking the universe (commercial-free) since the moment radiation began separating from matter, that is, shortly after the Big Bang. "Scientifically, radio is as old as time," wrote Neil Strauss in the introduction to "Radiotext(e)," published by Semiotext(e) New York 1993.

"Simulcast 1.0b : Saskatoon" proposes to renew radio's link with eternity. It asks four artists to provide a sound, only one sound, which broadcasts continuously and unchangingly for a period of between six and ten hours each night on www.free103point9.org. Each artist's sound is broadcast during seven consecutive nights. As late-night radio listeners well know, strange things can happen on the radio after midnight. There is something about the solitude of night-time listening which brings out radio's best and most original attributes. The densely-packed conformism of daytime programming is loosened. Many smaller broadcasters do not have the resources to staff their station with live DJs during the night hours and resort instead to pre-recorded or automated alternatives. It is unfortunate that the responsibility of broadcasting through the night is often seen as a burden, an unpopular time-slot which is difficult to fill. "Simulcast 1.0b : Saskatoon" recasts the problem as an opportunity, a short test-run for Radio Eternity.

Much has been said about radio's power to transcend space. The standard definition of the word "simulcast" refers to a live broadcast of some public ceremony: a football game, a coronation, a political debate, a state funeral. Events like these bind listeners together, joining disparate spaces into a single location. "Simulcast 1.0b : Saskatoon" applies the idea of simultaneity to time, rather than to space. By bathing listeners in an event which remains unitary for a period of many hours, it suggests a simultaneity between all moments of a broadcast: a collapsing of a long period of time into a single instant.

Schedule

Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
"Danby" is a broadcast composed of a single sound that is the most pervasive in our interior environments: 60 Hz. The frequency 60 Hz is the soundtrack to the electrical currents that power our radios, our appliances, our light. Yet, it is a soundtrack so prevalent in our everyday lives that only at night in the absence of noise do we realize that silence is continually filtered through the buzz and hum of electricity. "Danby" transmits an unchanging loop of the 60 Hz recorded from an everyday household object. By juxtaposing this constant frequency with the 60 Hz that is no doubt also present in listeners' homes, "Danby" creates unpredictable variations and harmonies - a spontaneous simulcast of the singular sound that infiltrates our lives.

GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
"In the 1980's, whenever I wanted to create an all-night broadcast using only a single sound, I would take a long tape-loop and play it through multiple playback heads. This technique always provided a seamless sound sculpture. For "Simulcast 1.0b : Saskatoon," I did something different. Instead of using analog based repetition, I took a short recording of 40 seconds and digitally stretched it into a single ten hour long wave form. The original recording was that of an auto accident, which is a favourite sound source of mine. The resulting effect is very much like ceaseless grinding. Which also happens to be a favourite of mine," wrote Jupitter-Larsen.

Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
"This piece is a recording of seven consecutive nights, each lasting 6 hours, 36 minutes. Two microphones are placed under a ceiling fan on the second floor of a central room in my house. Under the fan hangs a mobile composed of photographs of family members and close friends, illustrating different episodes from my past. In the foreground of the recording we hear the motor of the Westinghouse fan as well as the waving of the photos in the wind. In the background, we can distinguish the ambient sounds of our house at night, as we pass into sleep and back into wakefulness. Over the seven nights, the only measure of time is the evolution of the ambient sounds in the background, changing with the hours of the night and the nights of the week. "7 nuits sous le Westinghouse" is an intimate sound track which offers a view (or a listen) into the passing of time, the memories it leaves us and their effects on our identity," wrote Babin.

Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
In "Tot morgen (à demain)" a chord consisting in two tritones ('diaboli in musica') that overlap each other by a semitone sounds 140 times forwards and 140 times backwards. The unlawful sequence of these soundings forms a palindrome. It spans the interval that separates the beginning of a next day from the end of a previous one, the end of a previous day from the beginning of a next... "until, again, the roar of dawn." (In the first measure of Stockhausen's "Klavierstueck IX," the same chord is played 140 times in an evenly spaced decrescendo that lasts 48 seconds.) "...tezelfder tijd duizend duivels van beneden en van boven duizend goden ..." - a thousand demons from below and from above a thousand gods [ Tip Marugg - De morgen loeit weer aan (The roar of morning), 1988 ].

free103point9 is pleased to contribute a program of works for the Video Gentlemen’s BYOTV exhibition at the New American Art Union in Portland Oregon. Artists contributing work to the free103point9 curated program are listed to the right. Stay tuned for additional artists and work details.

About BYOTV: Late March 2008, The Video Gentlemen’s BYOTV network launches a six-week season of special reports engaged with technocultural turnover from analog airwaves. Transmitted from within the New American Art Union, a variety of interdisciplinary artworks, live presentations, and workshops form inquisitive constellations around topics including e-waste, surveillance, haunted media and media archeology.

Low-wattage transmissions emanate from an array of re-configured electronic detritus distributed around the gallery. Telecommunications, and the distance implicit in its operation is countered by a physical proximity prescribed by the limited range of the BYOTV transmissions. Visitors are encouraged to “bring their own TV,” or borrow one from the gallery, intercepting transmissions from their immediate airspace.

Closely scrutinizing the premise of obsolescence, BYOTV tunes into an alternative agenda, encouraging new modes of cultural production, collaboration and exchange.

Off The Grid features contemporary works which formally and/or conceptually challenge conventional and commercial infrastructures.

Co-presented by the Neuberger Museum of Art and free103point9. Curated by Jacqueline Shilkoff (Neuberger Museum) and Galen Joseph-Hunter, Tianna Kennedy, Tom Roe (free103point9)

Curators’ Statements

Has humankind’s irresponsible production and consumption of energy and resources reached its peak? While regulatory agencies scramble to meet and control the demands of a wireless-obsessed market, a burgeoning urgency about the need to be ecologically responsible has emerged. Off The Grid presents work by thirteen artists examining and reacting to these currents. Works on view propose alternate territories. They repurpose, reuse, and recast communication devices, consumer byproducts, and environmental data. Our culture has long relied on creative practice to invent, innovate, and inspire. Here, the participating artists do so with works that inform, alarm, and entertain.
– Galen Joseph-Hunter

Most of us live, work, and play on the grid. The artists in Off The Grid do not present utopian solutions to complex problems (unsustainability, overconsumption, waste, alienation), but rather invite us all to reinvent, reimagine, and subvert our daily practices through accessible work completed on a human scale. I've enjoyed my conversations with the artists in this exhibition and have been reminded that cultural gridlock is best addressed not with sweeping gestures and apocalyptic arguments, but by working within, around, and perhaps a little outside expectations of art and engagement.
-Tianna Kennedy

The grid is a shifting network of power, distributing social, ecological and intellectual resources. Individuals have agency to engage or withdraw, privatize or empower, collude or disclose. By reevaluating what resources exist and how they are allocated, we redefine our collective identity and personal ideology. It is hopeful that art as activism, as intervention, can produce awareness and change.
-Jacqueline Shilkoff

Checklist of exhibited works
(Please select an artist or work title from the menu to the right for additional information.)

Matt Bua
World Grid – Square World, 2008
ink, collage, paint, pencil on paper
39 x 63 1/2 inches
Courtesy of the artist and Derek Eller Gallery, New York

Benjamin Cohen, Dylan J. Gauthier, and Stephan von Muehlen
Mare Liberum, 2008
blueprint, distributed broadsheet, boat
broadsheet: 24 x 36 inches, boat: 12 feet
Courtesy of the artists

EcoArtTech: Christine Nadir and Cary Peppermint
Environmental Risk Assessment Rover - AT, 2008
solar panels, recycled shipping pallets, industrial garden wagon, video projector, MAC-mini computer, GPS, WiFi, found built and natural surfaces
Courtesy of the artists

eteam International Airport Montello, 2007-08
three-channel projection, map, figures, photographs
Courtesy of the artists

Max Goldfarb
Ambulant Transceivers, 2008
vintage first-aid kits made into two-way radios
Courtesy of the artist

Louis Hock
Nightscope Series, 1985-2003
digital pigment prints
17 x 24 inches each
Courtesy of the artist

Louis Hock
Feral, 2004
two-channel video installation
sound: Louis Hock and Peter Otto
Courtesy of the artist

Nina Katchadourian
Quit Using Us, 2002
c-print mounted on aluminum
18 x 96 inches
Courtesy of the artist and Sara Meltzer Gallery

Nina Katchadourian
Ant Static, 2003
video loop with sound
Courtesy of the artist and Sara Meltzer Gallery

Kristin Lucas
More Melting, 2008
wax, wick, fire
Courtesy of the artist

Joe McKay
Hi Hat Phone, 2007
cell phone, high hat stand, wood, speakers
Courtesy of the artist

Trevor Paglen
Workers / Las Vegas, NV / Distance – 1 mile, 2006
from the series Limit Telephotography
video
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Chemical and Biological Weapons Proving Ground / Dugway, UT / Distance – 42 miles / 10:51 a.m., 2005
from the series Limit Telephotography
C-print, 3 from an edition of 5
50 x 50 inches
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Unidentified Light Source / Cactus Flats, NV / Distance – 17 miles / 9:45 p.m., 2007
from the series Limit Telephotography
C-print, 1 from an edition of 5
30 x 36 inches
Courtesy of the artist and Bellwether Gallery, New York

Temporary Services
Personal Plastic, 2007
photocopied and offset publications, mounted photographs, banners made from plastic bags, unwanted plastic bags
Courtesy of the artists

Seth Weiner
Cryptographic Payphone, 2008
interactive payphone, chaotic motion system
63 x 15 x 10 inches
Courtesy of the artist

Bart Bridger Woodstrup
Gathering Lore, 2008
computer, custom video software, electronic sensors, weather
Courtesy of the artist

Four sound artists are each invited to create an unchanging radio broadcast. Reacting to a radio culture which accustoms us to the division of time into a grid of discontinuous slices, "Simulcast 1.0b : Saskatoon" is a temporary condition webcast on www.free103point9.org during April, 2008. Four artists are each asked to create an unchanging sound or soundscape. Each of these is webcast continuously over seven consecutive nights. The resulting month-long series reflects on radio's relationship with night and proposes a renewal of radio's relationship with eternity.
"Simulcast 1.0b : Saskatoon" is curated by Montreal-based sound artist Emmanuel Madan, at the initiative of the Saskatoon media arts production centre Paved Arts. The webcasts are hosted by free103point9, a New York-based nonprofit arts organization devoted to Transmission Arts. Webcast nightly on free103point9 Online Radio at www.free103point9.org, April 1 - 28 2008.
Schedule:
Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
All times Central Standard Time (GMT -6). Sunset and sunrise times as observed in Saskatoon, Saskatchewan.

"Western broadcasting is tyrannized by an instrument we have accepted as inviolable: the clock... Radio has become the clock of Western civilization, taking over the function of social timekeeper from the church bell and the factory whistle," said R. Murray Schafer in “Radical Radio,” In EAR Magazine, “Festival for a New Radio” supplement, March 1987.

The idea of "programming" in radio is indissociable from notions of time: we speak of the programming "grid" which represents the subdivision of time according to a two-dimensional Cartesian co-ordinate system; a "schedule" which presumes predictability, punctuality, and periodicity. The time "slots" thus created are further dissected within the confines of each individual programme: news is expected on the hour, weather every seven to ten minutes, regular breaks for advertising spots of 30- or 60-second duration[s] punctuate the remainder. Music programmes fill their time with a battery of pre-recorded songs of similar length; these are then assembled into playlists whose duration is also fixed: "Stay tuned for another thirty-minute non-stop Rock Ride," said a radio DJ on CHOM-FM, Montreal, 2007.

Put simply, radio broadcasting today is an almost exclusively rhythmic affair. Other types of broadcasts do exist, of course. Arno Penzias and Robert Wilson stumbled upon one in 1965, while researching an entirely different phenomenon. They were convinced that their radio telescope was malfunctioning until they realized that they were in fact receiving a signal which had been rocking the universe (commercial-free) since the moment radiation began separating from matter, that is, shortly after the Big Bang. "Scientifically, radio is as old as time," wrote Neil Strauss in the introduction to "Radiotext(e)," published by Semiotext(e) New York 1993.

"Simulcast 1.0b : Saskatoon" proposes to renew radio's link with eternity. It asks four artists to provide a sound, only one sound, which broadcasts continuously and unchangingly for a period of between six and ten hours each night on www.free103point9.org. Each artist's sound is broadcast during seven consecutive nights. As late-night radio listeners well know, strange things can happen on the radio after midnight. There is something about the solitude of night-time listening which brings out radio's best and most original attributes. The densely-packed conformism of daytime programming is loosened. Many smaller broadcasters do not have the resources to staff their station with live DJs during the night hours and resort instead to pre-recorded or automated alternatives. It is unfortunate that the responsibility of broadcasting through the night is often seen as a burden, an unpopular time-slot which is difficult to fill. "Simulcast 1.0b : Saskatoon" recasts the problem as an opportunity, a short test-run for Radio Eternity.

Much has been said about radio's power to transcend space. The standard definition of the word "simulcast" refers to a live broadcast of some public ceremony: a football game, a coronation, a political debate, a state funeral. Events like these bind listeners together, joining disparate spaces into a single location. "Simulcast 1.0b : Saskatoon" applies the idea of simultaneity to time, rather than to space. By bathing listeners in an event which remains unitary for a period of many hours, it suggests a simultaneity between all moments of a broadcast: a collapsing of a long period of time into a single instant.

Schedule

Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
"Danby" is a broadcast composed of a single sound that is the most pervasive in our interior environments: 60 Hz. The frequency 60 Hz is the soundtrack to the electrical currents that power our radios, our appliances, our light. Yet, it is a soundtrack so prevalent in our everyday lives that only at night in the absence of noise do we realize that silence is continually filtered through the buzz and hum of electricity. "Danby" transmits an unchanging loop of the 60 Hz recorded from an everyday household object. By juxtaposing this constant frequency with the 60 Hz that is no doubt also present in listeners' homes, "Danby" creates unpredictable variations and harmonies - a spontaneous simulcast of the singular sound that infiltrates our lives.

GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
"In the 1980's, whenever I wanted to create an all-night broadcast using only a single sound, I would take a long tape-loop and play it through multiple playback heads. This technique always provided a seamless sound sculpture. For "Simulcast 1.0b : Saskatoon," I did something different. Instead of using analog based repetition, I took a short recording of 40 seconds and digitally stretched it into a single ten hour long wave form. The original recording was that of an auto accident, which is a favourite sound source of mine. The resulting effect is very much like ceaseless grinding. Which also happens to be a favourite of mine," wrote Jupitter-Larsen.

Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
"This piece is a recording of seven consecutive nights, each lasting 6 hours, 36 minutes. Two microphones are placed under a ceiling fan on the second floor of a central room in my house. Under the fan hangs a mobile composed of photographs of family members and close friends, illustrating different episodes from my past. In the foreground of the recording we hear the motor of the Westinghouse fan as well as the waving of the photos in the wind. In the background, we can distinguish the ambient sounds of our house at night, as we pass into sleep and back into wakefulness. Over the seven nights, the only measure of time is the evolution of the ambient sounds in the background, changing with the hours of the night and the nights of the week. "7 nuits sous le Westinghouse" is an intimate sound track which offers a view (or a listen) into the passing of time, the memories it leaves us and their effects on our identity," wrote Babin.

Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
In "Tot morgen (à demain)" a chord consisting in two tritones ('diaboli in musica') that overlap each other by a semitone sounds 140 times forwards and 140 times backwards. The unlawful sequence of these soundings forms a palindrome. It spans the interval that separates the beginning of a next day from the end of a previous one, the end of a previous day from the beginning of a next... "until, again, the roar of dawn." (In the first measure of Stockhausen's "Klavierstueck IX," the same chord is played 140 times in an evenly spaced decrescendo that lasts 48 seconds.) "...tezelfder tijd duizend duivels van beneden en van boven duizend goden ..." - a thousand demons from below and from above a thousand gods [ Tip Marugg - De morgen loeit weer aan (The roar of morning), 1988 ].

free103point9 is pleased to contribute a program of works for the Video Gentlemen’s BYOTV exhibition at the New American Art Union in Portland Oregon. Artists contributing work to the free103point9 curated program are listed to the right. Stay tuned for additional artists and work details.

About BYOTV: Late March 2008, The Video Gentlemen’s BYOTV network launches a six-week season of special reports engaged with technocultural turnover from analog airwaves. Transmitted from within the New American Art Union, a variety of interdisciplinary artworks, live presentations, and workshops form inquisitive constellations around topics including e-waste, surveillance, haunted media and media archeology.

Low-wattage transmissions emanate from an array of re-configured electronic detritus distributed around the gallery. Telecommunications, and the distance implicit in its operation is countered by a physical proximity prescribed by the limited range of the BYOTV transmissions. Visitors are encouraged to “bring their own TV,” or borrow one from the gallery, intercepting transmissions from their immediate airspace.

Closely scrutinizing the premise of obsolescence, BYOTV tunes into an alternative agenda, encouraging new modes of cultural production, collaboration and exchange.

Off The Grid features contemporary works which formally and/or conceptually challenge conventional and commercial infrastructures.

Co-presented by the Neuberger Museum of Art and free103point9. Curated by Jacqueline Shilkoff (Neuberger Museum) and Galen Joseph-Hunter, Tianna Kennedy, Tom Roe (free103point9)

Curators’ Statements

Has humankind’s irresponsible production and consumption of energy and resources reached its peak? While regulatory agencies scramble to meet and control the demands of a wireless-obsessed market, a burgeoning urgency about the need to be ecologically responsible has emerged. Off The Grid presents work by thirteen artists examining and reacting to these currents. Works on view propose alternate territories. They repurpose, reuse, and recast communication devices, consumer byproducts, and environmental data. Our culture has long relied on creative practice to invent, innovate, and inspire. Here, the participating artists do so with works that inform, alarm, and entertain.
– Galen Joseph-Hunter

Most of us live, work, and play on the grid. The artists in Off The Grid do not present utopian solutions to complex problems (unsustainability, overconsumption, waste, alienation), but rather invite us all to reinvent, reimagine, and subvert our daily practices through accessible work completed on a human scale. I've enjoyed my conversations with the artists in this exhibition and have been reminded that cultural gridlock is best addressed not with sweeping gestures and apocalyptic arguments, but by working within, around, and perhaps a little outside expectations of art and engagement.
-Tianna Kennedy

The grid is a shifting network of power, distributing social, ecological and intellectual resources. Individuals have agency to engage or withdraw, privatize or empower, collude or disclose. By reevaluating what resources exist and how they are allocated, we redefine our collective identity and personal ideology. It is hopeful that art as activism, as intervention, can produce awareness and change.
-Jacqueline Shilkoff

Checklist of exhibited works
(Please select an artist or work title from the menu to the right for additional information.)

Matt Bua
World Grid – Square World, 2008
ink, collage, paint, pencil on paper
39 x 63 1/2 inches
Courtesy of the artist and Derek Eller Gallery, New York

Benjamin Cohen, Dylan J. Gauthier, and Stephan von Muehlen
Mare Liberum, 2008
blueprint, distributed broadsheet, boat
broadsheet: 24 x 36 inches, boat: 12 feet
Courtesy of the artists

EcoArtTech: Christine Nadir and Cary Peppermint
Environmental Risk Assessment Rover - AT, 2008
solar panels, recycled shipping pallets, industrial garden wagon, video projector, MAC-mini computer, GPS, WiFi, found built and natural surfaces
Courtesy of the artists

eteam International Airport Montello, 2007-08
three-channel projection, map, figures, photographs
Courtesy of the artists

Max Goldfarb
Ambulant Transceivers, 2008
vintage first-aid kits made into two-way radios
Courtesy of the artist

Louis Hock
Nightscope Series, 1985-2003
digital pigment prints
17 x 24 inches each
Courtesy of the artist

Louis Hock
Feral, 2004
two-channel video installation
sound: Louis Hock and Peter Otto
Courtesy of the artist

Nina Katchadourian
Quit Using Us, 2002
c-print mounted on aluminum
18 x 96 inches
Courtesy of the artist and Sara Meltzer Gallery

Nina Katchadourian
Ant Static, 2003
video loop with sound
Courtesy of the artist and Sara Meltzer Gallery

Kristin Lucas
More Melting, 2008
wax, wick, fire
Courtesy of the artist

Joe McKay
Hi Hat Phone, 2007
cell phone, high hat stand, wood, speakers
Courtesy of the artist

Trevor Paglen
Workers / Las Vegas, NV / Distance – 1 mile, 2006
from the series Limit Telephotography
video
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Chemical and Biological Weapons Proving Ground / Dugway, UT / Distance – 42 miles / 10:51 a.m., 2005
from the series Limit Telephotography
C-print, 3 from an edition of 5
50 x 50 inches
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Unidentified Light Source / Cactus Flats, NV / Distance – 17 miles / 9:45 p.m., 2007
from the series Limit Telephotography
C-print, 1 from an edition of 5
30 x 36 inches
Courtesy of the artist and Bellwether Gallery, New York

Temporary Services
Personal Plastic, 2007
photocopied and offset publications, mounted photographs, banners made from plastic bags, unwanted plastic bags
Courtesy of the artists

Seth Weiner
Cryptographic Payphone, 2008
interactive payphone, chaotic motion system
63 x 15 x 10 inches
Courtesy of the artist

Bart Bridger Woodstrup
Gathering Lore, 2008
computer, custom video software, electronic sensors, weather
Courtesy of the artist

Four sound artists are each invited to create an unchanging radio broadcast. Reacting to a radio culture which accustoms us to the division of time into a grid of discontinuous slices, "Simulcast 1.0b : Saskatoon" is a temporary condition webcast on www.free103point9.org during April, 2008. Four artists are each asked to create an unchanging sound or soundscape. Each of these is webcast continuously over seven consecutive nights. The resulting month-long series reflects on radio's relationship with night and proposes a renewal of radio's relationship with eternity.
"Simulcast 1.0b : Saskatoon" is curated by Montreal-based sound artist Emmanuel Madan, at the initiative of the Saskatoon media arts production centre Paved Arts. The webcasts are hosted by free103point9, a New York-based nonprofit arts organization devoted to Transmission Arts. Webcast nightly on free103point9 Online Radio at www.free103point9.org, April 1 - 28 2008.
Schedule:
Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
All times Central Standard Time (GMT -6). Sunset and sunrise times as observed in Saskatoon, Saskatchewan.

"Western broadcasting is tyrannized by an instrument we have accepted as inviolable: the clock... Radio has become the clock of Western civilization, taking over the function of social timekeeper from the church bell and the factory whistle," said R. Murray Schafer in “Radical Radio,” In EAR Magazine, “Festival for a New Radio” supplement, March 1987.

The idea of "programming" in radio is indissociable from notions of time: we speak of the programming "grid" which represents the subdivision of time according to a two-dimensional Cartesian co-ordinate system; a "schedule" which presumes predictability, punctuality, and periodicity. The time "slots" thus created are further dissected within the confines of each individual programme: news is expected on the hour, weather every seven to ten minutes, regular breaks for advertising spots of 30- or 60-second duration[s] punctuate the remainder. Music programmes fill their time with a battery of pre-recorded songs of similar length; these are then assembled into playlists whose duration is also fixed: "Stay tuned for another thirty-minute non-stop Rock Ride," said a radio DJ on CHOM-FM, Montreal, 2007.

Put simply, radio broadcasting today is an almost exclusively rhythmic affair. Other types of broadcasts do exist, of course. Arno Penzias and Robert Wilson stumbled upon one in 1965, while researching an entirely different phenomenon. They were convinced that their radio telescope was malfunctioning until they realized that they were in fact receiving a signal which had been rocking the universe (commercial-free) since the moment radiation began separating from matter, that is, shortly after the Big Bang. "Scientifically, radio is as old as time," wrote Neil Strauss in the introduction to "Radiotext(e)," published by Semiotext(e) New York 1993.

"Simulcast 1.0b : Saskatoon" proposes to renew radio's link with eternity. It asks four artists to provide a sound, only one sound, which broadcasts continuously and unchangingly for a period of between six and ten hours each night on www.free103point9.org. Each artist's sound is broadcast during seven consecutive nights. As late-night radio listeners well know, strange things can happen on the radio after midnight. There is something about the solitude of night-time listening which brings out radio's best and most original attributes. The densely-packed conformism of daytime programming is loosened. Many smaller broadcasters do not have the resources to staff their station with live DJs during the night hours and resort instead to pre-recorded or automated alternatives. It is unfortunate that the responsibility of broadcasting through the night is often seen as a burden, an unpopular time-slot which is difficult to fill. "Simulcast 1.0b : Saskatoon" recasts the problem as an opportunity, a short test-run for Radio Eternity.

Much has been said about radio's power to transcend space. The standard definition of the word "simulcast" refers to a live broadcast of some public ceremony: a football game, a coronation, a political debate, a state funeral. Events like these bind listeners together, joining disparate spaces into a single location. "Simulcast 1.0b : Saskatoon" applies the idea of simultaneity to time, rather than to space. By bathing listeners in an event which remains unitary for a period of many hours, it suggests a simultaneity between all moments of a broadcast: a collapsing of a long period of time into a single instant.

Schedule

Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
"Danby" is a broadcast composed of a single sound that is the most pervasive in our interior environments: 60 Hz. The frequency 60 Hz is the soundtrack to the electrical currents that power our radios, our appliances, our light. Yet, it is a soundtrack so prevalent in our everyday lives that only at night in the absence of noise do we realize that silence is continually filtered through the buzz and hum of electricity. "Danby" transmits an unchanging loop of the 60 Hz recorded from an everyday household object. By juxtaposing this constant frequency with the 60 Hz that is no doubt also present in listeners' homes, "Danby" creates unpredictable variations and harmonies - a spontaneous simulcast of the singular sound that infiltrates our lives.

GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
"In the 1980's, whenever I wanted to create an all-night broadcast using only a single sound, I would take a long tape-loop and play it through multiple playback heads. This technique always provided a seamless sound sculpture. For "Simulcast 1.0b : Saskatoon," I did something different. Instead of using analog based repetition, I took a short recording of 40 seconds and digitally stretched it into a single ten hour long wave form. The original recording was that of an auto accident, which is a favourite sound source of mine. The resulting effect is very much like ceaseless grinding. Which also happens to be a favourite of mine," wrote Jupitter-Larsen.

Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
"This piece is a recording of seven consecutive nights, each lasting 6 hours, 36 minutes. Two microphones are placed under a ceiling fan on the second floor of a central room in my house. Under the fan hangs a mobile composed of photographs of family members and close friends, illustrating different episodes from my past. In the foreground of the recording we hear the motor of the Westinghouse fan as well as the waving of the photos in the wind. In the background, we can distinguish the ambient sounds of our house at night, as we pass into sleep and back into wakefulness. Over the seven nights, the only measure of time is the evolution of the ambient sounds in the background, changing with the hours of the night and the nights of the week. "7 nuits sous le Westinghouse" is an intimate sound track which offers a view (or a listen) into the passing of time, the memories it leaves us and their effects on our identity," wrote Babin.

Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
In "Tot morgen (à demain)" a chord consisting in two tritones ('diaboli in musica') that overlap each other by a semitone sounds 140 times forwards and 140 times backwards. The unlawful sequence of these soundings forms a palindrome. It spans the interval that separates the beginning of a next day from the end of a previous one, the end of a previous day from the beginning of a next... "until, again, the roar of dawn." (In the first measure of Stockhausen's "Klavierstueck IX," the same chord is played 140 times in an evenly spaced decrescendo that lasts 48 seconds.) "...tezelfder tijd duizend duivels van beneden en van boven duizend goden ..." - a thousand demons from below and from above a thousand gods [ Tip Marugg - De morgen loeit weer aan (The roar of morning), 1988 ].

free103point9 is pleased to contribute a program of works for the Video Gentlemen’s BYOTV exhibition at the New American Art Union in Portland Oregon. Artists contributing work to the free103point9 curated program are listed to the right. Stay tuned for additional artists and work details.

About BYOTV: Late March 2008, The Video Gentlemen’s BYOTV network launches a six-week season of special reports engaged with technocultural turnover from analog airwaves. Transmitted from within the New American Art Union, a variety of interdisciplinary artworks, live presentations, and workshops form inquisitive constellations around topics including e-waste, surveillance, haunted media and media archeology.

Low-wattage transmissions emanate from an array of re-configured electronic detritus distributed around the gallery. Telecommunications, and the distance implicit in its operation is countered by a physical proximity prescribed by the limited range of the BYOTV transmissions. Visitors are encouraged to “bring their own TV,” or borrow one from the gallery, intercepting transmissions from their immediate airspace.

Closely scrutinizing the premise of obsolescence, BYOTV tunes into an alternative agenda, encouraging new modes of cultural production, collaboration and exchange.

Off The Grid features contemporary works which formally and/or conceptually challenge conventional and commercial infrastructures.

Co-presented by the Neuberger Museum of Art and free103point9. Curated by Jacqueline Shilkoff (Neuberger Museum) and Galen Joseph-Hunter, Tianna Kennedy, Tom Roe (free103point9)

Curators’ Statements

Has humankind’s irresponsible production and consumption of energy and resources reached its peak? While regulatory agencies scramble to meet and control the demands of a wireless-obsessed market, a burgeoning urgency about the need to be ecologically responsible has emerged. Off The Grid presents work by thirteen artists examining and reacting to these currents. Works on view propose alternate territories. They repurpose, reuse, and recast communication devices, consumer byproducts, and environmental data. Our culture has long relied on creative practice to invent, innovate, and inspire. Here, the participating artists do so with works that inform, alarm, and entertain.
– Galen Joseph-Hunter

Most of us live, work, and play on the grid. The artists in Off The Grid do not present utopian solutions to complex problems (unsustainability, overconsumption, waste, alienation), but rather invite us all to reinvent, reimagine, and subvert our daily practices through accessible work completed on a human scale. I've enjoyed my conversations with the artists in this exhibition and have been reminded that cultural gridlock is best addressed not with sweeping gestures and apocalyptic arguments, but by working within, around, and perhaps a little outside expectations of art and engagement.
-Tianna Kennedy

The grid is a shifting network of power, distributing social, ecological and intellectual resources. Individuals have agency to engage or withdraw, privatize or empower, collude or disclose. By reevaluating what resources exist and how they are allocated, we redefine our collective identity and personal ideology. It is hopeful that art as activism, as intervention, can produce awareness and change.
-Jacqueline Shilkoff

Checklist of exhibited works
(Please select an artist or work title from the menu to the right for additional information.)

Matt Bua
World Grid – Square World, 2008
ink, collage, paint, pencil on paper
39 x 63 1/2 inches
Courtesy of the artist and Derek Eller Gallery, New York

Benjamin Cohen, Dylan J. Gauthier, and Stephan von Muehlen
Mare Liberum, 2008
blueprint, distributed broadsheet, boat
broadsheet: 24 x 36 inches, boat: 12 feet
Courtesy of the artists

EcoArtTech: Christine Nadir and Cary Peppermint
Environmental Risk Assessment Rover - AT, 2008
solar panels, recycled shipping pallets, industrial garden wagon, video projector, MAC-mini computer, GPS, WiFi, found built and natural surfaces
Courtesy of the artists

eteam International Airport Montello, 2007-08
three-channel projection, map, figures, photographs
Courtesy of the artists

Max Goldfarb
Ambulant Transceivers, 2008
vintage first-aid kits made into two-way radios
Courtesy of the artist

Louis Hock
Nightscope Series, 1985-2003
digital pigment prints
17 x 24 inches each
Courtesy of the artist

Louis Hock
Feral, 2004
two-channel video installation
sound: Louis Hock and Peter Otto
Courtesy of the artist

Nina Katchadourian
Quit Using Us, 2002
c-print mounted on aluminum
18 x 96 inches
Courtesy of the artist and Sara Meltzer Gallery

Nina Katchadourian
Ant Static, 2003
video loop with sound
Courtesy of the artist and Sara Meltzer Gallery

Kristin Lucas
More Melting, 2008
wax, wick, fire
Courtesy of the artist

Joe McKay
Hi Hat Phone, 2007
cell phone, high hat stand, wood, speakers
Courtesy of the artist

Trevor Paglen
Workers / Las Vegas, NV / Distance – 1 mile, 2006
from the series Limit Telephotography
video
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Chemical and Biological Weapons Proving Ground / Dugway, UT / Distance – 42 miles / 10:51 a.m., 2005
from the series Limit Telephotography
C-print, 3 from an edition of 5
50 x 50 inches
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Unidentified Light Source / Cactus Flats, NV / Distance – 17 miles / 9:45 p.m., 2007
from the series Limit Telephotography
C-print, 1 from an edition of 5
30 x 36 inches
Courtesy of the artist and Bellwether Gallery, New York

Temporary Services
Personal Plastic, 2007
photocopied and offset publications, mounted photographs, banners made from plastic bags, unwanted plastic bags
Courtesy of the artists

Seth Weiner
Cryptographic Payphone, 2008
interactive payphone, chaotic motion system
63 x 15 x 10 inches
Courtesy of the artist

Bart Bridger Woodstrup
Gathering Lore, 2008
computer, custom video software, electronic sensors, weather
Courtesy of the artist

Four sound artists are each invited to create an unchanging radio broadcast. Reacting to a radio culture which accustoms us to the division of time into a grid of discontinuous slices, "Simulcast 1.0b : Saskatoon" is a temporary condition webcast on www.free103point9.org during April, 2008. Four artists are each asked to create an unchanging sound or soundscape. Each of these is webcast continuously over seven consecutive nights. The resulting month-long series reflects on radio's relationship with night and proposes a renewal of radio's relationship with eternity.
"Simulcast 1.0b : Saskatoon" is curated by Montreal-based sound artist Emmanuel Madan, at the initiative of the Saskatoon media arts production centre Paved Arts. The webcasts are hosted by free103point9, a New York-based nonprofit arts organization devoted to Transmission Arts. Webcast nightly on free103point9 Online Radio at www.free103point9.org, April 1 - 28 2008.
Schedule:
Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
All times Central Standard Time (GMT -6). Sunset and sunrise times as observed in Saskatoon, Saskatchewan.

"Western broadcasting is tyrannized by an instrument we have accepted as inviolable: the clock... Radio has become the clock of Western civilization, taking over the function of social timekeeper from the church bell and the factory whistle," said R. Murray Schafer in “Radical Radio,” In EAR Magazine, “Festival for a New Radio” supplement, March 1987.

The idea of "programming" in radio is indissociable from notions of time: we speak of the programming "grid" which represents the subdivision of time according to a two-dimensional Cartesian co-ordinate system; a "schedule" which presumes predictability, punctuality, and periodicity. The time "slots" thus created are further dissected within the confines of each individual programme: news is expected on the hour, weather every seven to ten minutes, regular breaks for advertising spots of 30- or 60-second duration[s] punctuate the remainder. Music programmes fill their time with a battery of pre-recorded songs of similar length; these are then assembled into playlists whose duration is also fixed: "Stay tuned for another thirty-minute non-stop Rock Ride," said a radio DJ on CHOM-FM, Montreal, 2007.

Put simply, radio broadcasting today is an almost exclusively rhythmic affair. Other types of broadcasts do exist, of course. Arno Penzias and Robert Wilson stumbled upon one in 1965, while researching an entirely different phenomenon. They were convinced that their radio telescope was malfunctioning until they realized that they were in fact receiving a signal which had been rocking the universe (commercial-free) since the moment radiation began separating from matter, that is, shortly after the Big Bang. "Scientifically, radio is as old as time," wrote Neil Strauss in the introduction to "Radiotext(e)," published by Semiotext(e) New York 1993.

"Simulcast 1.0b : Saskatoon" proposes to renew radio's link with eternity. It asks four artists to provide a sound, only one sound, which broadcasts continuously and unchangingly for a period of between six and ten hours each night on www.free103point9.org. Each artist's sound is broadcast during seven consecutive nights. As late-night radio listeners well know, strange things can happen on the radio after midnight. There is something about the solitude of night-time listening which brings out radio's best and most original attributes. The densely-packed conformism of daytime programming is loosened. Many smaller broadcasters do not have the resources to staff their station with live DJs during the night hours and resort instead to pre-recorded or automated alternatives. It is unfortunate that the responsibility of broadcasting through the night is often seen as a burden, an unpopular time-slot which is difficult to fill. "Simulcast 1.0b : Saskatoon" recasts the problem as an opportunity, a short test-run for Radio Eternity.

Much has been said about radio's power to transcend space. The standard definition of the word "simulcast" refers to a live broadcast of some public ceremony: a football game, a coronation, a political debate, a state funeral. Events like these bind listeners together, joining disparate spaces into a single location. "Simulcast 1.0b : Saskatoon" applies the idea of simultaneity to time, rather than to space. By bathing listeners in an event which remains unitary for a period of many hours, it suggests a simultaneity between all moments of a broadcast: a collapsing of a long period of time into a single instant.

Schedule

Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
"Danby" is a broadcast composed of a single sound that is the most pervasive in our interior environments: 60 Hz. The frequency 60 Hz is the soundtrack to the electrical currents that power our radios, our appliances, our light. Yet, it is a soundtrack so prevalent in our everyday lives that only at night in the absence of noise do we realize that silence is continually filtered through the buzz and hum of electricity. "Danby" transmits an unchanging loop of the 60 Hz recorded from an everyday household object. By juxtaposing this constant frequency with the 60 Hz that is no doubt also present in listeners' homes, "Danby" creates unpredictable variations and harmonies - a spontaneous simulcast of the singular sound that infiltrates our lives.

GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
"In the 1980's, whenever I wanted to create an all-night broadcast using only a single sound, I would take a long tape-loop and play it through multiple playback heads. This technique always provided a seamless sound sculpture. For "Simulcast 1.0b : Saskatoon," I did something different. Instead of using analog based repetition, I took a short recording of 40 seconds and digitally stretched it into a single ten hour long wave form. The original recording was that of an auto accident, which is a favourite sound source of mine. The resulting effect is very much like ceaseless grinding. Which also happens to be a favourite of mine," wrote Jupitter-Larsen.

Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
"This piece is a recording of seven consecutive nights, each lasting 6 hours, 36 minutes. Two microphones are placed under a ceiling fan on the second floor of a central room in my house. Under the fan hangs a mobile composed of photographs of family members and close friends, illustrating different episodes from my past. In the foreground of the recording we hear the motor of the Westinghouse fan as well as the waving of the photos in the wind. In the background, we can distinguish the ambient sounds of our house at night, as we pass into sleep and back into wakefulness. Over the seven nights, the only measure of time is the evolution of the ambient sounds in the background, changing with the hours of the night and the nights of the week. "7 nuits sous le Westinghouse" is an intimate sound track which offers a view (or a listen) into the passing of time, the memories it leaves us and their effects on our identity," wrote Babin.

Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
In "Tot morgen (à demain)" a chord consisting in two tritones ('diaboli in musica') that overlap each other by a semitone sounds 140 times forwards and 140 times backwards. The unlawful sequence of these soundings forms a palindrome. It spans the interval that separates the beginning of a next day from the end of a previous one, the end of a previous day from the beginning of a next... "until, again, the roar of dawn." (In the first measure of Stockhausen's "Klavierstueck IX," the same chord is played 140 times in an evenly spaced decrescendo that lasts 48 seconds.) "...tezelfder tijd duizend duivels van beneden en van boven duizend goden ..." - a thousand demons from below and from above a thousand gods [ Tip Marugg - De morgen loeit weer aan (The roar of morning), 1988 ].

free103point9 is pleased to contribute a program of works for the Video Gentlemen’s BYOTV exhibition at the New American Art Union in Portland Oregon. Artists contributing work to the free103point9 curated program are listed to the right. Stay tuned for additional artists and work details.

About BYOTV: Late March 2008, The Video Gentlemen’s BYOTV network launches a six-week season of special reports engaged with technocultural turnover from analog airwaves. Transmitted from within the New American Art Union, a variety of interdisciplinary artworks, live presentations, and workshops form inquisitive constellations around topics including e-waste, surveillance, haunted media and media archeology.

Low-wattage transmissions emanate from an array of re-configured electronic detritus distributed around the gallery. Telecommunications, and the distance implicit in its operation is countered by a physical proximity prescribed by the limited range of the BYOTV transmissions. Visitors are encouraged to “bring their own TV,” or borrow one from the gallery, intercepting transmissions from their immediate airspace.

Closely scrutinizing the premise of obsolescence, BYOTV tunes into an alternative agenda, encouraging new modes of cultural production, collaboration and exchange.

Off The Grid features contemporary works which formally and/or conceptually challenge conventional and commercial infrastructures.

Co-presented by the Neuberger Museum of Art and free103point9. Curated by Jacqueline Shilkoff (Neuberger Museum) and Galen Joseph-Hunter, Tianna Kennedy, Tom Roe (free103point9)

Curators’ Statements

Has humankind’s irresponsible production and consumption of energy and resources reached its peak? While regulatory agencies scramble to meet and control the demands of a wireless-obsessed market, a burgeoning urgency about the need to be ecologically responsible has emerged. Off The Grid presents work by thirteen artists examining and reacting to these currents. Works on view propose alternate territories. They repurpose, reuse, and recast communication devices, consumer byproducts, and environmental data. Our culture has long relied on creative practice to invent, innovate, and inspire. Here, the participating artists do so with works that inform, alarm, and entertain.
– Galen Joseph-Hunter

Most of us live, work, and play on the grid. The artists in Off The Grid do not present utopian solutions to complex problems (unsustainability, overconsumption, waste, alienation), but rather invite us all to reinvent, reimagine, and subvert our daily practices through accessible work completed on a human scale. I've enjoyed my conversations with the artists in this exhibition and have been reminded that cultural gridlock is best addressed not with sweeping gestures and apocalyptic arguments, but by working within, around, and perhaps a little outside expectations of art and engagement.
-Tianna Kennedy

The grid is a shifting network of power, distributing social, ecological and intellectual resources. Individuals have agency to engage or withdraw, privatize or empower, collude or disclose. By reevaluating what resources exist and how they are allocated, we redefine our collective identity and personal ideology. It is hopeful that art as activism, as intervention, can produce awareness and change.
-Jacqueline Shilkoff

Checklist of exhibited works
(Please select an artist or work title from the menu to the right for additional information.)

Matt Bua
World Grid – Square World, 2008
ink, collage, paint, pencil on paper
39 x 63 1/2 inches
Courtesy of the artist and Derek Eller Gallery, New York

Benjamin Cohen, Dylan J. Gauthier, and Stephan von Muehlen
Mare Liberum, 2008
blueprint, distributed broadsheet, boat
broadsheet: 24 x 36 inches, boat: 12 feet
Courtesy of the artists

EcoArtTech: Christine Nadir and Cary Peppermint
Environmental Risk Assessment Rover - AT, 2008
solar panels, recycled shipping pallets, industrial garden wagon, video projector, MAC-mini computer, GPS, WiFi, found built and natural surfaces
Courtesy of the artists

eteam International Airport Montello, 2007-08
three-channel projection, map, figures, photographs
Courtesy of the artists

Max Goldfarb
Ambulant Transceivers, 2008
vintage first-aid kits made into two-way radios
Courtesy of the artist

Louis Hock
Nightscope Series, 1985-2003
digital pigment prints
17 x 24 inches each
Courtesy of the artist

Louis Hock
Feral, 2004
two-channel video installation
sound: Louis Hock and Peter Otto
Courtesy of the artist

Nina Katchadourian
Quit Using Us, 2002
c-print mounted on aluminum
18 x 96 inches
Courtesy of the artist and Sara Meltzer Gallery

Nina Katchadourian
Ant Static, 2003
video loop with sound
Courtesy of the artist and Sara Meltzer Gallery

Kristin Lucas
More Melting, 2008
wax, wick, fire
Courtesy of the artist

Joe McKay
Hi Hat Phone, 2007
cell phone, high hat stand, wood, speakers
Courtesy of the artist

Trevor Paglen
Workers / Las Vegas, NV / Distance – 1 mile, 2006
from the series Limit Telephotography
video
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Chemical and Biological Weapons Proving Ground / Dugway, UT / Distance – 42 miles / 10:51 a.m., 2005
from the series Limit Telephotography
C-print, 3 from an edition of 5
50 x 50 inches
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Unidentified Light Source / Cactus Flats, NV / Distance – 17 miles / 9:45 p.m., 2007
from the series Limit Telephotography
C-print, 1 from an edition of 5
30 x 36 inches
Courtesy of the artist and Bellwether Gallery, New York

Temporary Services
Personal Plastic, 2007
photocopied and offset publications, mounted photographs, banners made from plastic bags, unwanted plastic bags
Courtesy of the artists

Seth Weiner
Cryptographic Payphone, 2008
interactive payphone, chaotic motion system
63 x 15 x 10 inches
Courtesy of the artist

Bart Bridger Woodstrup
Gathering Lore, 2008
computer, custom video software, electronic sensors, weather
Courtesy of the artist

Four sound artists are each invited to create an unchanging radio broadcast. Reacting to a radio culture which accustoms us to the division of time into a grid of discontinuous slices, "Simulcast 1.0b : Saskatoon" is a temporary condition webcast on www.free103point9.org during April, 2008. Four artists are each asked to create an unchanging sound or soundscape. Each of these is webcast continuously over seven consecutive nights. The resulting month-long series reflects on radio's relationship with night and proposes a renewal of radio's relationship with eternity.
"Simulcast 1.0b : Saskatoon" is curated by Montreal-based sound artist Emmanuel Madan, at the initiative of the Saskatoon media arts production centre Paved Arts. The webcasts are hosted by free103point9, a New York-based nonprofit arts organization devoted to Transmission Arts. Webcast nightly on free103point9 Online Radio at www.free103point9.org, April 1 - 28 2008.
Schedule:
Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
All times Central Standard Time (GMT -6). Sunset and sunrise times as observed in Saskatoon, Saskatchewan.

"Western broadcasting is tyrannized by an instrument we have accepted as inviolable: the clock... Radio has become the clock of Western civilization, taking over the function of social timekeeper from the church bell and the factory whistle," said R. Murray Schafer in “Radical Radio,” In EAR Magazine, “Festival for a New Radio” supplement, March 1987.

The idea of "programming" in radio is indissociable from notions of time: we speak of the programming "grid" which represents the subdivision of time according to a two-dimensional Cartesian co-ordinate system; a "schedule" which presumes predictability, punctuality, and periodicity. The time "slots" thus created are further dissected within the confines of each individual programme: news is expected on the hour, weather every seven to ten minutes, regular breaks for advertising spots of 30- or 60-second duration[s] punctuate the remainder. Music programmes fill their time with a battery of pre-recorded songs of similar length; these are then assembled into playlists whose duration is also fixed: "Stay tuned for another thirty-minute non-stop Rock Ride," said a radio DJ on CHOM-FM, Montreal, 2007.

Put simply, radio broadcasting today is an almost exclusively rhythmic affair. Other types of broadcasts do exist, of course. Arno Penzias and Robert Wilson stumbled upon one in 1965, while researching an entirely different phenomenon. They were convinced that their radio telescope was malfunctioning until they realized that they were in fact receiving a signal which had been rocking the universe (commercial-free) since the moment radiation began separating from matter, that is, shortly after the Big Bang. "Scientifically, radio is as old as time," wrote Neil Strauss in the introduction to "Radiotext(e)," published by Semiotext(e) New York 1993.

"Simulcast 1.0b : Saskatoon" proposes to renew radio's link with eternity. It asks four artists to provide a sound, only one sound, which broadcasts continuously and unchangingly for a period of between six and ten hours each night on www.free103point9.org. Each artist's sound is broadcast during seven consecutive nights. As late-night radio listeners well know, strange things can happen on the radio after midnight. There is something about the solitude of night-time listening which brings out radio's best and most original attributes. The densely-packed conformism of daytime programming is loosened. Many smaller broadcasters do not have the resources to staff their station with live DJs during the night hours and resort instead to pre-recorded or automated alternatives. It is unfortunate that the responsibility of broadcasting through the night is often seen as a burden, an unpopular time-slot which is difficult to fill. "Simulcast 1.0b : Saskatoon" recasts the problem as an opportunity, a short test-run for Radio Eternity.

Much has been said about radio's power to transcend space. The standard definition of the word "simulcast" refers to a live broadcast of some public ceremony: a football game, a coronation, a political debate, a state funeral. Events like these bind listeners together, joining disparate spaces into a single location. "Simulcast 1.0b : Saskatoon" applies the idea of simultaneity to time, rather than to space. By bathing listeners in an event which remains unitary for a period of many hours, it suggests a simultaneity between all moments of a broadcast: a collapsing of a long period of time into a single instant.

Schedule

Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
"Danby" is a broadcast composed of a single sound that is the most pervasive in our interior environments: 60 Hz. The frequency 60 Hz is the soundtrack to the electrical currents that power our radios, our appliances, our light. Yet, it is a soundtrack so prevalent in our everyday lives that only at night in the absence of noise do we realize that silence is continually filtered through the buzz and hum of electricity. "Danby" transmits an unchanging loop of the 60 Hz recorded from an everyday household object. By juxtaposing this constant frequency with the 60 Hz that is no doubt also present in listeners' homes, "Danby" creates unpredictable variations and harmonies - a spontaneous simulcast of the singular sound that infiltrates our lives.

GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
"In the 1980's, whenever I wanted to create an all-night broadcast using only a single sound, I would take a long tape-loop and play it through multiple playback heads. This technique always provided a seamless sound sculpture. For "Simulcast 1.0b : Saskatoon," I did something different. Instead of using analog based repetition, I took a short recording of 40 seconds and digitally stretched it into a single ten hour long wave form. The original recording was that of an auto accident, which is a favourite sound source of mine. The resulting effect is very much like ceaseless grinding. Which also happens to be a favourite of mine," wrote Jupitter-Larsen.

Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
"This piece is a recording of seven consecutive nights, each lasting 6 hours, 36 minutes. Two microphones are placed under a ceiling fan on the second floor of a central room in my house. Under the fan hangs a mobile composed of photographs of family members and close friends, illustrating different episodes from my past. In the foreground of the recording we hear the motor of the Westinghouse fan as well as the waving of the photos in the wind. In the background, we can distinguish the ambient sounds of our house at night, as we pass into sleep and back into wakefulness. Over the seven nights, the only measure of time is the evolution of the ambient sounds in the background, changing with the hours of the night and the nights of the week. "7 nuits sous le Westinghouse" is an intimate sound track which offers a view (or a listen) into the passing of time, the memories it leaves us and their effects on our identity," wrote Babin.

Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
In "Tot morgen (à demain)" a chord consisting in two tritones ('diaboli in musica') that overlap each other by a semitone sounds 140 times forwards and 140 times backwards. The unlawful sequence of these soundings forms a palindrome. It spans the interval that separates the beginning of a next day from the end of a previous one, the end of a previous day from the beginning of a next... "until, again, the roar of dawn." (In the first measure of Stockhausen's "Klavierstueck IX," the same chord is played 140 times in an evenly spaced decrescendo that lasts 48 seconds.) "...tezelfder tijd duizend duivels van beneden en van boven duizend goden ..." - a thousand demons from below and from above a thousand gods [ Tip Marugg - De morgen loeit weer aan (The roar of morning), 1988 ].

free103point9 is pleased to contribute a program of works for the Video Gentlemen’s BYOTV exhibition at the New American Art Union in Portland Oregon. Artists contributing work to the free103point9 curated program are listed to the right. Stay tuned for additional artists and work details.

About BYOTV: Late March 2008, The Video Gentlemen’s BYOTV network launches a six-week season of special reports engaged with technocultural turnover from analog airwaves. Transmitted from within the New American Art Union, a variety of interdisciplinary artworks, live presentations, and workshops form inquisitive constellations around topics including e-waste, surveillance, haunted media and media archeology.

Low-wattage transmissions emanate from an array of re-configured electronic detritus distributed around the gallery. Telecommunications, and the distance implicit in its operation is countered by a physical proximity prescribed by the limited range of the BYOTV transmissions. Visitors are encouraged to “bring their own TV,” or borrow one from the gallery, intercepting transmissions from their immediate airspace.

Closely scrutinizing the premise of obsolescence, BYOTV tunes into an alternative agenda, encouraging new modes of cultural production, collaboration and exchange.

Off The Grid features contemporary works which formally and/or conceptually challenge conventional and commercial infrastructures.

Co-presented by the Neuberger Museum of Art and free103point9. Curated by Jacqueline Shilkoff (Neuberger Museum) and Galen Joseph-Hunter, Tianna Kennedy, Tom Roe (free103point9)

Curators’ Statements

Has humankind’s irresponsible production and consumption of energy and resources reached its peak? While regulatory agencies scramble to meet and control the demands of a wireless-obsessed market, a burgeoning urgency about the need to be ecologically responsible has emerged. Off The Grid presents work by thirteen artists examining and reacting to these currents. Works on view propose alternate territories. They repurpose, reuse, and recast communication devices, consumer byproducts, and environmental data. Our culture has long relied on creative practice to invent, innovate, and inspire. Here, the participating artists do so with works that inform, alarm, and entertain.
– Galen Joseph-Hunter

Most of us live, work, and play on the grid. The artists in Off The Grid do not present utopian solutions to complex problems (unsustainability, overconsumption, waste, alienation), but rather invite us all to reinvent, reimagine, and subvert our daily practices through accessible work completed on a human scale. I've enjoyed my conversations with the artists in this exhibition and have been reminded that cultural gridlock is best addressed not with sweeping gestures and apocalyptic arguments, but by working within, around, and perhaps a little outside expectations of art and engagement.
-Tianna Kennedy

The grid is a shifting network of power, distributing social, ecological and intellectual resources. Individuals have agency to engage or withdraw, privatize or empower, collude or disclose. By reevaluating what resources exist and how they are allocated, we redefine our collective identity and personal ideology. It is hopeful that art as activism, as intervention, can produce awareness and change.
-Jacqueline Shilkoff

Checklist of exhibited works
(Please select an artist or work title from the menu to the right for additional information.)

Matt Bua
World Grid – Square World, 2008
ink, collage, paint, pencil on paper
39 x 63 1/2 inches
Courtesy of the artist and Derek Eller Gallery, New York

Benjamin Cohen, Dylan J. Gauthier, and Stephan von Muehlen
Mare Liberum, 2008
blueprint, distributed broadsheet, boat
broadsheet: 24 x 36 inches, boat: 12 feet
Courtesy of the artists

EcoArtTech: Christine Nadir and Cary Peppermint
Environmental Risk Assessment Rover - AT, 2008
solar panels, recycled shipping pallets, industrial garden wagon, video projector, MAC-mini computer, GPS, WiFi, found built and natural surfaces
Courtesy of the artists

eteam International Airport Montello, 2007-08
three-channel projection, map, figures, photographs
Courtesy of the artists

Max Goldfarb
Ambulant Transceivers, 2008
vintage first-aid kits made into two-way radios
Courtesy of the artist

Louis Hock
Nightscope Series, 1985-2003
digital pigment prints
17 x 24 inches each
Courtesy of the artist

Louis Hock
Feral, 2004
two-channel video installation
sound: Louis Hock and Peter Otto
Courtesy of the artist

Nina Katchadourian
Quit Using Us, 2002
c-print mounted on aluminum
18 x 96 inches
Courtesy of the artist and Sara Meltzer Gallery

Nina Katchadourian
Ant Static, 2003
video loop with sound
Courtesy of the artist and Sara Meltzer Gallery

Kristin Lucas
More Melting, 2008
wax, wick, fire
Courtesy of the artist

Joe McKay
Hi Hat Phone, 2007
cell phone, high hat stand, wood, speakers
Courtesy of the artist

Trevor Paglen
Workers / Las Vegas, NV / Distance – 1 mile, 2006
from the series Limit Telephotography
video
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Chemical and Biological Weapons Proving Ground / Dugway, UT / Distance – 42 miles / 10:51 a.m., 2005
from the series Limit Telephotography
C-print, 3 from an edition of 5
50 x 50 inches
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Unidentified Light Source / Cactus Flats, NV / Distance – 17 miles / 9:45 p.m., 2007
from the series Limit Telephotography
C-print, 1 from an edition of 5
30 x 36 inches
Courtesy of the artist and Bellwether Gallery, New York

Temporary Services
Personal Plastic, 2007
photocopied and offset publications, mounted photographs, banners made from plastic bags, unwanted plastic bags
Courtesy of the artists

Seth Weiner
Cryptographic Payphone, 2008
interactive payphone, chaotic motion system
63 x 15 x 10 inches
Courtesy of the artist

Bart Bridger Woodstrup
Gathering Lore, 2008
computer, custom video software, electronic sensors, weather
Courtesy of the artist

Four sound artists are each invited to create an unchanging radio broadcast. Reacting to a radio culture which accustoms us to the division of time into a grid of discontinuous slices, "Simulcast 1.0b : Saskatoon" is a temporary condition webcast on www.free103point9.org during April, 2008. Four artists are each asked to create an unchanging sound or soundscape. Each of these is webcast continuously over seven consecutive nights. The resulting month-long series reflects on radio's relationship with night and proposes a renewal of radio's relationship with eternity.
"Simulcast 1.0b : Saskatoon" is curated by Montreal-based sound artist Emmanuel Madan, at the initiative of the Saskatoon media arts production centre Paved Arts. The webcasts are hosted by free103point9, a New York-based nonprofit arts organization devoted to Transmission Arts. Webcast nightly on free103point9 Online Radio at www.free103point9.org, April 1 - 28 2008.
Schedule:
Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
All times Central Standard Time (GMT -6). Sunset and sunrise times as observed in Saskatoon, Saskatchewan.

"Western broadcasting is tyrannized by an instrument we have accepted as inviolable: the clock... Radio has become the clock of Western civilization, taking over the function of social timekeeper from the church bell and the factory whistle," said R. Murray Schafer in “Radical Radio,” In EAR Magazine, “Festival for a New Radio” supplement, March 1987.

The idea of "programming" in radio is indissociable from notions of time: we speak of the programming "grid" which represents the subdivision of time according to a two-dimensional Cartesian co-ordinate system; a "schedule" which presumes predictability, punctuality, and periodicity. The time "slots" thus created are further dissected within the confines of each individual programme: news is expected on the hour, weather every seven to ten minutes, regular breaks for advertising spots of 30- or 60-second duration[s] punctuate the remainder. Music programmes fill their time with a battery of pre-recorded songs of similar length; these are then assembled into playlists whose duration is also fixed: "Stay tuned for another thirty-minute non-stop Rock Ride," said a radio DJ on CHOM-FM, Montreal, 2007.

Put simply, radio broadcasting today is an almost exclusively rhythmic affair. Other types of broadcasts do exist, of course. Arno Penzias and Robert Wilson stumbled upon one in 1965, while researching an entirely different phenomenon. They were convinced that their radio telescope was malfunctioning until they realized that they were in fact receiving a signal which had been rocking the universe (commercial-free) since the moment radiation began separating from matter, that is, shortly after the Big Bang. "Scientifically, radio is as old as time," wrote Neil Strauss in the introduction to "Radiotext(e)," published by Semiotext(e) New York 1993.

"Simulcast 1.0b : Saskatoon" proposes to renew radio's link with eternity. It asks four artists to provide a sound, only one sound, which broadcasts continuously and unchangingly for a period of between six and ten hours each night on www.free103point9.org. Each artist's sound is broadcast during seven consecutive nights. As late-night radio listeners well know, strange things can happen on the radio after midnight. There is something about the solitude of night-time listening which brings out radio's best and most original attributes. The densely-packed conformism of daytime programming is loosened. Many smaller broadcasters do not have the resources to staff their station with live DJs during the night hours and resort instead to pre-recorded or automated alternatives. It is unfortunate that the responsibility of broadcasting through the night is often seen as a burden, an unpopular time-slot which is difficult to fill. "Simulcast 1.0b : Saskatoon" recasts the problem as an opportunity, a short test-run for Radio Eternity.

Much has been said about radio's power to transcend space. The standard definition of the word "simulcast" refers to a live broadcast of some public ceremony: a football game, a coronation, a political debate, a state funeral. Events like these bind listeners together, joining disparate spaces into a single location. "Simulcast 1.0b : Saskatoon" applies the idea of simultaneity to time, rather than to space. By bathing listeners in an event which remains unitary for a period of many hours, it suggests a simultaneity between all moments of a broadcast: a collapsing of a long period of time into a single instant.

Schedule

Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
"Danby" is a broadcast composed of a single sound that is the most pervasive in our interior environments: 60 Hz. The frequency 60 Hz is the soundtrack to the electrical currents that power our radios, our appliances, our light. Yet, it is a soundtrack so prevalent in our everyday lives that only at night in the absence of noise do we realize that silence is continually filtered through the buzz and hum of electricity. "Danby" transmits an unchanging loop of the 60 Hz recorded from an everyday household object. By juxtaposing this constant frequency with the 60 Hz that is no doubt also present in listeners' homes, "Danby" creates unpredictable variations and harmonies - a spontaneous simulcast of the singular sound that infiltrates our lives.

GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
"In the 1980's, whenever I wanted to create an all-night broadcast using only a single sound, I would take a long tape-loop and play it through multiple playback heads. This technique always provided a seamless sound sculpture. For "Simulcast 1.0b : Saskatoon," I did something different. Instead of using analog based repetition, I took a short recording of 40 seconds and digitally stretched it into a single ten hour long wave form. The original recording was that of an auto accident, which is a favourite sound source of mine. The resulting effect is very much like ceaseless grinding. Which also happens to be a favourite of mine," wrote Jupitter-Larsen.

Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
"This piece is a recording of seven consecutive nights, each lasting 6 hours, 36 minutes. Two microphones are placed under a ceiling fan on the second floor of a central room in my house. Under the fan hangs a mobile composed of photographs of family members and close friends, illustrating different episodes from my past. In the foreground of the recording we hear the motor of the Westinghouse fan as well as the waving of the photos in the wind. In the background, we can distinguish the ambient sounds of our house at night, as we pass into sleep and back into wakefulness. Over the seven nights, the only measure of time is the evolution of the ambient sounds in the background, changing with the hours of the night and the nights of the week. "7 nuits sous le Westinghouse" is an intimate sound track which offers a view (or a listen) into the passing of time, the memories it leaves us and their effects on our identity," wrote Babin.

Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
In "Tot morgen (à demain)" a chord consisting in two tritones ('diaboli in musica') that overlap each other by a semitone sounds 140 times forwards and 140 times backwards. The unlawful sequence of these soundings forms a palindrome. It spans the interval that separates the beginning of a next day from the end of a previous one, the end of a previous day from the beginning of a next... "until, again, the roar of dawn." (In the first measure of Stockhausen's "Klavierstueck IX," the same chord is played 140 times in an evenly spaced decrescendo that lasts 48 seconds.) "...tezelfder tijd duizend duivels van beneden en van boven duizend goden ..." - a thousand demons from below and from above a thousand gods [ Tip Marugg - De morgen loeit weer aan (The roar of morning), 1988 ].

free103point9 is pleased to contribute a program of works for the Video Gentlemen’s BYOTV exhibition at the New American Art Union in Portland Oregon. Artists contributing work to the free103point9 curated program are listed to the right. Stay tuned for additional artists and work details.

About BYOTV: Late March 2008, The Video Gentlemen’s BYOTV network launches a six-week season of special reports engaged with technocultural turnover from analog airwaves. Transmitted from within the New American Art Union, a variety of interdisciplinary artworks, live presentations, and workshops form inquisitive constellations around topics including e-waste, surveillance, haunted media and media archeology.

Low-wattage transmissions emanate from an array of re-configured electronic detritus distributed around the gallery. Telecommunications, and the distance implicit in its operation is countered by a physical proximity prescribed by the limited range of the BYOTV transmissions. Visitors are encouraged to “bring their own TV,” or borrow one from the gallery, intercepting transmissions from their immediate airspace.

Closely scrutinizing the premise of obsolescence, BYOTV tunes into an alternative agenda, encouraging new modes of cultural production, collaboration and exchange.

Off The Grid features contemporary works which formally and/or conceptually challenge conventional and commercial infrastructures.

Co-presented by the Neuberger Museum of Art and free103point9. Curated by Jacqueline Shilkoff (Neuberger Museum) and Galen Joseph-Hunter, Tianna Kennedy, Tom Roe (free103point9)

Curators’ Statements

Has humankind’s irresponsible production and consumption of energy and resources reached its peak? While regulatory agencies scramble to meet and control the demands of a wireless-obsessed market, a burgeoning urgency about the need to be ecologically responsible has emerged. Off The Grid presents work by thirteen artists examining and reacting to these currents. Works on view propose alternate territories. They repurpose, reuse, and recast communication devices, consumer byproducts, and environmental data. Our culture has long relied on creative practice to invent, innovate, and inspire. Here, the participating artists do so with works that inform, alarm, and entertain.
– Galen Joseph-Hunter

Most of us live, work, and play on the grid. The artists in Off The Grid do not present utopian solutions to complex problems (unsustainability, overconsumption, waste, alienation), but rather invite us all to reinvent, reimagine, and subvert our daily practices through accessible work completed on a human scale. I've enjoyed my conversations with the artists in this exhibition and have been reminded that cultural gridlock is best addressed not with sweeping gestures and apocalyptic arguments, but by working within, around, and perhaps a little outside expectations of art and engagement.
-Tianna Kennedy

The grid is a shifting network of power, distributing social, ecological and intellectual resources. Individuals have agency to engage or withdraw, privatize or empower, collude or disclose. By reevaluating what resources exist and how they are allocated, we redefine our collective identity and personal ideology. It is hopeful that art as activism, as intervention, can produce awareness and change.
-Jacqueline Shilkoff

Checklist of exhibited works
(Please select an artist or work title from the menu to the right for additional information.)

Matt Bua
World Grid – Square World, 2008
ink, collage, paint, pencil on paper
39 x 63 1/2 inches
Courtesy of the artist and Derek Eller Gallery, New York

Benjamin Cohen, Dylan J. Gauthier, and Stephan von Muehlen
Mare Liberum, 2008
blueprint, distributed broadsheet, boat
broadsheet: 24 x 36 inches, boat: 12 feet
Courtesy of the artists

EcoArtTech: Christine Nadir and Cary Peppermint
Environmental Risk Assessment Rover - AT, 2008
solar panels, recycled shipping pallets, industrial garden wagon, video projector, MAC-mini computer, GPS, WiFi, found built and natural surfaces
Courtesy of the artists

eteam International Airport Montello, 2007-08
three-channel projection, map, figures, photographs
Courtesy of the artists

Max Goldfarb
Ambulant Transceivers, 2008
vintage first-aid kits made into two-way radios
Courtesy of the artist

Louis Hock
Nightscope Series, 1985-2003
digital pigment prints
17 x 24 inches each
Courtesy of the artist

Louis Hock
Feral, 2004
two-channel video installation
sound: Louis Hock and Peter Otto
Courtesy of the artist

Nina Katchadourian
Quit Using Us, 2002
c-print mounted on aluminum
18 x 96 inches
Courtesy of the artist and Sara Meltzer Gallery

Nina Katchadourian
Ant Static, 2003
video loop with sound
Courtesy of the artist and Sara Meltzer Gallery

Kristin Lucas
More Melting, 2008
wax, wick, fire
Courtesy of the artist

Joe McKay
Hi Hat Phone, 2007
cell phone, high hat stand, wood, speakers
Courtesy of the artist

Trevor Paglen
Workers / Las Vegas, NV / Distance – 1 mile, 2006
from the series Limit Telephotography
video
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Chemical and Biological Weapons Proving Ground / Dugway, UT / Distance – 42 miles / 10:51 a.m., 2005
from the series Limit Telephotography
C-print, 3 from an edition of 5
50 x 50 inches
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Unidentified Light Source / Cactus Flats, NV / Distance – 17 miles / 9:45 p.m., 2007
from the series Limit Telephotography
C-print, 1 from an edition of 5
30 x 36 inches
Courtesy of the artist and Bellwether Gallery, New York

Temporary Services
Personal Plastic, 2007
photocopied and offset publications, mounted photographs, banners made from plastic bags, unwanted plastic bags
Courtesy of the artists

Seth Weiner
Cryptographic Payphone, 2008
interactive payphone, chaotic motion system
63 x 15 x 10 inches
Courtesy of the artist

Bart Bridger Woodstrup
Gathering Lore, 2008
computer, custom video software, electronic sensors, weather
Courtesy of the artist

Four sound artists are each invited to create an unchanging radio broadcast. Reacting to a radio culture which accustoms us to the division of time into a grid of discontinuous slices, "Simulcast 1.0b : Saskatoon" is a temporary condition webcast on www.free103point9.org during April, 2008. Four artists are each asked to create an unchanging sound or soundscape. Each of these is webcast continuously over seven consecutive nights. The resulting month-long series reflects on radio's relationship with night and proposes a renewal of radio's relationship with eternity.
"Simulcast 1.0b : Saskatoon" is curated by Montreal-based sound artist Emmanuel Madan, at the initiative of the Saskatoon media arts production centre Paved Arts. The webcasts are hosted by free103point9, a New York-based nonprofit arts organization devoted to Transmission Arts. Webcast nightly on free103point9 Online Radio at www.free103point9.org, April 1 - 28 2008.
Schedule:
Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
All times Central Standard Time (GMT -6). Sunset and sunrise times as observed in Saskatoon, Saskatchewan.

"Western broadcasting is tyrannized by an instrument we have accepted as inviolable: the clock... Radio has become the clock of Western civilization, taking over the function of social timekeeper from the church bell and the factory whistle," said R. Murray Schafer in “Radical Radio,” In EAR Magazine, “Festival for a New Radio” supplement, March 1987.

The idea of "programming" in radio is indissociable from notions of time: we speak of the programming "grid" which represents the subdivision of time according to a two-dimensional Cartesian co-ordinate system; a "schedule" which presumes predictability, punctuality, and periodicity. The time "slots" thus created are further dissected within the confines of each individual programme: news is expected on the hour, weather every seven to ten minutes, regular breaks for advertising spots of 30- or 60-second duration[s] punctuate the remainder. Music programmes fill their time with a battery of pre-recorded songs of similar length; these are then assembled into playlists whose duration is also fixed: "Stay tuned for another thirty-minute non-stop Rock Ride," said a radio DJ on CHOM-FM, Montreal, 2007.

Put simply, radio broadcasting today is an almost exclusively rhythmic affair. Other types of broadcasts do exist, of course. Arno Penzias and Robert Wilson stumbled upon one in 1965, while researching an entirely different phenomenon. They were convinced that their radio telescope was malfunctioning until they realized that they were in fact receiving a signal which had been rocking the universe (commercial-free) since the moment radiation began separating from matter, that is, shortly after the Big Bang. "Scientifically, radio is as old as time," wrote Neil Strauss in the introduction to "Radiotext(e)," published by Semiotext(e) New York 1993.

"Simulcast 1.0b : Saskatoon" proposes to renew radio's link with eternity. It asks four artists to provide a sound, only one sound, which broadcasts continuously and unchangingly for a period of between six and ten hours each night on www.free103point9.org. Each artist's sound is broadcast during seven consecutive nights. As late-night radio listeners well know, strange things can happen on the radio after midnight. There is something about the solitude of night-time listening which brings out radio's best and most original attributes. The densely-packed conformism of daytime programming is loosened. Many smaller broadcasters do not have the resources to staff their station with live DJs during the night hours and resort instead to pre-recorded or automated alternatives. It is unfortunate that the responsibility of broadcasting through the night is often seen as a burden, an unpopular time-slot which is difficult to fill. "Simulcast 1.0b : Saskatoon" recasts the problem as an opportunity, a short test-run for Radio Eternity.

Much has been said about radio's power to transcend space. The standard definition of the word "simulcast" refers to a live broadcast of some public ceremony: a football game, a coronation, a political debate, a state funeral. Events like these bind listeners together, joining disparate spaces into a single location. "Simulcast 1.0b : Saskatoon" applies the idea of simultaneity to time, rather than to space. By bathing listeners in an event which remains unitary for a period of many hours, it suggests a simultaneity between all moments of a broadcast: a collapsing of a long period of time into a single instant.

Schedule

Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
"Danby" is a broadcast composed of a single sound that is the most pervasive in our interior environments: 60 Hz. The frequency 60 Hz is the soundtrack to the electrical currents that power our radios, our appliances, our light. Yet, it is a soundtrack so prevalent in our everyday lives that only at night in the absence of noise do we realize that silence is continually filtered through the buzz and hum of electricity. "Danby" transmits an unchanging loop of the 60 Hz recorded from an everyday household object. By juxtaposing this constant frequency with the 60 Hz that is no doubt also present in listeners' homes, "Danby" creates unpredictable variations and harmonies - a spontaneous simulcast of the singular sound that infiltrates our lives.

GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
"In the 1980's, whenever I wanted to create an all-night broadcast using only a single sound, I would take a long tape-loop and play it through multiple playback heads. This technique always provided a seamless sound sculpture. For "Simulcast 1.0b : Saskatoon," I did something different. Instead of using analog based repetition, I took a short recording of 40 seconds and digitally stretched it into a single ten hour long wave form. The original recording was that of an auto accident, which is a favourite sound source of mine. The resulting effect is very much like ceaseless grinding. Which also happens to be a favourite of mine," wrote Jupitter-Larsen.

Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
"This piece is a recording of seven consecutive nights, each lasting 6 hours, 36 minutes. Two microphones are placed under a ceiling fan on the second floor of a central room in my house. Under the fan hangs a mobile composed of photographs of family members and close friends, illustrating different episodes from my past. In the foreground of the recording we hear the motor of the Westinghouse fan as well as the waving of the photos in the wind. In the background, we can distinguish the ambient sounds of our house at night, as we pass into sleep and back into wakefulness. Over the seven nights, the only measure of time is the evolution of the ambient sounds in the background, changing with the hours of the night and the nights of the week. "7 nuits sous le Westinghouse" is an intimate sound track which offers a view (or a listen) into the passing of time, the memories it leaves us and their effects on our identity," wrote Babin.

Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
In "Tot morgen (à demain)" a chord consisting in two tritones ('diaboli in musica') that overlap each other by a semitone sounds 140 times forwards and 140 times backwards. The unlawful sequence of these soundings forms a palindrome. It spans the interval that separates the beginning of a next day from the end of a previous one, the end of a previous day from the beginning of a next... "until, again, the roar of dawn." (In the first measure of Stockhausen's "Klavierstueck IX," the same chord is played 140 times in an evenly spaced decrescendo that lasts 48 seconds.) "...tezelfder tijd duizend duivels van beneden en van boven duizend goden ..." - a thousand demons from below and from above a thousand gods [ Tip Marugg - De morgen loeit weer aan (The roar of morning), 1988 ].

free103point9 is pleased to contribute a program of works for the Video Gentlemen’s BYOTV exhibition at the New American Art Union in Portland Oregon. Artists contributing work to the free103point9 curated program are listed to the right. Stay tuned for additional artists and work details.

About BYOTV: Late March 2008, The Video Gentlemen’s BYOTV network launches a six-week season of special reports engaged with technocultural turnover from analog airwaves. Transmitted from within the New American Art Union, a variety of interdisciplinary artworks, live presentations, and workshops form inquisitive constellations around topics including e-waste, surveillance, haunted media and media archeology.

Low-wattage transmissions emanate from an array of re-configured electronic detritus distributed around the gallery. Telecommunications, and the distance implicit in its operation is countered by a physical proximity prescribed by the limited range of the BYOTV transmissions. Visitors are encouraged to “bring their own TV,” or borrow one from the gallery, intercepting transmissions from their immediate airspace.

Closely scrutinizing the premise of obsolescence, BYOTV tunes into an alternative agenda, encouraging new modes of cultural production, collaboration and exchange.

Off The Grid features contemporary works which formally and/or conceptually challenge conventional and commercial infrastructures.

Co-presented by the Neuberger Museum of Art and free103point9. Curated by Jacqueline Shilkoff (Neuberger Museum) and Galen Joseph-Hunter, Tianna Kennedy, Tom Roe (free103point9)

Curators’ Statements

Has humankind’s irresponsible production and consumption of energy and resources reached its peak? While regulatory agencies scramble to meet and control the demands of a wireless-obsessed market, a burgeoning urgency about the need to be ecologically responsible has emerged. Off The Grid presents work by thirteen artists examining and reacting to these currents. Works on view propose alternate territories. They repurpose, reuse, and recast communication devices, consumer byproducts, and environmental data. Our culture has long relied on creative practice to invent, innovate, and inspire. Here, the participating artists do so with works that inform, alarm, and entertain.
– Galen Joseph-Hunter

Most of us live, work, and play on the grid. The artists in Off The Grid do not present utopian solutions to complex problems (unsustainability, overconsumption, waste, alienation), but rather invite us all to reinvent, reimagine, and subvert our daily practices through accessible work completed on a human scale. I've enjoyed my conversations with the artists in this exhibition and have been reminded that cultural gridlock is best addressed not with sweeping gestures and apocalyptic arguments, but by working within, around, and perhaps a little outside expectations of art and engagement.
-Tianna Kennedy

The grid is a shifting network of power, distributing social, ecological and intellectual resources. Individuals have agency to engage or withdraw, privatize or empower, collude or disclose. By reevaluating what resources exist and how they are allocated, we redefine our collective identity and personal ideology. It is hopeful that art as activism, as intervention, can produce awareness and change.
-Jacqueline Shilkoff

Checklist of exhibited works
(Please select an artist or work title from the menu to the right for additional information.)

Matt Bua
World Grid – Square World, 2008
ink, collage, paint, pencil on paper
39 x 63 1/2 inches
Courtesy of the artist and Derek Eller Gallery, New York

Benjamin Cohen, Dylan J. Gauthier, and Stephan von Muehlen
Mare Liberum, 2008
blueprint, distributed broadsheet, boat
broadsheet: 24 x 36 inches, boat: 12 feet
Courtesy of the artists

EcoArtTech: Christine Nadir and Cary Peppermint
Environmental Risk Assessment Rover - AT, 2008
solar panels, recycled shipping pallets, industrial garden wagon, video projector, MAC-mini computer, GPS, WiFi, found built and natural surfaces
Courtesy of the artists

eteam International Airport Montello, 2007-08
three-channel projection, map, figures, photographs
Courtesy of the artists

Max Goldfarb
Ambulant Transceivers, 2008
vintage first-aid kits made into two-way radios
Courtesy of the artist

Louis Hock
Nightscope Series, 1985-2003
digital pigment prints
17 x 24 inches each
Courtesy of the artist

Louis Hock
Feral, 2004
two-channel video installation
sound: Louis Hock and Peter Otto
Courtesy of the artist

Nina Katchadourian
Quit Using Us, 2002
c-print mounted on aluminum
18 x 96 inches
Courtesy of the artist and Sara Meltzer Gallery

Nina Katchadourian
Ant Static, 2003
video loop with sound
Courtesy of the artist and Sara Meltzer Gallery

Kristin Lucas
More Melting, 2008
wax, wick, fire
Courtesy of the artist

Joe McKay
Hi Hat Phone, 2007
cell phone, high hat stand, wood, speakers
Courtesy of the artist

Trevor Paglen
Workers / Las Vegas, NV / Distance – 1 mile, 2006
from the series Limit Telephotography
video
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Chemical and Biological Weapons Proving Ground / Dugway, UT / Distance – 42 miles / 10:51 a.m., 2005
from the series Limit Telephotography
C-print, 3 from an edition of 5
50 x 50 inches
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Unidentified Light Source / Cactus Flats, NV / Distance – 17 miles / 9:45 p.m., 2007
from the series Limit Telephotography
C-print, 1 from an edition of 5
30 x 36 inches
Courtesy of the artist and Bellwether Gallery, New York

Temporary Services
Personal Plastic, 2007
photocopied and offset publications, mounted photographs, banners made from plastic bags, unwanted plastic bags
Courtesy of the artists

Seth Weiner
Cryptographic Payphone, 2008
interactive payphone, chaotic motion system
63 x 15 x 10 inches
Courtesy of the artist

Bart Bridger Woodstrup
Gathering Lore, 2008
computer, custom video software, electronic sensors, weather
Courtesy of the artist

Four sound artists are each invited to create an unchanging radio broadcast. Reacting to a radio culture which accustoms us to the division of time into a grid of discontinuous slices, "Simulcast 1.0b : Saskatoon" is a temporary condition webcast on www.free103point9.org during April, 2008. Four artists are each asked to create an unchanging sound or soundscape. Each of these is webcast continuously over seven consecutive nights. The resulting month-long series reflects on radio's relationship with night and proposes a renewal of radio's relationship with eternity.
"Simulcast 1.0b : Saskatoon" is curated by Montreal-based sound artist Emmanuel Madan, at the initiative of the Saskatoon media arts production centre Paved Arts. The webcasts are hosted by free103point9, a New York-based nonprofit arts organization devoted to Transmission Arts. Webcast nightly on free103point9 Online Radio at www.free103point9.org, April 1 - 28 2008.
Schedule:
Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
All times Central Standard Time (GMT -6). Sunset and sunrise times as observed in Saskatoon, Saskatchewan.

"Western broadcasting is tyrannized by an instrument we have accepted as inviolable: the clock... Radio has become the clock of Western civilization, taking over the function of social timekeeper from the church bell and the factory whistle," said R. Murray Schafer in “Radical Radio,” In EAR Magazine, “Festival for a New Radio” supplement, March 1987.

The idea of "programming" in radio is indissociable from notions of time: we speak of the programming "grid" which represents the subdivision of time according to a two-dimensional Cartesian co-ordinate system; a "schedule" which presumes predictability, punctuality, and periodicity. The time "slots" thus created are further dissected within the confines of each individual programme: news is expected on the hour, weather every seven to ten minutes, regular breaks for advertising spots of 30- or 60-second duration[s] punctuate the remainder. Music programmes fill their time with a battery of pre-recorded songs of similar length; these are then assembled into playlists whose duration is also fixed: "Stay tuned for another thirty-minute non-stop Rock Ride," said a radio DJ on CHOM-FM, Montreal, 2007.

Put simply, radio broadcasting today is an almost exclusively rhythmic affair. Other types of broadcasts do exist, of course. Arno Penzias and Robert Wilson stumbled upon one in 1965, while researching an entirely different phenomenon. They were convinced that their radio telescope was malfunctioning until they realized that they were in fact receiving a signal which had been rocking the universe (commercial-free) since the moment radiation began separating from matter, that is, shortly after the Big Bang. "Scientifically, radio is as old as time," wrote Neil Strauss in the introduction to "Radiotext(e)," published by Semiotext(e) New York 1993.

"Simulcast 1.0b : Saskatoon" proposes to renew radio's link with eternity. It asks four artists to provide a sound, only one sound, which broadcasts continuously and unchangingly for a period of between six and ten hours each night on www.free103point9.org. Each artist's sound is broadcast during seven consecutive nights. As late-night radio listeners well know, strange things can happen on the radio after midnight. There is something about the solitude of night-time listening which brings out radio's best and most original attributes. The densely-packed conformism of daytime programming is loosened. Many smaller broadcasters do not have the resources to staff their station with live DJs during the night hours and resort instead to pre-recorded or automated alternatives. It is unfortunate that the responsibility of broadcasting through the night is often seen as a burden, an unpopular time-slot which is difficult to fill. "Simulcast 1.0b : Saskatoon" recasts the problem as an opportunity, a short test-run for Radio Eternity.

Much has been said about radio's power to transcend space. The standard definition of the word "simulcast" refers to a live broadcast of some public ceremony: a football game, a coronation, a political debate, a state funeral. Events like these bind listeners together, joining disparate spaces into a single location. "Simulcast 1.0b : Saskatoon" applies the idea of simultaneity to time, rather than to space. By bathing listeners in an event which remains unitary for a period of many hours, it suggests a simultaneity between all moments of a broadcast: a collapsing of a long period of time into a single instant.

Schedule

Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
"Danby" is a broadcast composed of a single sound that is the most pervasive in our interior environments: 60 Hz. The frequency 60 Hz is the soundtrack to the electrical currents that power our radios, our appliances, our light. Yet, it is a soundtrack so prevalent in our everyday lives that only at night in the absence of noise do we realize that silence is continually filtered through the buzz and hum of electricity. "Danby" transmits an unchanging loop of the 60 Hz recorded from an everyday household object. By juxtaposing this constant frequency with the 60 Hz that is no doubt also present in listeners' homes, "Danby" creates unpredictable variations and harmonies - a spontaneous simulcast of the singular sound that infiltrates our lives.

GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
"In the 1980's, whenever I wanted to create an all-night broadcast using only a single sound, I would take a long tape-loop and play it through multiple playback heads. This technique always provided a seamless sound sculpture. For "Simulcast 1.0b : Saskatoon," I did something different. Instead of using analog based repetition, I took a short recording of 40 seconds and digitally stretched it into a single ten hour long wave form. The original recording was that of an auto accident, which is a favourite sound source of mine. The resulting effect is very much like ceaseless grinding. Which also happens to be a favourite of mine," wrote Jupitter-Larsen.

Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
"This piece is a recording of seven consecutive nights, each lasting 6 hours, 36 minutes. Two microphones are placed under a ceiling fan on the second floor of a central room in my house. Under the fan hangs a mobile composed of photographs of family members and close friends, illustrating different episodes from my past. In the foreground of the recording we hear the motor of the Westinghouse fan as well as the waving of the photos in the wind. In the background, we can distinguish the ambient sounds of our house at night, as we pass into sleep and back into wakefulness. Over the seven nights, the only measure of time is the evolution of the ambient sounds in the background, changing with the hours of the night and the nights of the week. "7 nuits sous le Westinghouse" is an intimate sound track which offers a view (or a listen) into the passing of time, the memories it leaves us and their effects on our identity," wrote Babin.

Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
In "Tot morgen (à demain)" a chord consisting in two tritones ('diaboli in musica') that overlap each other by a semitone sounds 140 times forwards and 140 times backwards. The unlawful sequence of these soundings forms a palindrome. It spans the interval that separates the beginning of a next day from the end of a previous one, the end of a previous day from the beginning of a next... "until, again, the roar of dawn." (In the first measure of Stockhausen's "Klavierstueck IX," the same chord is played 140 times in an evenly spaced decrescendo that lasts 48 seconds.) "...tezelfder tijd duizend duivels van beneden en van boven duizend goden ..." - a thousand demons from below and from above a thousand gods [ Tip Marugg - De morgen loeit weer aan (The roar of morning), 1988 ].

free103point9 is pleased to contribute a program of works for the Video Gentlemen’s BYOTV exhibition at the New American Art Union in Portland Oregon. Artists contributing work to the free103point9 curated program are listed to the right. Stay tuned for additional artists and work details.

About BYOTV: Late March 2008, The Video Gentlemen’s BYOTV network launches a six-week season of special reports engaged with technocultural turnover from analog airwaves. Transmitted from within the New American Art Union, a variety of interdisciplinary artworks, live presentations, and workshops form inquisitive constellations around topics including e-waste, surveillance, haunted media and media archeology.

Low-wattage transmissions emanate from an array of re-configured electronic detritus distributed around the gallery. Telecommunications, and the distance implicit in its operation is countered by a physical proximity prescribed by the limited range of the BYOTV transmissions. Visitors are encouraged to “bring their own TV,” or borrow one from the gallery, intercepting transmissions from their immediate airspace.

Closely scrutinizing the premise of obsolescence, BYOTV tunes into an alternative agenda, encouraging new modes of cultural production, collaboration and exchange.

Off The Grid features contemporary works which formally and/or conceptually challenge conventional and commercial infrastructures.

Co-presented by the Neuberger Museum of Art and free103point9. Curated by Jacqueline Shilkoff (Neuberger Museum) and Galen Joseph-Hunter, Tianna Kennedy, Tom Roe (free103point9)

Curators’ Statements

Has humankind’s irresponsible production and consumption of energy and resources reached its peak? While regulatory agencies scramble to meet and control the demands of a wireless-obsessed market, a burgeoning urgency about the need to be ecologically responsible has emerged. Off The Grid presents work by thirteen artists examining and reacting to these currents. Works on view propose alternate territories. They repurpose, reuse, and recast communication devices, consumer byproducts, and environmental data. Our culture has long relied on creative practice to invent, innovate, and inspire. Here, the participating artists do so with works that inform, alarm, and entertain.
– Galen Joseph-Hunter

Most of us live, work, and play on the grid. The artists in Off The Grid do not present utopian solutions to complex problems (unsustainability, overconsumption, waste, alienation), but rather invite us all to reinvent, reimagine, and subvert our daily practices through accessible work completed on a human scale. I've enjoyed my conversations with the artists in this exhibition and have been reminded that cultural gridlock is best addressed not with sweeping gestures and apocalyptic arguments, but by working within, around, and perhaps a little outside expectations of art and engagement.
-Tianna Kennedy

The grid is a shifting network of power, distributing social, ecological and intellectual resources. Individuals have agency to engage or withdraw, privatize or empower, collude or disclose. By reevaluating what resources exist and how they are allocated, we redefine our collective identity and personal ideology. It is hopeful that art as activism, as intervention, can produce awareness and change.
-Jacqueline Shilkoff

Checklist of exhibited works
(Please select an artist or work title from the menu to the right for additional information.)

Matt Bua
World Grid – Square World, 2008
ink, collage, paint, pencil on paper
39 x 63 1/2 inches
Courtesy of the artist and Derek Eller Gallery, New York

Benjamin Cohen, Dylan J. Gauthier, and Stephan von Muehlen
Mare Liberum, 2008
blueprint, distributed broadsheet, boat
broadsheet: 24 x 36 inches, boat: 12 feet
Courtesy of the artists

EcoArtTech: Christine Nadir and Cary Peppermint
Environmental Risk Assessment Rover - AT, 2008
solar panels, recycled shipping pallets, industrial garden wagon, video projector, MAC-mini computer, GPS, WiFi, found built and natural surfaces
Courtesy of the artists

eteam International Airport Montello, 2007-08
three-channel projection, map, figures, photographs
Courtesy of the artists

Max Goldfarb
Ambulant Transceivers, 2008
vintage first-aid kits made into two-way radios
Courtesy of the artist

Louis Hock
Nightscope Series, 1985-2003
digital pigment prints
17 x 24 inches each
Courtesy of the artist

Louis Hock
Feral, 2004
two-channel video installation
sound: Louis Hock and Peter Otto
Courtesy of the artist

Nina Katchadourian
Quit Using Us, 2002
c-print mounted on aluminum
18 x 96 inches
Courtesy of the artist and Sara Meltzer Gallery

Nina Katchadourian
Ant Static, 2003
video loop with sound
Courtesy of the artist and Sara Meltzer Gallery

Kristin Lucas
More Melting, 2008
wax, wick, fire
Courtesy of the artist

Joe McKay
Hi Hat Phone, 2007
cell phone, high hat stand, wood, speakers
Courtesy of the artist

Trevor Paglen
Workers / Las Vegas, NV / Distance – 1 mile, 2006
from the series Limit Telephotography
video
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Chemical and Biological Weapons Proving Ground / Dugway, UT / Distance – 42 miles / 10:51 a.m., 2005
from the series Limit Telephotography
C-print, 3 from an edition of 5
50 x 50 inches
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Unidentified Light Source / Cactus Flats, NV / Distance – 17 miles / 9:45 p.m., 2007
from the series Limit Telephotography
C-print, 1 from an edition of 5
30 x 36 inches
Courtesy of the artist and Bellwether Gallery, New York

Temporary Services
Personal Plastic, 2007
photocopied and offset publications, mounted photographs, banners made from plastic bags, unwanted plastic bags
Courtesy of the artists

Seth Weiner
Cryptographic Payphone, 2008
interactive payphone, chaotic motion system
63 x 15 x 10 inches
Courtesy of the artist

Bart Bridger Woodstrup
Gathering Lore, 2008
computer, custom video software, electronic sensors, weather
Courtesy of the artist

Four sound artists are each invited to create an unchanging radio broadcast. Reacting to a radio culture which accustoms us to the division of time into a grid of discontinuous slices, "Simulcast 1.0b : Saskatoon" is a temporary condition webcast on www.free103point9.org during April, 2008. Four artists are each asked to create an unchanging sound or soundscape. Each of these is webcast continuously over seven consecutive nights. The resulting month-long series reflects on radio's relationship with night and proposes a renewal of radio's relationship with eternity.
"Simulcast 1.0b : Saskatoon" is curated by Montreal-based sound artist Emmanuel Madan, at the initiative of the Saskatoon media arts production centre Paved Arts. The webcasts are hosted by free103point9, a New York-based nonprofit arts organization devoted to Transmission Arts. Webcast nightly on free103point9 Online Radio at www.free103point9.org, April 1 - 28 2008.
Schedule:
Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
All times Central Standard Time (GMT -6). Sunset and sunrise times as observed in Saskatoon, Saskatchewan.

"Western broadcasting is tyrannized by an instrument we have accepted as inviolable: the clock... Radio has become the clock of Western civilization, taking over the function of social timekeeper from the church bell and the factory whistle," said R. Murray Schafer in “Radical Radio,” In EAR Magazine, “Festival for a New Radio” supplement, March 1987.

The idea of "programming" in radio is indissociable from notions of time: we speak of the programming "grid" which represents the subdivision of time according to a two-dimensional Cartesian co-ordinate system; a "schedule" which presumes predictability, punctuality, and periodicity. The time "slots" thus created are further dissected within the confines of each individual programme: news is expected on the hour, weather every seven to ten minutes, regular breaks for advertising spots of 30- or 60-second duration[s] punctuate the remainder. Music programmes fill their time with a battery of pre-recorded songs of similar length; these are then assembled into playlists whose duration is also fixed: "Stay tuned for another thirty-minute non-stop Rock Ride," said a radio DJ on CHOM-FM, Montreal, 2007.

Put simply, radio broadcasting today is an almost exclusively rhythmic affair. Other types of broadcasts do exist, of course. Arno Penzias and Robert Wilson stumbled upon one in 1965, while researching an entirely different phenomenon. They were convinced that their radio telescope was malfunctioning until they realized that they were in fact receiving a signal which had been rocking the universe (commercial-free) since the moment radiation began separating from matter, that is, shortly after the Big Bang. "Scientifically, radio is as old as time," wrote Neil Strauss in the introduction to "Radiotext(e)," published by Semiotext(e) New York 1993.

"Simulcast 1.0b : Saskatoon" proposes to renew radio's link with eternity. It asks four artists to provide a sound, only one sound, which broadcasts continuously and unchangingly for a period of between six and ten hours each night on www.free103point9.org. Each artist's sound is broadcast during seven consecutive nights. As late-night radio listeners well know, strange things can happen on the radio after midnight. There is something about the solitude of night-time listening which brings out radio's best and most original attributes. The densely-packed conformism of daytime programming is loosened. Many smaller broadcasters do not have the resources to staff their station with live DJs during the night hours and resort instead to pre-recorded or automated alternatives. It is unfortunate that the responsibility of broadcasting through the night is often seen as a burden, an unpopular time-slot which is difficult to fill. "Simulcast 1.0b : Saskatoon" recasts the problem as an opportunity, a short test-run for Radio Eternity.

Much has been said about radio's power to transcend space. The standard definition of the word "simulcast" refers to a live broadcast of some public ceremony: a football game, a coronation, a political debate, a state funeral. Events like these bind listeners together, joining disparate spaces into a single location. "Simulcast 1.0b : Saskatoon" applies the idea of simultaneity to time, rather than to space. By bathing listeners in an event which remains unitary for a period of many hours, it suggests a simultaneity between all moments of a broadcast: a collapsing of a long period of time into a single instant.

Schedule

Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
"Danby" is a broadcast composed of a single sound that is the most pervasive in our interior environments: 60 Hz. The frequency 60 Hz is the soundtrack to the electrical currents that power our radios, our appliances, our light. Yet, it is a soundtrack so prevalent in our everyday lives that only at night in the absence of noise do we realize that silence is continually filtered through the buzz and hum of electricity. "Danby" transmits an unchanging loop of the 60 Hz recorded from an everyday household object. By juxtaposing this constant frequency with the 60 Hz that is no doubt also present in listeners' homes, "Danby" creates unpredictable variations and harmonies - a spontaneous simulcast of the singular sound that infiltrates our lives.

GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
"In the 1980's, whenever I wanted to create an all-night broadcast using only a single sound, I would take a long tape-loop and play it through multiple playback heads. This technique always provided a seamless sound sculpture. For "Simulcast 1.0b : Saskatoon," I did something different. Instead of using analog based repetition, I took a short recording of 40 seconds and digitally stretched it into a single ten hour long wave form. The original recording was that of an auto accident, which is a favourite sound source of mine. The resulting effect is very much like ceaseless grinding. Which also happens to be a favourite of mine," wrote Jupitter-Larsen.

Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
"This piece is a recording of seven consecutive nights, each lasting 6 hours, 36 minutes. Two microphones are placed under a ceiling fan on the second floor of a central room in my house. Under the fan hangs a mobile composed of photographs of family members and close friends, illustrating different episodes from my past. In the foreground of the recording we hear the motor of the Westinghouse fan as well as the waving of the photos in the wind. In the background, we can distinguish the ambient sounds of our house at night, as we pass into sleep and back into wakefulness. Over the seven nights, the only measure of time is the evolution of the ambient sounds in the background, changing with the hours of the night and the nights of the week. "7 nuits sous le Westinghouse" is an intimate sound track which offers a view (or a listen) into the passing of time, the memories it leaves us and their effects on our identity," wrote Babin.

Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
In "Tot morgen (à demain)" a chord consisting in two tritones ('diaboli in musica') that overlap each other by a semitone sounds 140 times forwards and 140 times backwards. The unlawful sequence of these soundings forms a palindrome. It spans the interval that separates the beginning of a next day from the end of a previous one, the end of a previous day from the beginning of a next... "until, again, the roar of dawn." (In the first measure of Stockhausen's "Klavierstueck IX," the same chord is played 140 times in an evenly spaced decrescendo that lasts 48 seconds.) "...tezelfder tijd duizend duivels van beneden en van boven duizend goden ..." - a thousand demons from below and from above a thousand gods [ Tip Marugg - De morgen loeit weer aan (The roar of morning), 1988 ].

free103point9 is pleased to contribute a program of works for the Video Gentlemen’s BYOTV exhibition at the New American Art Union in Portland Oregon. Artists contributing work to the free103point9 curated program are listed to the right. Stay tuned for additional artists and work details.

About BYOTV: Late March 2008, The Video Gentlemen’s BYOTV network launches a six-week season of special reports engaged with technocultural turnover from analog airwaves. Transmitted from within the New American Art Union, a variety of interdisciplinary artworks, live presentations, and workshops form inquisitive constellations around topics including e-waste, surveillance, haunted media and media archeology.

Low-wattage transmissions emanate from an array of re-configured electronic detritus distributed around the gallery. Telecommunications, and the distance implicit in its operation is countered by a physical proximity prescribed by the limited range of the BYOTV transmissions. Visitors are encouraged to “bring their own TV,” or borrow one from the gallery, intercepting transmissions from their immediate airspace.

Closely scrutinizing the premise of obsolescence, BYOTV tunes into an alternative agenda, encouraging new modes of cultural production, collaboration and exchange.

Off The Grid features contemporary works which formally and/or conceptually challenge conventional and commercial infrastructures.

Co-presented by the Neuberger Museum of Art and free103point9. Curated by Jacqueline Shilkoff (Neuberger Museum) and Galen Joseph-Hunter, Tianna Kennedy, Tom Roe (free103point9)

Curators’ Statements

Has humankind’s irresponsible production and consumption of energy and resources reached its peak? While regulatory agencies scramble to meet and control the demands of a wireless-obsessed market, a burgeoning urgency about the need to be ecologically responsible has emerged. Off The Grid presents work by thirteen artists examining and reacting to these currents. Works on view propose alternate territories. They repurpose, reuse, and recast communication devices, consumer byproducts, and environmental data. Our culture has long relied on creative practice to invent, innovate, and inspire. Here, the participating artists do so with works that inform, alarm, and entertain.
– Galen Joseph-Hunter

Most of us live, work, and play on the grid. The artists in Off The Grid do not present utopian solutions to complex problems (unsustainability, overconsumption, waste, alienation), but rather invite us all to reinvent, reimagine, and subvert our daily practices through accessible work completed on a human scale. I've enjoyed my conversations with the artists in this exhibition and have been reminded that cultural gridlock is best addressed not with sweeping gestures and apocalyptic arguments, but by working within, around, and perhaps a little outside expectations of art and engagement.
-Tianna Kennedy

The grid is a shifting network of power, distributing social, ecological and intellectual resources. Individuals have agency to engage or withdraw, privatize or empower, collude or disclose. By reevaluating what resources exist and how they are allocated, we redefine our collective identity and personal ideology. It is hopeful that art as activism, as intervention, can produce awareness and change.
-Jacqueline Shilkoff

Checklist of exhibited works
(Please select an artist or work title from the menu to the right for additional information.)

Matt Bua
World Grid – Square World, 2008
ink, collage, paint, pencil on paper
39 x 63 1/2 inches
Courtesy of the artist and Derek Eller Gallery, New York

Benjamin Cohen, Dylan J. Gauthier, and Stephan von Muehlen
Mare Liberum, 2008
blueprint, distributed broadsheet, boat
broadsheet: 24 x 36 inches, boat: 12 feet
Courtesy of the artists

EcoArtTech: Christine Nadir and Cary Peppermint
Environmental Risk Assessment Rover - AT, 2008
solar panels, recycled shipping pallets, industrial garden wagon, video projector, MAC-mini computer, GPS, WiFi, found built and natural surfaces
Courtesy of the artists

eteam International Airport Montello, 2007-08
three-channel projection, map, figures, photographs
Courtesy of the artists

Max Goldfarb
Ambulant Transceivers, 2008
vintage first-aid kits made into two-way radios
Courtesy of the artist

Louis Hock
Nightscope Series, 1985-2003
digital pigment prints
17 x 24 inches each
Courtesy of the artist

Louis Hock
Feral, 2004
two-channel video installation
sound: Louis Hock and Peter Otto
Courtesy of the artist

Nina Katchadourian
Quit Using Us, 2002
c-print mounted on aluminum
18 x 96 inches
Courtesy of the artist and Sara Meltzer Gallery

Nina Katchadourian
Ant Static, 2003
video loop with sound
Courtesy of the artist and Sara Meltzer Gallery

Kristin Lucas
More Melting, 2008
wax, wick, fire
Courtesy of the artist

Joe McKay
Hi Hat Phone, 2007
cell phone, high hat stand, wood, speakers
Courtesy of the artist

Trevor Paglen
Workers / Las Vegas, NV / Distance – 1 mile, 2006
from the series Limit Telephotography
video
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Chemical and Biological Weapons Proving Ground / Dugway, UT / Distance – 42 miles / 10:51 a.m., 2005
from the series Limit Telephotography
C-print, 3 from an edition of 5
50 x 50 inches
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Unidentified Light Source / Cactus Flats, NV / Distance – 17 miles / 9:45 p.m., 2007
from the series Limit Telephotography
C-print, 1 from an edition of 5
30 x 36 inches
Courtesy of the artist and Bellwether Gallery, New York

Temporary Services
Personal Plastic, 2007
photocopied and offset publications, mounted photographs, banners made from plastic bags, unwanted plastic bags
Courtesy of the artists

Seth Weiner
Cryptographic Payphone, 2008
interactive payphone, chaotic motion system
63 x 15 x 10 inches
Courtesy of the artist

Bart Bridger Woodstrup
Gathering Lore, 2008
computer, custom video software, electronic sensors, weather
Courtesy of the artist

Four sound artists are each invited to create an unchanging radio broadcast. Reacting to a radio culture which accustoms us to the division of time into a grid of discontinuous slices, "Simulcast 1.0b : Saskatoon" is a temporary condition webcast on www.free103point9.org during April, 2008. Four artists are each asked to create an unchanging sound or soundscape. Each of these is webcast continuously over seven consecutive nights. The resulting month-long series reflects on radio's relationship with night and proposes a renewal of radio's relationship with eternity.
"Simulcast 1.0b : Saskatoon" is curated by Montreal-based sound artist Emmanuel Madan, at the initiative of the Saskatoon media arts production centre Paved Arts. The webcasts are hosted by free103point9, a New York-based nonprofit arts organization devoted to Transmission Arts. Webcast nightly on free103point9 Online Radio at www.free103point9.org, April 1 - 28 2008.
Schedule:
Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
All times Central Standard Time (GMT -6). Sunset and sunrise times as observed in Saskatoon, Saskatchewan.

"Western broadcasting is tyrannized by an instrument we have accepted as inviolable: the clock... Radio has become the clock of Western civilization, taking over the function of social timekeeper from the church bell and the factory whistle," said R. Murray Schafer in “Radical Radio,” In EAR Magazine, “Festival for a New Radio” supplement, March 1987.

The idea of "programming" in radio is indissociable from notions of time: we speak of the programming "grid" which represents the subdivision of time according to a two-dimensional Cartesian co-ordinate system; a "schedule" which presumes predictability, punctuality, and periodicity. The time "slots" thus created are further dissected within the confines of each individual programme: news is expected on the hour, weather every seven to ten minutes, regular breaks for advertising spots of 30- or 60-second duration[s] punctuate the remainder. Music programmes fill their time with a battery of pre-recorded songs of similar length; these are then assembled into playlists whose duration is also fixed: "Stay tuned for another thirty-minute non-stop Rock Ride," said a radio DJ on CHOM-FM, Montreal, 2007.

Put simply, radio broadcasting today is an almost exclusively rhythmic affair. Other types of broadcasts do exist, of course. Arno Penzias and Robert Wilson stumbled upon one in 1965, while researching an entirely different phenomenon. They were convinced that their radio telescope was malfunctioning until they realized that they were in fact receiving a signal which had been rocking the universe (commercial-free) since the moment radiation began separating from matter, that is, shortly after the Big Bang. "Scientifically, radio is as old as time," wrote Neil Strauss in the introduction to "Radiotext(e)," published by Semiotext(e) New York 1993.

"Simulcast 1.0b : Saskatoon" proposes to renew radio's link with eternity. It asks four artists to provide a sound, only one sound, which broadcasts continuously and unchangingly for a period of between six and ten hours each night on www.free103point9.org. Each artist's sound is broadcast during seven consecutive nights. As late-night radio listeners well know, strange things can happen on the radio after midnight. There is something about the solitude of night-time listening which brings out radio's best and most original attributes. The densely-packed conformism of daytime programming is loosened. Many smaller broadcasters do not have the resources to staff their station with live DJs during the night hours and resort instead to pre-recorded or automated alternatives. It is unfortunate that the responsibility of broadcasting through the night is often seen as a burden, an unpopular time-slot which is difficult to fill. "Simulcast 1.0b : Saskatoon" recasts the problem as an opportunity, a short test-run for Radio Eternity.

Much has been said about radio's power to transcend space. The standard definition of the word "simulcast" refers to a live broadcast of some public ceremony: a football game, a coronation, a political debate, a state funeral. Events like these bind listeners together, joining disparate spaces into a single location. "Simulcast 1.0b : Saskatoon" applies the idea of simultaneity to time, rather than to space. By bathing listeners in an event which remains unitary for a period of many hours, it suggests a simultaneity between all moments of a broadcast: a collapsing of a long period of time into a single instant.

Schedule

Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
"Danby" is a broadcast composed of a single sound that is the most pervasive in our interior environments: 60 Hz. The frequency 60 Hz is the soundtrack to the electrical currents that power our radios, our appliances, our light. Yet, it is a soundtrack so prevalent in our everyday lives that only at night in the absence of noise do we realize that silence is continually filtered through the buzz and hum of electricity. "Danby" transmits an unchanging loop of the 60 Hz recorded from an everyday household object. By juxtaposing this constant frequency with the 60 Hz that is no doubt also present in listeners' homes, "Danby" creates unpredictable variations and harmonies - a spontaneous simulcast of the singular sound that infiltrates our lives.

GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
"In the 1980's, whenever I wanted to create an all-night broadcast using only a single sound, I would take a long tape-loop and play it through multiple playback heads. This technique always provided a seamless sound sculpture. For "Simulcast 1.0b : Saskatoon," I did something different. Instead of using analog based repetition, I took a short recording of 40 seconds and digitally stretched it into a single ten hour long wave form. The original recording was that of an auto accident, which is a favourite sound source of mine. The resulting effect is very much like ceaseless grinding. Which also happens to be a favourite of mine," wrote Jupitter-Larsen.

Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
"This piece is a recording of seven consecutive nights, each lasting 6 hours, 36 minutes. Two microphones are placed under a ceiling fan on the second floor of a central room in my house. Under the fan hangs a mobile composed of photographs of family members and close friends, illustrating different episodes from my past. In the foreground of the recording we hear the motor of the Westinghouse fan as well as the waving of the photos in the wind. In the background, we can distinguish the ambient sounds of our house at night, as we pass into sleep and back into wakefulness. Over the seven nights, the only measure of time is the evolution of the ambient sounds in the background, changing with the hours of the night and the nights of the week. "7 nuits sous le Westinghouse" is an intimate sound track which offers a view (or a listen) into the passing of time, the memories it leaves us and their effects on our identity," wrote Babin.

Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
In "Tot morgen (à demain)" a chord consisting in two tritones ('diaboli in musica') that overlap each other by a semitone sounds 140 times forwards and 140 times backwards. The unlawful sequence of these soundings forms a palindrome. It spans the interval that separates the beginning of a next day from the end of a previous one, the end of a previous day from the beginning of a next... "until, again, the roar of dawn." (In the first measure of Stockhausen's "Klavierstueck IX," the same chord is played 140 times in an evenly spaced decrescendo that lasts 48 seconds.) "...tezelfder tijd duizend duivels van beneden en van boven duizend goden ..." - a thousand demons from below and from above a thousand gods [ Tip Marugg - De morgen loeit weer aan (The roar of morning), 1988 ].

free103point9 is pleased to contribute a program of works for the Video Gentlemen’s BYOTV exhibition at the New American Art Union in Portland Oregon. Artists contributing work to the free103point9 curated program are listed to the right. Stay tuned for additional artists and work details.

About BYOTV: Late March 2008, The Video Gentlemen’s BYOTV network launches a six-week season of special reports engaged with technocultural turnover from analog airwaves. Transmitted from within the New American Art Union, a variety of interdisciplinary artworks, live presentations, and workshops form inquisitive constellations around topics including e-waste, surveillance, haunted media and media archeology.

Low-wattage transmissions emanate from an array of re-configured electronic detritus distributed around the gallery. Telecommunications, and the distance implicit in its operation is countered by a physical proximity prescribed by the limited range of the BYOTV transmissions. Visitors are encouraged to “bring their own TV,” or borrow one from the gallery, intercepting transmissions from their immediate airspace.

Closely scrutinizing the premise of obsolescence, BYOTV tunes into an alternative agenda, encouraging new modes of cultural production, collaboration and exchange.

Off The Grid features contemporary works which formally and/or conceptually challenge conventional and commercial infrastructures.

Co-presented by the Neuberger Museum of Art and free103point9. Curated by Jacqueline Shilkoff (Neuberger Museum) and Galen Joseph-Hunter, Tianna Kennedy, Tom Roe (free103point9)

Curators’ Statements

Has humankind’s irresponsible production and consumption of energy and resources reached its peak? While regulatory agencies scramble to meet and control the demands of a wireless-obsessed market, a burgeoning urgency about the need to be ecologically responsible has emerged. Off The Grid presents work by thirteen artists examining and reacting to these currents. Works on view propose alternate territories. They repurpose, reuse, and recast communication devices, consumer byproducts, and environmental data. Our culture has long relied on creative practice to invent, innovate, and inspire. Here, the participating artists do so with works that inform, alarm, and entertain.
– Galen Joseph-Hunter

Most of us live, work, and play on the grid. The artists in Off The Grid do not present utopian solutions to complex problems (unsustainability, overconsumption, waste, alienation), but rather invite us all to reinvent, reimagine, and subvert our daily practices through accessible work completed on a human scale. I've enjoyed my conversations with the artists in this exhibition and have been reminded that cultural gridlock is best addressed not with sweeping gestures and apocalyptic arguments, but by working within, around, and perhaps a little outside expectations of art and engagement.
-Tianna Kennedy

The grid is a shifting network of power, distributing social, ecological and intellectual resources. Individuals have agency to engage or withdraw, privatize or empower, collude or disclose. By reevaluating what resources exist and how they are allocated, we redefine our collective identity and personal ideology. It is hopeful that art as activism, as intervention, can produce awareness and change.
-Jacqueline Shilkoff

Checklist of exhibited works
(Please select an artist or work title from the menu to the right for additional information.)

Matt Bua
World Grid – Square World, 2008
ink, collage, paint, pencil on paper
39 x 63 1/2 inches
Courtesy of the artist and Derek Eller Gallery, New York

Benjamin Cohen, Dylan J. Gauthier, and Stephan von Muehlen
Mare Liberum, 2008
blueprint, distributed broadsheet, boat
broadsheet: 24 x 36 inches, boat: 12 feet
Courtesy of the artists

EcoArtTech: Christine Nadir and Cary Peppermint
Environmental Risk Assessment Rover - AT, 2008
solar panels, recycled shipping pallets, industrial garden wagon, video projector, MAC-mini computer, GPS, WiFi, found built and natural surfaces
Courtesy of the artists

eteam International Airport Montello, 2007-08
three-channel projection, map, figures, photographs
Courtesy of the artists

Max Goldfarb
Ambulant Transceivers, 2008
vintage first-aid kits made into two-way radios
Courtesy of the artist

Louis Hock
Nightscope Series, 1985-2003
digital pigment prints
17 x 24 inches each
Courtesy of the artist

Louis Hock
Feral, 2004
two-channel video installation
sound: Louis Hock and Peter Otto
Courtesy of the artist

Nina Katchadourian
Quit Using Us, 2002
c-print mounted on aluminum
18 x 96 inches
Courtesy of the artist and Sara Meltzer Gallery

Nina Katchadourian
Ant Static, 2003
video loop with sound
Courtesy of the artist and Sara Meltzer Gallery

Kristin Lucas
More Melting, 2008
wax, wick, fire
Courtesy of the artist

Joe McKay
Hi Hat Phone, 2007
cell phone, high hat stand, wood, speakers
Courtesy of the artist

Trevor Paglen
Workers / Las Vegas, NV / Distance – 1 mile, 2006
from the series Limit Telephotography
video
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Chemical and Biological Weapons Proving Ground / Dugway, UT / Distance – 42 miles / 10:51 a.m., 2005
from the series Limit Telephotography
C-print, 3 from an edition of 5
50 x 50 inches
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Unidentified Light Source / Cactus Flats, NV / Distance – 17 miles / 9:45 p.m., 2007
from the series Limit Telephotography
C-print, 1 from an edition of 5
30 x 36 inches
Courtesy of the artist and Bellwether Gallery, New York

Temporary Services
Personal Plastic, 2007
photocopied and offset publications, mounted photographs, banners made from plastic bags, unwanted plastic bags
Courtesy of the artists

Seth Weiner
Cryptographic Payphone, 2008
interactive payphone, chaotic motion system
63 x 15 x 10 inches
Courtesy of the artist

Bart Bridger Woodstrup
Gathering Lore, 2008
computer, custom video software, electronic sensors, weather
Courtesy of the artist

Four sound artists are each invited to create an unchanging radio broadcast. Reacting to a radio culture which accustoms us to the division of time into a grid of discontinuous slices, "Simulcast 1.0b : Saskatoon" is a temporary condition webcast on www.free103point9.org during April, 2008. Four artists are each asked to create an unchanging sound or soundscape. Each of these is webcast continuously over seven consecutive nights. The resulting month-long series reflects on radio's relationship with night and proposes a renewal of radio's relationship with eternity.
"Simulcast 1.0b : Saskatoon" is curated by Montreal-based sound artist Emmanuel Madan, at the initiative of the Saskatoon media arts production centre Paved Arts. The webcasts are hosted by free103point9, a New York-based nonprofit arts organization devoted to Transmission Arts. Webcast nightly on free103point9 Online Radio at www.free103point9.org, April 1 - 28 2008.
Schedule:
Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
All times Central Standard Time (GMT -6). Sunset and sunrise times as observed in Saskatoon, Saskatchewan.

"Western broadcasting is tyrannized by an instrument we have accepted as inviolable: the clock... Radio has become the clock of Western civilization, taking over the function of social timekeeper from the church bell and the factory whistle," said R. Murray Schafer in “Radical Radio,” In EAR Magazine, “Festival for a New Radio” supplement, March 1987.

The idea of "programming" in radio is indissociable from notions of time: we speak of the programming "grid" which represents the subdivision of time according to a two-dimensional Cartesian co-ordinate system; a "schedule" which presumes predictability, punctuality, and periodicity. The time "slots" thus created are further dissected within the confines of each individual programme: news is expected on the hour, weather every seven to ten minutes, regular breaks for advertising spots of 30- or 60-second duration[s] punctuate the remainder. Music programmes fill their time with a battery of pre-recorded songs of similar length; these are then assembled into playlists whose duration is also fixed: "Stay tuned for another thirty-minute non-stop Rock Ride," said a radio DJ on CHOM-FM, Montreal, 2007.

Put simply, radio broadcasting today is an almost exclusively rhythmic affair. Other types of broadcasts do exist, of course. Arno Penzias and Robert Wilson stumbled upon one in 1965, while researching an entirely different phenomenon. They were convinced that their radio telescope was malfunctioning until they realized that they were in fact receiving a signal which had been rocking the universe (commercial-free) since the moment radiation began separating from matter, that is, shortly after the Big Bang. "Scientifically, radio is as old as time," wrote Neil Strauss in the introduction to "Radiotext(e)," published by Semiotext(e) New York 1993.

"Simulcast 1.0b : Saskatoon" proposes to renew radio's link with eternity. It asks four artists to provide a sound, only one sound, which broadcasts continuously and unchangingly for a period of between six and ten hours each night on www.free103point9.org. Each artist's sound is broadcast during seven consecutive nights. As late-night radio listeners well know, strange things can happen on the radio after midnight. There is something about the solitude of night-time listening which brings out radio's best and most original attributes. The densely-packed conformism of daytime programming is loosened. Many smaller broadcasters do not have the resources to staff their station with live DJs during the night hours and resort instead to pre-recorded or automated alternatives. It is unfortunate that the responsibility of broadcasting through the night is often seen as a burden, an unpopular time-slot which is difficult to fill. "Simulcast 1.0b : Saskatoon" recasts the problem as an opportunity, a short test-run for Radio Eternity.

Much has been said about radio's power to transcend space. The standard definition of the word "simulcast" refers to a live broadcast of some public ceremony: a football game, a coronation, a political debate, a state funeral. Events like these bind listeners together, joining disparate spaces into a single location. "Simulcast 1.0b : Saskatoon" applies the idea of simultaneity to time, rather than to space. By bathing listeners in an event which remains unitary for a period of many hours, it suggests a simultaneity between all moments of a broadcast: a collapsing of a long period of time into a single instant.

Schedule

Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
"Danby" is a broadcast composed of a single sound that is the most pervasive in our interior environments: 60 Hz. The frequency 60 Hz is the soundtrack to the electrical currents that power our radios, our appliances, our light. Yet, it is a soundtrack so prevalent in our everyday lives that only at night in the absence of noise do we realize that silence is continually filtered through the buzz and hum of electricity. "Danby" transmits an unchanging loop of the 60 Hz recorded from an everyday household object. By juxtaposing this constant frequency with the 60 Hz that is no doubt also present in listeners' homes, "Danby" creates unpredictable variations and harmonies - a spontaneous simulcast of the singular sound that infiltrates our lives.

GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
"In the 1980's, whenever I wanted to create an all-night broadcast using only a single sound, I would take a long tape-loop and play it through multiple playback heads. This technique always provided a seamless sound sculpture. For "Simulcast 1.0b : Saskatoon," I did something different. Instead of using analog based repetition, I took a short recording of 40 seconds and digitally stretched it into a single ten hour long wave form. The original recording was that of an auto accident, which is a favourite sound source of mine. The resulting effect is very much like ceaseless grinding. Which also happens to be a favourite of mine," wrote Jupitter-Larsen.

Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
"This piece is a recording of seven consecutive nights, each lasting 6 hours, 36 minutes. Two microphones are placed under a ceiling fan on the second floor of a central room in my house. Under the fan hangs a mobile composed of photographs of family members and close friends, illustrating different episodes from my past. In the foreground of the recording we hear the motor of the Westinghouse fan as well as the waving of the photos in the wind. In the background, we can distinguish the ambient sounds of our house at night, as we pass into sleep and back into wakefulness. Over the seven nights, the only measure of time is the evolution of the ambient sounds in the background, changing with the hours of the night and the nights of the week. "7 nuits sous le Westinghouse" is an intimate sound track which offers a view (or a listen) into the passing of time, the memories it leaves us and their effects on our identity," wrote Babin.

Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
In "Tot morgen (à demain)" a chord consisting in two tritones ('diaboli in musica') that overlap each other by a semitone sounds 140 times forwards and 140 times backwards. The unlawful sequence of these soundings forms a palindrome. It spans the interval that separates the beginning of a next day from the end of a previous one, the end of a previous day from the beginning of a next... "until, again, the roar of dawn." (In the first measure of Stockhausen's "Klavierstueck IX," the same chord is played 140 times in an evenly spaced decrescendo that lasts 48 seconds.) "...tezelfder tijd duizend duivels van beneden en van boven duizend goden ..." - a thousand demons from below and from above a thousand gods [ Tip Marugg - De morgen loeit weer aan (The roar of morning), 1988 ].

free103point9 is pleased to contribute a program of works for the Video Gentlemen’s BYOTV exhibition at the New American Art Union in Portland Oregon. Artists contributing work to the free103point9 curated program are listed to the right. Stay tuned for additional artists and work details.

About BYOTV: Late March 2008, The Video Gentlemen’s BYOTV network launches a six-week season of special reports engaged with technocultural turnover from analog airwaves. Transmitted from within the New American Art Union, a variety of interdisciplinary artworks, live presentations, and workshops form inquisitive constellations around topics including e-waste, surveillance, haunted media and media archeology.

Low-wattage transmissions emanate from an array of re-configured electronic detritus distributed around the gallery. Telecommunications, and the distance implicit in its operation is countered by a physical proximity prescribed by the limited range of the BYOTV transmissions. Visitors are encouraged to “bring their own TV,” or borrow one from the gallery, intercepting transmissions from their immediate airspace.

Closely scrutinizing the premise of obsolescence, BYOTV tunes into an alternative agenda, encouraging new modes of cultural production, collaboration and exchange.

Off The Grid features contemporary works which formally and/or conceptually challenge conventional and commercial infrastructures.

Co-presented by the Neuberger Museum of Art and free103point9. Curated by Jacqueline Shilkoff (Neuberger Museum) and Galen Joseph-Hunter, Tianna Kennedy, Tom Roe (free103point9)

Curators’ Statements

Has humankind’s irresponsible production and consumption of energy and resources reached its peak? While regulatory agencies scramble to meet and control the demands of a wireless-obsessed market, a burgeoning urgency about the need to be ecologically responsible has emerged. Off The Grid presents work by thirteen artists examining and reacting to these currents. Works on view propose alternate territories. They repurpose, reuse, and recast communication devices, consumer byproducts, and environmental data. Our culture has long relied on creative practice to invent, innovate, and inspire. Here, the participating artists do so with works that inform, alarm, and entertain.
– Galen Joseph-Hunter

Most of us live, work, and play on the grid. The artists in Off The Grid do not present utopian solutions to complex problems (unsustainability, overconsumption, waste, alienation), but rather invite us all to reinvent, reimagine, and subvert our daily practices through accessible work completed on a human scale. I've enjoyed my conversations with the artists in this exhibition and have been reminded that cultural gridlock is best addressed not with sweeping gestures and apocalyptic arguments, but by working within, around, and perhaps a little outside expectations of art and engagement.
-Tianna Kennedy

The grid is a shifting network of power, distributing social, ecological and intellectual resources. Individuals have agency to engage or withdraw, privatize or empower, collude or disclose. By reevaluating what resources exist and how they are allocated, we redefine our collective identity and personal ideology. It is hopeful that art as activism, as intervention, can produce awareness and change.
-Jacqueline Shilkoff

Checklist of exhibited works
(Please select an artist or work title from the menu to the right for additional information.)

Matt Bua
World Grid – Square World, 2008
ink, collage, paint, pencil on paper
39 x 63 1/2 inches
Courtesy of the artist and Derek Eller Gallery, New York

Benjamin Cohen, Dylan J. Gauthier, and Stephan von Muehlen
Mare Liberum, 2008
blueprint, distributed broadsheet, boat
broadsheet: 24 x 36 inches, boat: 12 feet
Courtesy of the artists

EcoArtTech: Christine Nadir and Cary Peppermint
Environmental Risk Assessment Rover - AT, 2008
solar panels, recycled shipping pallets, industrial garden wagon, video projector, MAC-mini computer, GPS, WiFi, found built and natural surfaces
Courtesy of the artists

eteam International Airport Montello, 2007-08
three-channel projection, map, figures, photographs
Courtesy of the artists

Max Goldfarb
Ambulant Transceivers, 2008
vintage first-aid kits made into two-way radios
Courtesy of the artist

Louis Hock
Nightscope Series, 1985-2003
digital pigment prints
17 x 24 inches each
Courtesy of the artist

Louis Hock
Feral, 2004
two-channel video installation
sound: Louis Hock and Peter Otto
Courtesy of the artist

Nina Katchadourian
Quit Using Us, 2002
c-print mounted on aluminum
18 x 96 inches
Courtesy of the artist and Sara Meltzer Gallery

Nina Katchadourian
Ant Static, 2003
video loop with sound
Courtesy of the artist and Sara Meltzer Gallery

Kristin Lucas
More Melting, 2008
wax, wick, fire
Courtesy of the artist

Joe McKay
Hi Hat Phone, 2007
cell phone, high hat stand, wood, speakers
Courtesy of the artist

Trevor Paglen
Workers / Las Vegas, NV / Distance – 1 mile, 2006
from the series Limit Telephotography
video
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Chemical and Biological Weapons Proving Ground / Dugway, UT / Distance – 42 miles / 10:51 a.m., 2005
from the series Limit Telephotography
C-print, 3 from an edition of 5
50 x 50 inches
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Unidentified Light Source / Cactus Flats, NV / Distance – 17 miles / 9:45 p.m., 2007
from the series Limit Telephotography
C-print, 1 from an edition of 5
30 x 36 inches
Courtesy of the artist and Bellwether Gallery, New York

Temporary Services
Personal Plastic, 2007
photocopied and offset publications, mounted photographs, banners made from plastic bags, unwanted plastic bags
Courtesy of the artists

Seth Weiner
Cryptographic Payphone, 2008
interactive payphone, chaotic motion system
63 x 15 x 10 inches
Courtesy of the artist

Bart Bridger Woodstrup
Gathering Lore, 2008
computer, custom video software, electronic sensors, weather
Courtesy of the artist

Four sound artists are each invited to create an unchanging radio broadcast. Reacting to a radio culture which accustoms us to the division of time into a grid of discontinuous slices, "Simulcast 1.0b : Saskatoon" is a temporary condition webcast on www.free103point9.org during April, 2008. Four artists are each asked to create an unchanging sound or soundscape. Each of these is webcast continuously over seven consecutive nights. The resulting month-long series reflects on radio's relationship with night and proposes a renewal of radio's relationship with eternity.
"Simulcast 1.0b : Saskatoon" is curated by Montreal-based sound artist Emmanuel Madan, at the initiative of the Saskatoon media arts production centre Paved Arts. The webcasts are hosted by free103point9, a New York-based nonprofit arts organization devoted to Transmission Arts. Webcast nightly on free103point9 Online Radio at www.free103point9.org, April 1 - 28 2008.
Schedule:
Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
All times Central Standard Time (GMT -6). Sunset and sunrise times as observed in Saskatoon, Saskatchewan.

"Western broadcasting is tyrannized by an instrument we have accepted as inviolable: the clock... Radio has become the clock of Western civilization, taking over the function of social timekeeper from the church bell and the factory whistle," said R. Murray Schafer in “Radical Radio,” In EAR Magazine, “Festival for a New Radio” supplement, March 1987.

The idea of "programming" in radio is indissociable from notions of time: we speak of the programming "grid" which represents the subdivision of time according to a two-dimensional Cartesian co-ordinate system; a "schedule" which presumes predictability, punctuality, and periodicity. The time "slots" thus created are further dissected within the confines of each individual programme: news is expected on the hour, weather every seven to ten minutes, regular breaks for advertising spots of 30- or 60-second duration[s] punctuate the remainder. Music programmes fill their time with a battery of pre-recorded songs of similar length; these are then assembled into playlists whose duration is also fixed: "Stay tuned for another thirty-minute non-stop Rock Ride," said a radio DJ on CHOM-FM, Montreal, 2007.

Put simply, radio broadcasting today is an almost exclusively rhythmic affair. Other types of broadcasts do exist, of course. Arno Penzias and Robert Wilson stumbled upon one in 1965, while researching an entirely different phenomenon. They were convinced that their radio telescope was malfunctioning until they realized that they were in fact receiving a signal which had been rocking the universe (commercial-free) since the moment radiation began separating from matter, that is, shortly after the Big Bang. "Scientifically, radio is as old as time," wrote Neil Strauss in the introduction to "Radiotext(e)," published by Semiotext(e) New York 1993.

"Simulcast 1.0b : Saskatoon" proposes to renew radio's link with eternity. It asks four artists to provide a sound, only one sound, which broadcasts continuously and unchangingly for a period of between six and ten hours each night on www.free103point9.org. Each artist's sound is broadcast during seven consecutive nights. As late-night radio listeners well know, strange things can happen on the radio after midnight. There is something about the solitude of night-time listening which brings out radio's best and most original attributes. The densely-packed conformism of daytime programming is loosened. Many smaller broadcasters do not have the resources to staff their station with live DJs during the night hours and resort instead to pre-recorded or automated alternatives. It is unfortunate that the responsibility of broadcasting through the night is often seen as a burden, an unpopular time-slot which is difficult to fill. "Simulcast 1.0b : Saskatoon" recasts the problem as an opportunity, a short test-run for Radio Eternity.

Much has been said about radio's power to transcend space. The standard definition of the word "simulcast" refers to a live broadcast of some public ceremony: a football game, a coronation, a political debate, a state funeral. Events like these bind listeners together, joining disparate spaces into a single location. "Simulcast 1.0b : Saskatoon" applies the idea of simultaneity to time, rather than to space. By bathing listeners in an event which remains unitary for a period of many hours, it suggests a simultaneity between all moments of a broadcast: a collapsing of a long period of time into a single instant.

Schedule

Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
"Danby" is a broadcast composed of a single sound that is the most pervasive in our interior environments: 60 Hz. The frequency 60 Hz is the soundtrack to the electrical currents that power our radios, our appliances, our light. Yet, it is a soundtrack so prevalent in our everyday lives that only at night in the absence of noise do we realize that silence is continually filtered through the buzz and hum of electricity. "Danby" transmits an unchanging loop of the 60 Hz recorded from an everyday household object. By juxtaposing this constant frequency with the 60 Hz that is no doubt also present in listeners' homes, "Danby" creates unpredictable variations and harmonies - a spontaneous simulcast of the singular sound that infiltrates our lives.

GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
"In the 1980's, whenever I wanted to create an all-night broadcast using only a single sound, I would take a long tape-loop and play it through multiple playback heads. This technique always provided a seamless sound sculpture. For "Simulcast 1.0b : Saskatoon," I did something different. Instead of using analog based repetition, I took a short recording of 40 seconds and digitally stretched it into a single ten hour long wave form. The original recording was that of an auto accident, which is a favourite sound source of mine. The resulting effect is very much like ceaseless grinding. Which also happens to be a favourite of mine," wrote Jupitter-Larsen.

Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
"This piece is a recording of seven consecutive nights, each lasting 6 hours, 36 minutes. Two microphones are placed under a ceiling fan on the second floor of a central room in my house. Under the fan hangs a mobile composed of photographs of family members and close friends, illustrating different episodes from my past. In the foreground of the recording we hear the motor of the Westinghouse fan as well as the waving of the photos in the wind. In the background, we can distinguish the ambient sounds of our house at night, as we pass into sleep and back into wakefulness. Over the seven nights, the only measure of time is the evolution of the ambient sounds in the background, changing with the hours of the night and the nights of the week. "7 nuits sous le Westinghouse" is an intimate sound track which offers a view (or a listen) into the passing of time, the memories it leaves us and their effects on our identity," wrote Babin.

Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
In "Tot morgen (à demain)" a chord consisting in two tritones ('diaboli in musica') that overlap each other by a semitone sounds 140 times forwards and 140 times backwards. The unlawful sequence of these soundings forms a palindrome. It spans the interval that separates the beginning of a next day from the end of a previous one, the end of a previous day from the beginning of a next... "until, again, the roar of dawn." (In the first measure of Stockhausen's "Klavierstueck IX," the same chord is played 140 times in an evenly spaced decrescendo that lasts 48 seconds.) "...tezelfder tijd duizend duivels van beneden en van boven duizend goden ..." - a thousand demons from below and from above a thousand gods [ Tip Marugg - De morgen loeit weer aan (The roar of morning), 1988 ].

free103point9 is pleased to contribute a program of works for the Video Gentlemen’s BYOTV exhibition at the New American Art Union in Portland Oregon. Artists contributing work to the free103point9 curated program are listed to the right. Stay tuned for additional artists and work details.

About BYOTV: Late March 2008, The Video Gentlemen’s BYOTV network launches a six-week season of special reports engaged with technocultural turnover from analog airwaves. Transmitted from within the New American Art Union, a variety of interdisciplinary artworks, live presentations, and workshops form inquisitive constellations around topics including e-waste, surveillance, haunted media and media archeology.

Low-wattage transmissions emanate from an array of re-configured electronic detritus distributed around the gallery. Telecommunications, and the distance implicit in its operation is countered by a physical proximity prescribed by the limited range of the BYOTV transmissions. Visitors are encouraged to “bring their own TV,” or borrow one from the gallery, intercepting transmissions from their immediate airspace.

Closely scrutinizing the premise of obsolescence, BYOTV tunes into an alternative agenda, encouraging new modes of cultural production, collaboration and exchange.

Off The Grid features contemporary works which formally and/or conceptually challenge conventional and commercial infrastructures.

Co-presented by the Neuberger Museum of Art and free103point9. Curated by Jacqueline Shilkoff (Neuberger Museum) and Galen Joseph-Hunter, Tianna Kennedy, Tom Roe (free103point9)

Curators’ Statements

Has humankind’s irresponsible production and consumption of energy and resources reached its peak? While regulatory agencies scramble to meet and control the demands of a wireless-obsessed market, a burgeoning urgency about the need to be ecologically responsible has emerged. Off The Grid presents work by thirteen artists examining and reacting to these currents. Works on view propose alternate territories. They repurpose, reuse, and recast communication devices, consumer byproducts, and environmental data. Our culture has long relied on creative practice to invent, innovate, and inspire. Here, the participating artists do so with works that inform, alarm, and entertain.
– Galen Joseph-Hunter

Most of us live, work, and play on the grid. The artists in Off The Grid do not present utopian solutions to complex problems (unsustainability, overconsumption, waste, alienation), but rather invite us all to reinvent, reimagine, and subvert our daily practices through accessible work completed on a human scale. I've enjoyed my conversations with the artists in this exhibition and have been reminded that cultural gridlock is best addressed not with sweeping gestures and apocalyptic arguments, but by working within, around, and perhaps a little outside expectations of art and engagement.
-Tianna Kennedy

The grid is a shifting network of power, distributing social, ecological and intellectual resources. Individuals have agency to engage or withdraw, privatize or empower, collude or disclose. By reevaluating what resources exist and how they are allocated, we redefine our collective identity and personal ideology. It is hopeful that art as activism, as intervention, can produce awareness and change.
-Jacqueline Shilkoff

Checklist of exhibited works
(Please select an artist or work title from the menu to the right for additional information.)

Matt Bua
World Grid – Square World, 2008
ink, collage, paint, pencil on paper
39 x 63 1/2 inches
Courtesy of the artist and Derek Eller Gallery, New York

Benjamin Cohen, Dylan J. Gauthier, and Stephan von Muehlen
Mare Liberum, 2008
blueprint, distributed broadsheet, boat
broadsheet: 24 x 36 inches, boat: 12 feet
Courtesy of the artists

EcoArtTech: Christine Nadir and Cary Peppermint
Environmental Risk Assessment Rover - AT, 2008
solar panels, recycled shipping pallets, industrial garden wagon, video projector, MAC-mini computer, GPS, WiFi, found built and natural surfaces
Courtesy of the artists

eteam International Airport Montello, 2007-08
three-channel projection, map, figures, photographs
Courtesy of the artists

Max Goldfarb
Ambulant Transceivers, 2008
vintage first-aid kits made into two-way radios
Courtesy of the artist

Louis Hock
Nightscope Series, 1985-2003
digital pigment prints
17 x 24 inches each
Courtesy of the artist

Louis Hock
Feral, 2004
two-channel video installation
sound: Louis Hock and Peter Otto
Courtesy of the artist

Nina Katchadourian
Quit Using Us, 2002
c-print mounted on aluminum
18 x 96 inches
Courtesy of the artist and Sara Meltzer Gallery

Nina Katchadourian
Ant Static, 2003
video loop with sound
Courtesy of the artist and Sara Meltzer Gallery

Kristin Lucas
More Melting, 2008
wax, wick, fire
Courtesy of the artist

Joe McKay
Hi Hat Phone, 2007
cell phone, high hat stand, wood, speakers
Courtesy of the artist

Trevor Paglen
Workers / Las Vegas, NV / Distance – 1 mile, 2006
from the series Limit Telephotography
video
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Chemical and Biological Weapons Proving Ground / Dugway, UT / Distance – 42 miles / 10:51 a.m., 2005
from the series Limit Telephotography
C-print, 3 from an edition of 5
50 x 50 inches
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Unidentified Light Source / Cactus Flats, NV / Distance – 17 miles / 9:45 p.m., 2007
from the series Limit Telephotography
C-print, 1 from an edition of 5
30 x 36 inches
Courtesy of the artist and Bellwether Gallery, New York

Temporary Services
Personal Plastic, 2007
photocopied and offset publications, mounted photographs, banners made from plastic bags, unwanted plastic bags
Courtesy of the artists

Seth Weiner
Cryptographic Payphone, 2008
interactive payphone, chaotic motion system
63 x 15 x 10 inches
Courtesy of the artist

Bart Bridger Woodstrup
Gathering Lore, 2008
computer, custom video software, electronic sensors, weather
Courtesy of the artist

Four sound artists are each invited to create an unchanging radio broadcast. Reacting to a radio culture which accustoms us to the division of time into a grid of discontinuous slices, "Simulcast 1.0b : Saskatoon" is a temporary condition webcast on www.free103point9.org during April, 2008. Four artists are each asked to create an unchanging sound or soundscape. Each of these is webcast continuously over seven consecutive nights. The resulting month-long series reflects on radio's relationship with night and proposes a renewal of radio's relationship with eternity.
"Simulcast 1.0b : Saskatoon" is curated by Montreal-based sound artist Emmanuel Madan, at the initiative of the Saskatoon media arts production centre Paved Arts. The webcasts are hosted by free103point9, a New York-based nonprofit arts organization devoted to Transmission Arts. Webcast nightly on free103point9 Online Radio at www.free103point9.org, April 1 - 28 2008.
Schedule:
Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
All times Central Standard Time (GMT -6). Sunset and sunrise times as observed in Saskatoon, Saskatchewan.

"Western broadcasting is tyrannized by an instrument we have accepted as inviolable: the clock... Radio has become the clock of Western civilization, taking over the function of social timekeeper from the church bell and the factory whistle," said R. Murray Schafer in “Radical Radio,” In EAR Magazine, “Festival for a New Radio” supplement, March 1987.

The idea of "programming" in radio is indissociable from notions of time: we speak of the programming "grid" which represents the subdivision of time according to a two-dimensional Cartesian co-ordinate system; a "schedule" which presumes predictability, punctuality, and periodicity. The time "slots" thus created are further dissected within the confines of each individual programme: news is expected on the hour, weather every seven to ten minutes, regular breaks for advertising spots of 30- or 60-second duration[s] punctuate the remainder. Music programmes fill their time with a battery of pre-recorded songs of similar length; these are then assembled into playlists whose duration is also fixed: "Stay tuned for another thirty-minute non-stop Rock Ride," said a radio DJ on CHOM-FM, Montreal, 2007.

Put simply, radio broadcasting today is an almost exclusively rhythmic affair. Other types of broadcasts do exist, of course. Arno Penzias and Robert Wilson stumbled upon one in 1965, while researching an entirely different phenomenon. They were convinced that their radio telescope was malfunctioning until they realized that they were in fact receiving a signal which had been rocking the universe (commercial-free) since the moment radiation began separating from matter, that is, shortly after the Big Bang. "Scientifically, radio is as old as time," wrote Neil Strauss in the introduction to "Radiotext(e)," published by Semiotext(e) New York 1993.

"Simulcast 1.0b : Saskatoon" proposes to renew radio's link with eternity. It asks four artists to provide a sound, only one sound, which broadcasts continuously and unchangingly for a period of between six and ten hours each night on www.free103point9.org. Each artist's sound is broadcast during seven consecutive nights. As late-night radio listeners well know, strange things can happen on the radio after midnight. There is something about the solitude of night-time listening which brings out radio's best and most original attributes. The densely-packed conformism of daytime programming is loosened. Many smaller broadcasters do not have the resources to staff their station with live DJs during the night hours and resort instead to pre-recorded or automated alternatives. It is unfortunate that the responsibility of broadcasting through the night is often seen as a burden, an unpopular time-slot which is difficult to fill. "Simulcast 1.0b : Saskatoon" recasts the problem as an opportunity, a short test-run for Radio Eternity.

Much has been said about radio's power to transcend space. The standard definition of the word "simulcast" refers to a live broadcast of some public ceremony: a football game, a coronation, a political debate, a state funeral. Events like these bind listeners together, joining disparate spaces into a single location. "Simulcast 1.0b : Saskatoon" applies the idea of simultaneity to time, rather than to space. By bathing listeners in an event which remains unitary for a period of many hours, it suggests a simultaneity between all moments of a broadcast: a collapsing of a long period of time into a single instant.

Schedule

Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
"Danby" is a broadcast composed of a single sound that is the most pervasive in our interior environments: 60 Hz. The frequency 60 Hz is the soundtrack to the electrical currents that power our radios, our appliances, our light. Yet, it is a soundtrack so prevalent in our everyday lives that only at night in the absence of noise do we realize that silence is continually filtered through the buzz and hum of electricity. "Danby" transmits an unchanging loop of the 60 Hz recorded from an everyday household object. By juxtaposing this constant frequency with the 60 Hz that is no doubt also present in listeners' homes, "Danby" creates unpredictable variations and harmonies - a spontaneous simulcast of the singular sound that infiltrates our lives.

GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
"In the 1980's, whenever I wanted to create an all-night broadcast using only a single sound, I would take a long tape-loop and play it through multiple playback heads. This technique always provided a seamless sound sculpture. For "Simulcast 1.0b : Saskatoon," I did something different. Instead of using analog based repetition, I took a short recording of 40 seconds and digitally stretched it into a single ten hour long wave form. The original recording was that of an auto accident, which is a favourite sound source of mine. The resulting effect is very much like ceaseless grinding. Which also happens to be a favourite of mine," wrote Jupitter-Larsen.

Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
"This piece is a recording of seven consecutive nights, each lasting 6 hours, 36 minutes. Two microphones are placed under a ceiling fan on the second floor of a central room in my house. Under the fan hangs a mobile composed of photographs of family members and close friends, illustrating different episodes from my past. In the foreground of the recording we hear the motor of the Westinghouse fan as well as the waving of the photos in the wind. In the background, we can distinguish the ambient sounds of our house at night, as we pass into sleep and back into wakefulness. Over the seven nights, the only measure of time is the evolution of the ambient sounds in the background, changing with the hours of the night and the nights of the week. "7 nuits sous le Westinghouse" is an intimate sound track which offers a view (or a listen) into the passing of time, the memories it leaves us and their effects on our identity," wrote Babin.

Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
In "Tot morgen (à demain)" a chord consisting in two tritones ('diaboli in musica') that overlap each other by a semitone sounds 140 times forwards and 140 times backwards. The unlawful sequence of these soundings forms a palindrome. It spans the interval that separates the beginning of a next day from the end of a previous one, the end of a previous day from the beginning of a next... "until, again, the roar of dawn." (In the first measure of Stockhausen's "Klavierstueck IX," the same chord is played 140 times in an evenly spaced decrescendo that lasts 48 seconds.) "...tezelfder tijd duizend duivels van beneden en van boven duizend goden ..." - a thousand demons from below and from above a thousand gods [ Tip Marugg - De morgen loeit weer aan (The roar of morning), 1988 ].

free103point9 is pleased to contribute a program of works for the Video Gentlemen’s BYOTV exhibition at the New American Art Union in Portland Oregon. Artists contributing work to the free103point9 curated program are listed to the right. Stay tuned for additional artists and work details.

About BYOTV: Late March 2008, The Video Gentlemen’s BYOTV network launches a six-week season of special reports engaged with technocultural turnover from analog airwaves. Transmitted from within the New American Art Union, a variety of interdisciplinary artworks, live presentations, and workshops form inquisitive constellations around topics including e-waste, surveillance, haunted media and media archeology.

Low-wattage transmissions emanate from an array of re-configured electronic detritus distributed around the gallery. Telecommunications, and the distance implicit in its operation is countered by a physical proximity prescribed by the limited range of the BYOTV transmissions. Visitors are encouraged to “bring their own TV,” or borrow one from the gallery, intercepting transmissions from their immediate airspace.

Closely scrutinizing the premise of obsolescence, BYOTV tunes into an alternative agenda, encouraging new modes of cultural production, collaboration and exchange.

Off The Grid features contemporary works which formally and/or conceptually challenge conventional and commercial infrastructures.

Co-presented by the Neuberger Museum of Art and free103point9. Curated by Jacqueline Shilkoff (Neuberger Museum) and Galen Joseph-Hunter, Tianna Kennedy, Tom Roe (free103point9)

Curators’ Statements

Has humankind’s irresponsible production and consumption of energy and resources reached its peak? While regulatory agencies scramble to meet and control the demands of a wireless-obsessed market, a burgeoning urgency about the need to be ecologically responsible has emerged. Off The Grid presents work by thirteen artists examining and reacting to these currents. Works on view propose alternate territories. They repurpose, reuse, and recast communication devices, consumer byproducts, and environmental data. Our culture has long relied on creative practice to invent, innovate, and inspire. Here, the participating artists do so with works that inform, alarm, and entertain.
– Galen Joseph-Hunter

Most of us live, work, and play on the grid. The artists in Off The Grid do not present utopian solutions to complex problems (unsustainability, overconsumption, waste, alienation), but rather invite us all to reinvent, reimagine, and subvert our daily practices through accessible work completed on a human scale. I've enjoyed my conversations with the artists in this exhibition and have been reminded that cultural gridlock is best addressed not with sweeping gestures and apocalyptic arguments, but by working within, around, and perhaps a little outside expectations of art and engagement.
-Tianna Kennedy

The grid is a shifting network of power, distributing social, ecological and intellectual resources. Individuals have agency to engage or withdraw, privatize or empower, collude or disclose. By reevaluating what resources exist and how they are allocated, we redefine our collective identity and personal ideology. It is hopeful that art as activism, as intervention, can produce awareness and change.
-Jacqueline Shilkoff

Checklist of exhibited works
(Please select an artist or work title from the menu to the right for additional information.)

Matt Bua
World Grid – Square World, 2008
ink, collage, paint, pencil on paper
39 x 63 1/2 inches
Courtesy of the artist and Derek Eller Gallery, New York

Benjamin Cohen, Dylan J. Gauthier, and Stephan von Muehlen
Mare Liberum, 2008
blueprint, distributed broadsheet, boat
broadsheet: 24 x 36 inches, boat: 12 feet
Courtesy of the artists

EcoArtTech: Christine Nadir and Cary Peppermint
Environmental Risk Assessment Rover - AT, 2008
solar panels, recycled shipping pallets, industrial garden wagon, video projector, MAC-mini computer, GPS, WiFi, found built and natural surfaces
Courtesy of the artists

eteam International Airport Montello, 2007-08
three-channel projection, map, figures, photographs
Courtesy of the artists

Max Goldfarb
Ambulant Transceivers, 2008
vintage first-aid kits made into two-way radios
Courtesy of the artist

Louis Hock
Nightscope Series, 1985-2003
digital pigment prints
17 x 24 inches each
Courtesy of the artist

Louis Hock
Feral, 2004
two-channel video installation
sound: Louis Hock and Peter Otto
Courtesy of the artist

Nina Katchadourian
Quit Using Us, 2002
c-print mounted on aluminum
18 x 96 inches
Courtesy of the artist and Sara Meltzer Gallery

Nina Katchadourian
Ant Static, 2003
video loop with sound
Courtesy of the artist and Sara Meltzer Gallery

Kristin Lucas
More Melting, 2008
wax, wick, fire
Courtesy of the artist

Joe McKay
Hi Hat Phone, 2007
cell phone, high hat stand, wood, speakers
Courtesy of the artist

Trevor Paglen
Workers / Las Vegas, NV / Distance – 1 mile, 2006
from the series Limit Telephotography
video
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Chemical and Biological Weapons Proving Ground / Dugway, UT / Distance – 42 miles / 10:51 a.m., 2005
from the series Limit Telephotography
C-print, 3 from an edition of 5
50 x 50 inches
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Unidentified Light Source / Cactus Flats, NV / Distance – 17 miles / 9:45 p.m., 2007
from the series Limit Telephotography
C-print, 1 from an edition of 5
30 x 36 inches
Courtesy of the artist and Bellwether Gallery, New York

Temporary Services
Personal Plastic, 2007
photocopied and offset publications, mounted photographs, banners made from plastic bags, unwanted plastic bags
Courtesy of the artists

Seth Weiner
Cryptographic Payphone, 2008
interactive payphone, chaotic motion system
63 x 15 x 10 inches
Courtesy of the artist

Bart Bridger Woodstrup
Gathering Lore, 2008
computer, custom video software, electronic sensors, weather
Courtesy of the artist

Four sound artists are each invited to create an unchanging radio broadcast. Reacting to a radio culture which accustoms us to the division of time into a grid of discontinuous slices, "Simulcast 1.0b : Saskatoon" is a temporary condition webcast on www.free103point9.org during April, 2008. Four artists are each asked to create an unchanging sound or soundscape. Each of these is webcast continuously over seven consecutive nights. The resulting month-long series reflects on radio's relationship with night and proposes a renewal of radio's relationship with eternity.
"Simulcast 1.0b : Saskatoon" is curated by Montreal-based sound artist Emmanuel Madan, at the initiative of the Saskatoon media arts production centre Paved Arts. The webcasts are hosted by free103point9, a New York-based nonprofit arts organization devoted to Transmission Arts. Webcast nightly on free103point9 Online Radio at www.free103point9.org, April 1 - 28 2008.
Schedule:
Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
All times Central Standard Time (GMT -6). Sunset and sunrise times as observed in Saskatoon, Saskatchewan.

"Western broadcasting is tyrannized by an instrument we have accepted as inviolable: the clock... Radio has become the clock of Western civilization, taking over the function of social timekeeper from the church bell and the factory whistle," said R. Murray Schafer in “Radical Radio,” In EAR Magazine, “Festival for a New Radio” supplement, March 1987.

The idea of "programming" in radio is indissociable from notions of time: we speak of the programming "grid" which represents the subdivision of time according to a two-dimensional Cartesian co-ordinate system; a "schedule" which presumes predictability, punctuality, and periodicity. The time "slots" thus created are further dissected within the confines of each individual programme: news is expected on the hour, weather every seven to ten minutes, regular breaks for advertising spots of 30- or 60-second duration[s] punctuate the remainder. Music programmes fill their time with a battery of pre-recorded songs of similar length; these are then assembled into playlists whose duration is also fixed: "Stay tuned for another thirty-minute non-stop Rock Ride," said a radio DJ on CHOM-FM, Montreal, 2007.

Put simply, radio broadcasting today is an almost exclusively rhythmic affair. Other types of broadcasts do exist, of course. Arno Penzias and Robert Wilson stumbled upon one in 1965, while researching an entirely different phenomenon. They were convinced that their radio telescope was malfunctioning until they realized that they were in fact receiving a signal which had been rocking the universe (commercial-free) since the moment radiation began separating from matter, that is, shortly after the Big Bang. "Scientifically, radio is as old as time," wrote Neil Strauss in the introduction to "Radiotext(e)," published by Semiotext(e) New York 1993.

"Simulcast 1.0b : Saskatoon" proposes to renew radio's link with eternity. It asks four artists to provide a sound, only one sound, which broadcasts continuously and unchangingly for a period of between six and ten hours each night on www.free103point9.org. Each artist's sound is broadcast during seven consecutive nights. As late-night radio listeners well know, strange things can happen on the radio after midnight. There is something about the solitude of night-time listening which brings out radio's best and most original attributes. The densely-packed conformism of daytime programming is loosened. Many smaller broadcasters do not have the resources to staff their station with live DJs during the night hours and resort instead to pre-recorded or automated alternatives. It is unfortunate that the responsibility of broadcasting through the night is often seen as a burden, an unpopular time-slot which is difficult to fill. "Simulcast 1.0b : Saskatoon" recasts the problem as an opportunity, a short test-run for Radio Eternity.

Much has been said about radio's power to transcend space. The standard definition of the word "simulcast" refers to a live broadcast of some public ceremony: a football game, a coronation, a political debate, a state funeral. Events like these bind listeners together, joining disparate spaces into a single location. "Simulcast 1.0b : Saskatoon" applies the idea of simultaneity to time, rather than to space. By bathing listeners in an event which remains unitary for a period of many hours, it suggests a simultaneity between all moments of a broadcast: a collapsing of a long period of time into a single instant.

Schedule

Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
"Danby" is a broadcast composed of a single sound that is the most pervasive in our interior environments: 60 Hz. The frequency 60 Hz is the soundtrack to the electrical currents that power our radios, our appliances, our light. Yet, it is a soundtrack so prevalent in our everyday lives that only at night in the absence of noise do we realize that silence is continually filtered through the buzz and hum of electricity. "Danby" transmits an unchanging loop of the 60 Hz recorded from an everyday household object. By juxtaposing this constant frequency with the 60 Hz that is no doubt also present in listeners' homes, "Danby" creates unpredictable variations and harmonies - a spontaneous simulcast of the singular sound that infiltrates our lives.

GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
"In the 1980's, whenever I wanted to create an all-night broadcast using only a single sound, I would take a long tape-loop and play it through multiple playback heads. This technique always provided a seamless sound sculpture. For "Simulcast 1.0b : Saskatoon," I did something different. Instead of using analog based repetition, I took a short recording of 40 seconds and digitally stretched it into a single ten hour long wave form. The original recording was that of an auto accident, which is a favourite sound source of mine. The resulting effect is very much like ceaseless grinding. Which also happens to be a favourite of mine," wrote Jupitter-Larsen.

Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
"This piece is a recording of seven consecutive nights, each lasting 6 hours, 36 minutes. Two microphones are placed under a ceiling fan on the second floor of a central room in my house. Under the fan hangs a mobile composed of photographs of family members and close friends, illustrating different episodes from my past. In the foreground of the recording we hear the motor of the Westinghouse fan as well as the waving of the photos in the wind. In the background, we can distinguish the ambient sounds of our house at night, as we pass into sleep and back into wakefulness. Over the seven nights, the only measure of time is the evolution of the ambient sounds in the background, changing with the hours of the night and the nights of the week. "7 nuits sous le Westinghouse" is an intimate sound track which offers a view (or a listen) into the passing of time, the memories it leaves us and their effects on our identity," wrote Babin.

Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
In "Tot morgen (à demain)" a chord consisting in two tritones ('diaboli in musica') that overlap each other by a semitone sounds 140 times forwards and 140 times backwards. The unlawful sequence of these soundings forms a palindrome. It spans the interval that separates the beginning of a next day from the end of a previous one, the end of a previous day from the beginning of a next... "until, again, the roar of dawn." (In the first measure of Stockhausen's "Klavierstueck IX," the same chord is played 140 times in an evenly spaced decrescendo that lasts 48 seconds.) "...tezelfder tijd duizend duivels van beneden en van boven duizend goden ..." - a thousand demons from below and from above a thousand gods [ Tip Marugg - De morgen loeit weer aan (The roar of morning), 1988 ].

free103point9 is pleased to contribute a program of works for the Video Gentlemen’s BYOTV exhibition at the New American Art Union in Portland Oregon. Artists contributing work to the free103point9 curated program are listed to the right. Stay tuned for additional artists and work details.

About BYOTV: Late March 2008, The Video Gentlemen’s BYOTV network launches a six-week season of special reports engaged with technocultural turnover from analog airwaves. Transmitted from within the New American Art Union, a variety of interdisciplinary artworks, live presentations, and workshops form inquisitive constellations around topics including e-waste, surveillance, haunted media and media archeology.

Low-wattage transmissions emanate from an array of re-configured electronic detritus distributed around the gallery. Telecommunications, and the distance implicit in its operation is countered by a physical proximity prescribed by the limited range of the BYOTV transmissions. Visitors are encouraged to “bring their own TV,” or borrow one from the gallery, intercepting transmissions from their immediate airspace.

Closely scrutinizing the premise of obsolescence, BYOTV tunes into an alternative agenda, encouraging new modes of cultural production, collaboration and exchange.

Off The Grid features contemporary works which formally and/or conceptually challenge conventional and commercial infrastructures.

Co-presented by the Neuberger Museum of Art and free103point9. Curated by Jacqueline Shilkoff (Neuberger Museum) and Galen Joseph-Hunter, Tianna Kennedy, Tom Roe (free103point9)

Curators’ Statements

Has humankind’s irresponsible production and consumption of energy and resources reached its peak? While regulatory agencies scramble to meet and control the demands of a wireless-obsessed market, a burgeoning urgency about the need to be ecologically responsible has emerged. Off The Grid presents work by thirteen artists examining and reacting to these currents. Works on view propose alternate territories. They repurpose, reuse, and recast communication devices, consumer byproducts, and environmental data. Our culture has long relied on creative practice to invent, innovate, and inspire. Here, the participating artists do so with works that inform, alarm, and entertain.
– Galen Joseph-Hunter

Most of us live, work, and play on the grid. The artists in Off The Grid do not present utopian solutions to complex problems (unsustainability, overconsumption, waste, alienation), but rather invite us all to reinvent, reimagine, and subvert our daily practices through accessible work completed on a human scale. I've enjoyed my conversations with the artists in this exhibition and have been reminded that cultural gridlock is best addressed not with sweeping gestures and apocalyptic arguments, but by working within, around, and perhaps a little outside expectations of art and engagement.
-Tianna Kennedy

The grid is a shifting network of power, distributing social, ecological and intellectual resources. Individuals have agency to engage or withdraw, privatize or empower, collude or disclose. By reevaluating what resources exist and how they are allocated, we redefine our collective identity and personal ideology. It is hopeful that art as activism, as intervention, can produce awareness and change.
-Jacqueline Shilkoff

Checklist of exhibited works
(Please select an artist or work title from the menu to the right for additional information.)

Matt Bua
World Grid – Square World, 2008
ink, collage, paint, pencil on paper
39 x 63 1/2 inches
Courtesy of the artist and Derek Eller Gallery, New York

Benjamin Cohen, Dylan J. Gauthier, and Stephan von Muehlen
Mare Liberum, 2008
blueprint, distributed broadsheet, boat
broadsheet: 24 x 36 inches, boat: 12 feet
Courtesy of the artists

EcoArtTech: Christine Nadir and Cary Peppermint
Environmental Risk Assessment Rover - AT, 2008
solar panels, recycled shipping pallets, industrial garden wagon, video projector, MAC-mini computer, GPS, WiFi, found built and natural surfaces
Courtesy of the artists

eteam International Airport Montello, 2007-08
three-channel projection, map, figures, photographs
Courtesy of the artists

Max Goldfarb
Ambulant Transceivers, 2008
vintage first-aid kits made into two-way radios
Courtesy of the artist

Louis Hock
Nightscope Series, 1985-2003
digital pigment prints
17 x 24 inches each
Courtesy of the artist

Louis Hock
Feral, 2004
two-channel video installation
sound: Louis Hock and Peter Otto
Courtesy of the artist

Nina Katchadourian
Quit Using Us, 2002
c-print mounted on aluminum
18 x 96 inches
Courtesy of the artist and Sara Meltzer Gallery

Nina Katchadourian
Ant Static, 2003
video loop with sound
Courtesy of the artist and Sara Meltzer Gallery

Kristin Lucas
More Melting, 2008
wax, wick, fire
Courtesy of the artist

Joe McKay
Hi Hat Phone, 2007
cell phone, high hat stand, wood, speakers
Courtesy of the artist

Trevor Paglen
Workers / Las Vegas, NV / Distance – 1 mile, 2006
from the series Limit Telephotography
video
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Chemical and Biological Weapons Proving Ground / Dugway, UT / Distance – 42 miles / 10:51 a.m., 2005
from the series Limit Telephotography
C-print, 3 from an edition of 5
50 x 50 inches
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Unidentified Light Source / Cactus Flats, NV / Distance – 17 miles / 9:45 p.m., 2007
from the series Limit Telephotography
C-print, 1 from an edition of 5
30 x 36 inches
Courtesy of the artist and Bellwether Gallery, New York

Temporary Services
Personal Plastic, 2007
photocopied and offset publications, mounted photographs, banners made from plastic bags, unwanted plastic bags
Courtesy of the artists

Seth Weiner
Cryptographic Payphone, 2008
interactive payphone, chaotic motion system
63 x 15 x 10 inches
Courtesy of the artist

Bart Bridger Woodstrup
Gathering Lore, 2008
computer, custom video software, electronic sensors, weather
Courtesy of the artist

Four sound artists are each invited to create an unchanging radio broadcast. Reacting to a radio culture which accustoms us to the division of time into a grid of discontinuous slices, "Simulcast 1.0b : Saskatoon" is a temporary condition webcast on www.free103point9.org during April, 2008. Four artists are each asked to create an unchanging sound or soundscape. Each of these is webcast continuously over seven consecutive nights. The resulting month-long series reflects on radio's relationship with night and proposes a renewal of radio's relationship with eternity.
"Simulcast 1.0b : Saskatoon" is curated by Montreal-based sound artist Emmanuel Madan, at the initiative of the Saskatoon media arts production centre Paved Arts. The webcasts are hosted by free103point9, a New York-based nonprofit arts organization devoted to Transmission Arts. Webcast nightly on free103point9 Online Radio at www.free103point9.org, April 1 - 28 2008.
Schedule:
Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
All times Central Standard Time (GMT -6). Sunset and sunrise times as observed in Saskatoon, Saskatchewan.

"Western broadcasting is tyrannized by an instrument we have accepted as inviolable: the clock... Radio has become the clock of Western civilization, taking over the function of social timekeeper from the church bell and the factory whistle," said R. Murray Schafer in “Radical Radio,” In EAR Magazine, “Festival for a New Radio” supplement, March 1987.

The idea of "programming" in radio is indissociable from notions of time: we speak of the programming "grid" which represents the subdivision of time according to a two-dimensional Cartesian co-ordinate system; a "schedule" which presumes predictability, punctuality, and periodicity. The time "slots" thus created are further dissected within the confines of each individual programme: news is expected on the hour, weather every seven to ten minutes, regular breaks for advertising spots of 30- or 60-second duration[s] punctuate the remainder. Music programmes fill their time with a battery of pre-recorded songs of similar length; these are then assembled into playlists whose duration is also fixed: "Stay tuned for another thirty-minute non-stop Rock Ride," said a radio DJ on CHOM-FM, Montreal, 2007.

Put simply, radio broadcasting today is an almost exclusively rhythmic affair. Other types of broadcasts do exist, of course. Arno Penzias and Robert Wilson stumbled upon one in 1965, while researching an entirely different phenomenon. They were convinced that their radio telescope was malfunctioning until they realized that they were in fact receiving a signal which had been rocking the universe (commercial-free) since the moment radiation began separating from matter, that is, shortly after the Big Bang. "Scientifically, radio is as old as time," wrote Neil Strauss in the introduction to "Radiotext(e)," published by Semiotext(e) New York 1993.

"Simulcast 1.0b : Saskatoon" proposes to renew radio's link with eternity. It asks four artists to provide a sound, only one sound, which broadcasts continuously and unchangingly for a period of between six and ten hours each night on www.free103point9.org. Each artist's sound is broadcast during seven consecutive nights. As late-night radio listeners well know, strange things can happen on the radio after midnight. There is something about the solitude of night-time listening which brings out radio's best and most original attributes. The densely-packed conformism of daytime programming is loosened. Many smaller broadcasters do not have the resources to staff their station with live DJs during the night hours and resort instead to pre-recorded or automated alternatives. It is unfortunate that the responsibility of broadcasting through the night is often seen as a burden, an unpopular time-slot which is difficult to fill. "Simulcast 1.0b : Saskatoon" recasts the problem as an opportunity, a short test-run for Radio Eternity.

Much has been said about radio's power to transcend space. The standard definition of the word "simulcast" refers to a live broadcast of some public ceremony: a football game, a coronation, a political debate, a state funeral. Events like these bind listeners together, joining disparate spaces into a single location. "Simulcast 1.0b : Saskatoon" applies the idea of simultaneity to time, rather than to space. By bathing listeners in an event which remains unitary for a period of many hours, it suggests a simultaneity between all moments of a broadcast: a collapsing of a long period of time into a single instant.

Schedule

Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
"Danby" is a broadcast composed of a single sound that is the most pervasive in our interior environments: 60 Hz. The frequency 60 Hz is the soundtrack to the electrical currents that power our radios, our appliances, our light. Yet, it is a soundtrack so prevalent in our everyday lives that only at night in the absence of noise do we realize that silence is continually filtered through the buzz and hum of electricity. "Danby" transmits an unchanging loop of the 60 Hz recorded from an everyday household object. By juxtaposing this constant frequency with the 60 Hz that is no doubt also present in listeners' homes, "Danby" creates unpredictable variations and harmonies - a spontaneous simulcast of the singular sound that infiltrates our lives.

GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
"In the 1980's, whenever I wanted to create an all-night broadcast using only a single sound, I would take a long tape-loop and play it through multiple playback heads. This technique always provided a seamless sound sculpture. For "Simulcast 1.0b : Saskatoon," I did something different. Instead of using analog based repetition, I took a short recording of 40 seconds and digitally stretched it into a single ten hour long wave form. The original recording was that of an auto accident, which is a favourite sound source of mine. The resulting effect is very much like ceaseless grinding. Which also happens to be a favourite of mine," wrote Jupitter-Larsen.

Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
"This piece is a recording of seven consecutive nights, each lasting 6 hours, 36 minutes. Two microphones are placed under a ceiling fan on the second floor of a central room in my house. Under the fan hangs a mobile composed of photographs of family members and close friends, illustrating different episodes from my past. In the foreground of the recording we hear the motor of the Westinghouse fan as well as the waving of the photos in the wind. In the background, we can distinguish the ambient sounds of our house at night, as we pass into sleep and back into wakefulness. Over the seven nights, the only measure of time is the evolution of the ambient sounds in the background, changing with the hours of the night and the nights of the week. "7 nuits sous le Westinghouse" is an intimate sound track which offers a view (or a listen) into the passing of time, the memories it leaves us and their effects on our identity," wrote Babin.

Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
In "Tot morgen (à demain)" a chord consisting in two tritones ('diaboli in musica') that overlap each other by a semitone sounds 140 times forwards and 140 times backwards. The unlawful sequence of these soundings forms a palindrome. It spans the interval that separates the beginning of a next day from the end of a previous one, the end of a previous day from the beginning of a next... "until, again, the roar of dawn." (In the first measure of Stockhausen's "Klavierstueck IX," the same chord is played 140 times in an evenly spaced decrescendo that lasts 48 seconds.) "...tezelfder tijd duizend duivels van beneden en van boven duizend goden ..." - a thousand demons from below and from above a thousand gods [ Tip Marugg - De morgen loeit weer aan (The roar of morning), 1988 ].

free103point9 is pleased to contribute a program of works for the Video Gentlemen’s BYOTV exhibition at the New American Art Union in Portland Oregon. Artists contributing work to the free103point9 curated program are listed to the right. Stay tuned for additional artists and work details.

About BYOTV: Late March 2008, The Video Gentlemen’s BYOTV network launches a six-week season of special reports engaged with technocultural turnover from analog airwaves. Transmitted from within the New American Art Union, a variety of interdisciplinary artworks, live presentations, and workshops form inquisitive constellations around topics including e-waste, surveillance, haunted media and media archeology.

Low-wattage transmissions emanate from an array of re-configured electronic detritus distributed around the gallery. Telecommunications, and the distance implicit in its operation is countered by a physical proximity prescribed by the limited range of the BYOTV transmissions. Visitors are encouraged to “bring their own TV,” or borrow one from the gallery, intercepting transmissions from their immediate airspace.

Closely scrutinizing the premise of obsolescence, BYOTV tunes into an alternative agenda, encouraging new modes of cultural production, collaboration and exchange.

Off The Grid features contemporary works which formally and/or conceptually challenge conventional and commercial infrastructures.

Co-presented by the Neuberger Museum of Art and free103point9. Curated by Jacqueline Shilkoff (Neuberger Museum) and Galen Joseph-Hunter, Tianna Kennedy, Tom Roe (free103point9)

Curators’ Statements

Has humankind’s irresponsible production and consumption of energy and resources reached its peak? While regulatory agencies scramble to meet and control the demands of a wireless-obsessed market, a burgeoning urgency about the need to be ecologically responsible has emerged. Off The Grid presents work by thirteen artists examining and reacting to these currents. Works on view propose alternate territories. They repurpose, reuse, and recast communication devices, consumer byproducts, and environmental data. Our culture has long relied on creative practice to invent, innovate, and inspire. Here, the participating artists do so with works that inform, alarm, and entertain.
– Galen Joseph-Hunter

Most of us live, work, and play on the grid. The artists in Off The Grid do not present utopian solutions to complex problems (unsustainability, overconsumption, waste, alienation), but rather invite us all to reinvent, reimagine, and subvert our daily practices through accessible work completed on a human scale. I've enjoyed my conversations with the artists in this exhibition and have been reminded that cultural gridlock is best addressed not with sweeping gestures and apocalyptic arguments, but by working within, around, and perhaps a little outside expectations of art and engagement.
-Tianna Kennedy

The grid is a shifting network of power, distributing social, ecological and intellectual resources. Individuals have agency to engage or withdraw, privatize or empower, collude or disclose. By reevaluating what resources exist and how they are allocated, we redefine our collective identity and personal ideology. It is hopeful that art as activism, as intervention, can produce awareness and change.
-Jacqueline Shilkoff

Checklist of exhibited works
(Please select an artist or work title from the menu to the right for additional information.)

Matt Bua
World Grid – Square World, 2008
ink, collage, paint, pencil on paper
39 x 63 1/2 inches
Courtesy of the artist and Derek Eller Gallery, New York

Benjamin Cohen, Dylan J. Gauthier, and Stephan von Muehlen
Mare Liberum, 2008
blueprint, distributed broadsheet, boat
broadsheet: 24 x 36 inches, boat: 12 feet
Courtesy of the artists

EcoArtTech: Christine Nadir and Cary Peppermint
Environmental Risk Assessment Rover - AT, 2008
solar panels, recycled shipping pallets, industrial garden wagon, video projector, MAC-mini computer, GPS, WiFi, found built and natural surfaces
Courtesy of the artists

eteam International Airport Montello, 2007-08
three-channel projection, map, figures, photographs
Courtesy of the artists

Max Goldfarb
Ambulant Transceivers, 2008
vintage first-aid kits made into two-way radios
Courtesy of the artist

Louis Hock
Nightscope Series, 1985-2003
digital pigment prints
17 x 24 inches each
Courtesy of the artist

Louis Hock
Feral, 2004
two-channel video installation
sound: Louis Hock and Peter Otto
Courtesy of the artist

Nina Katchadourian
Quit Using Us, 2002
c-print mounted on aluminum
18 x 96 inches
Courtesy of the artist and Sara Meltzer Gallery

Nina Katchadourian
Ant Static, 2003
video loop with sound
Courtesy of the artist and Sara Meltzer Gallery

Kristin Lucas
More Melting, 2008
wax, wick, fire
Courtesy of the artist

Joe McKay
Hi Hat Phone, 2007
cell phone, high hat stand, wood, speakers
Courtesy of the artist

Trevor Paglen
Workers / Las Vegas, NV / Distance – 1 mile, 2006
from the series Limit Telephotography
video
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Chemical and Biological Weapons Proving Ground / Dugway, UT / Distance – 42 miles / 10:51 a.m., 2005
from the series Limit Telephotography
C-print, 3 from an edition of 5
50 x 50 inches
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Unidentified Light Source / Cactus Flats, NV / Distance – 17 miles / 9:45 p.m., 2007
from the series Limit Telephotography
C-print, 1 from an edition of 5
30 x 36 inches
Courtesy of the artist and Bellwether Gallery, New York

Temporary Services
Personal Plastic, 2007
photocopied and offset publications, mounted photographs, banners made from plastic bags, unwanted plastic bags
Courtesy of the artists

Seth Weiner
Cryptographic Payphone, 2008
interactive payphone, chaotic motion system
63 x 15 x 10 inches
Courtesy of the artist

Bart Bridger Woodstrup
Gathering Lore, 2008
computer, custom video software, electronic sensors, weather
Courtesy of the artist

Four sound artists are each invited to create an unchanging radio broadcast. Reacting to a radio culture which accustoms us to the division of time into a grid of discontinuous slices, "Simulcast 1.0b : Saskatoon" is a temporary condition webcast on www.free103point9.org during April, 2008. Four artists are each asked to create an unchanging sound or soundscape. Each of these is webcast continuously over seven consecutive nights. The resulting month-long series reflects on radio's relationship with night and proposes a renewal of radio's relationship with eternity.
"Simulcast 1.0b : Saskatoon" is curated by Montreal-based sound artist Emmanuel Madan, at the initiative of the Saskatoon media arts production centre Paved Arts. The webcasts are hosted by free103point9, a New York-based nonprofit arts organization devoted to Transmission Arts. Webcast nightly on free103point9 Online Radio at www.free103point9.org, April 1 - 28 2008.
Schedule:
Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
All times Central Standard Time (GMT -6). Sunset and sunrise times as observed in Saskatoon, Saskatchewan.

"Western broadcasting is tyrannized by an instrument we have accepted as inviolable: the clock... Radio has become the clock of Western civilization, taking over the function of social timekeeper from the church bell and the factory whistle," said R. Murray Schafer in “Radical Radio,” In EAR Magazine, “Festival for a New Radio” supplement, March 1987.

The idea of "programming" in radio is indissociable from notions of time: we speak of the programming "grid" which represents the subdivision of time according to a two-dimensional Cartesian co-ordinate system; a "schedule" which presumes predictability, punctuality, and periodicity. The time "slots" thus created are further dissected within the confines of each individual programme: news is expected on the hour, weather every seven to ten minutes, regular breaks for advertising spots of 30- or 60-second duration[s] punctuate the remainder. Music programmes fill their time with a battery of pre-recorded songs of similar length; these are then assembled into playlists whose duration is also fixed: "Stay tuned for another thirty-minute non-stop Rock Ride," said a radio DJ on CHOM-FM, Montreal, 2007.

Put simply, radio broadcasting today is an almost exclusively rhythmic affair. Other types of broadcasts do exist, of course. Arno Penzias and Robert Wilson stumbled upon one in 1965, while researching an entirely different phenomenon. They were convinced that their radio telescope was malfunctioning until they realized that they were in fact receiving a signal which had been rocking the universe (commercial-free) since the moment radiation began separating from matter, that is, shortly after the Big Bang. "Scientifically, radio is as old as time," wrote Neil Strauss in the introduction to "Radiotext(e)," published by Semiotext(e) New York 1993.

"Simulcast 1.0b : Saskatoon" proposes to renew radio's link with eternity. It asks four artists to provide a sound, only one sound, which broadcasts continuously and unchangingly for a period of between six and ten hours each night on www.free103point9.org. Each artist's sound is broadcast during seven consecutive nights. As late-night radio listeners well know, strange things can happen on the radio after midnight. There is something about the solitude of night-time listening which brings out radio's best and most original attributes. The densely-packed conformism of daytime programming is loosened. Many smaller broadcasters do not have the resources to staff their station with live DJs during the night hours and resort instead to pre-recorded or automated alternatives. It is unfortunate that the responsibility of broadcasting through the night is often seen as a burden, an unpopular time-slot which is difficult to fill. "Simulcast 1.0b : Saskatoon" recasts the problem as an opportunity, a short test-run for Radio Eternity.

Much has been said about radio's power to transcend space. The standard definition of the word "simulcast" refers to a live broadcast of some public ceremony: a football game, a coronation, a political debate, a state funeral. Events like these bind listeners together, joining disparate spaces into a single location. "Simulcast 1.0b : Saskatoon" applies the idea of simultaneity to time, rather than to space. By bathing listeners in an event which remains unitary for a period of many hours, it suggests a simultaneity between all moments of a broadcast: a collapsing of a long period of time into a single instant.

Schedule

Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
"Danby" is a broadcast composed of a single sound that is the most pervasive in our interior environments: 60 Hz. The frequency 60 Hz is the soundtrack to the electrical currents that power our radios, our appliances, our light. Yet, it is a soundtrack so prevalent in our everyday lives that only at night in the absence of noise do we realize that silence is continually filtered through the buzz and hum of electricity. "Danby" transmits an unchanging loop of the 60 Hz recorded from an everyday household object. By juxtaposing this constant frequency with the 60 Hz that is no doubt also present in listeners' homes, "Danby" creates unpredictable variations and harmonies - a spontaneous simulcast of the singular sound that infiltrates our lives.

GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
"In the 1980's, whenever I wanted to create an all-night broadcast using only a single sound, I would take a long tape-loop and play it through multiple playback heads. This technique always provided a seamless sound sculpture. For "Simulcast 1.0b : Saskatoon," I did something different. Instead of using analog based repetition, I took a short recording of 40 seconds and digitally stretched it into a single ten hour long wave form. The original recording was that of an auto accident, which is a favourite sound source of mine. The resulting effect is very much like ceaseless grinding. Which also happens to be a favourite of mine," wrote Jupitter-Larsen.

Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
"This piece is a recording of seven consecutive nights, each lasting 6 hours, 36 minutes. Two microphones are placed under a ceiling fan on the second floor of a central room in my house. Under the fan hangs a mobile composed of photographs of family members and close friends, illustrating different episodes from my past. In the foreground of the recording we hear the motor of the Westinghouse fan as well as the waving of the photos in the wind. In the background, we can distinguish the ambient sounds of our house at night, as we pass into sleep and back into wakefulness. Over the seven nights, the only measure of time is the evolution of the ambient sounds in the background, changing with the hours of the night and the nights of the week. "7 nuits sous le Westinghouse" is an intimate sound track which offers a view (or a listen) into the passing of time, the memories it leaves us and their effects on our identity," wrote Babin.

Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
In "Tot morgen (à demain)" a chord consisting in two tritones ('diaboli in musica') that overlap each other by a semitone sounds 140 times forwards and 140 times backwards. The unlawful sequence of these soundings forms a palindrome. It spans the interval that separates the beginning of a next day from the end of a previous one, the end of a previous day from the beginning of a next... "until, again, the roar of dawn." (In the first measure of Stockhausen's "Klavierstueck IX," the same chord is played 140 times in an evenly spaced decrescendo that lasts 48 seconds.) "...tezelfder tijd duizend duivels van beneden en van boven duizend goden ..." - a thousand demons from below and from above a thousand gods [ Tip Marugg - De morgen loeit weer aan (The roar of morning), 1988 ].

free103point9 is pleased to contribute a program of works for the Video Gentlemen’s BYOTV exhibition at the New American Art Union in Portland Oregon. Artists contributing work to the free103point9 curated program are listed to the right. Stay tuned for additional artists and work details.

About BYOTV: Late March 2008, The Video Gentlemen’s BYOTV network launches a six-week season of special reports engaged with technocultural turnover from analog airwaves. Transmitted from within the New American Art Union, a variety of interdisciplinary artworks, live presentations, and workshops form inquisitive constellations around topics including e-waste, surveillance, haunted media and media archeology.

Low-wattage transmissions emanate from an array of re-configured electronic detritus distributed around the gallery. Telecommunications, and the distance implicit in its operation is countered by a physical proximity prescribed by the limited range of the BYOTV transmissions. Visitors are encouraged to “bring their own TV,” or borrow one from the gallery, intercepting transmissions from their immediate airspace.

Closely scrutinizing the premise of obsolescence, BYOTV tunes into an alternative agenda, encouraging new modes of cultural production, collaboration and exchange.

Off The Grid features contemporary works which formally and/or conceptually challenge conventional and commercial infrastructures.

Co-presented by the Neuberger Museum of Art and free103point9. Curated by Jacqueline Shilkoff (Neuberger Museum) and Galen Joseph-Hunter, Tianna Kennedy, Tom Roe (free103point9)

Curators’ Statements

Has humankind’s irresponsible production and consumption of energy and resources reached its peak? While regulatory agencies scramble to meet and control the demands of a wireless-obsessed market, a burgeoning urgency about the need to be ecologically responsible has emerged. Off The Grid presents work by thirteen artists examining and reacting to these currents. Works on view propose alternate territories. They repurpose, reuse, and recast communication devices, consumer byproducts, and environmental data. Our culture has long relied on creative practice to invent, innovate, and inspire. Here, the participating artists do so with works that inform, alarm, and entertain.
– Galen Joseph-Hunter

Most of us live, work, and play on the grid. The artists in Off The Grid do not present utopian solutions to complex problems (unsustainability, overconsumption, waste, alienation), but rather invite us all to reinvent, reimagine, and subvert our daily practices through accessible work completed on a human scale. I've enjoyed my conversations with the artists in this exhibition and have been reminded that cultural gridlock is best addressed not with sweeping gestures and apocalyptic arguments, but by working within, around, and perhaps a little outside expectations of art and engagement.
-Tianna Kennedy

The grid is a shifting network of power, distributing social, ecological and intellectual resources. Individuals have agency to engage or withdraw, privatize or empower, collude or disclose. By reevaluating what resources exist and how they are allocated, we redefine our collective identity and personal ideology. It is hopeful that art as activism, as intervention, can produce awareness and change.
-Jacqueline Shilkoff

Checklist of exhibited works
(Please select an artist or work title from the menu to the right for additional information.)

Matt Bua
World Grid – Square World, 2008
ink, collage, paint, pencil on paper
39 x 63 1/2 inches
Courtesy of the artist and Derek Eller Gallery, New York

Benjamin Cohen, Dylan J. Gauthier, and Stephan von Muehlen
Mare Liberum, 2008
blueprint, distributed broadsheet, boat
broadsheet: 24 x 36 inches, boat: 12 feet
Courtesy of the artists

EcoArtTech: Christine Nadir and Cary Peppermint
Environmental Risk Assessment Rover - AT, 2008
solar panels, recycled shipping pallets, industrial garden wagon, video projector, MAC-mini computer, GPS, WiFi, found built and natural surfaces
Courtesy of the artists

eteam International Airport Montello, 2007-08
three-channel projection, map, figures, photographs
Courtesy of the artists

Max Goldfarb
Ambulant Transceivers, 2008
vintage first-aid kits made into two-way radios
Courtesy of the artist

Louis Hock
Nightscope Series, 1985-2003
digital pigment prints
17 x 24 inches each
Courtesy of the artist

Louis Hock
Feral, 2004
two-channel video installation
sound: Louis Hock and Peter Otto
Courtesy of the artist

Nina Katchadourian
Quit Using Us, 2002
c-print mounted on aluminum
18 x 96 inches
Courtesy of the artist and Sara Meltzer Gallery

Nina Katchadourian
Ant Static, 2003
video loop with sound
Courtesy of the artist and Sara Meltzer Gallery

Kristin Lucas
More Melting, 2008
wax, wick, fire
Courtesy of the artist

Joe McKay
Hi Hat Phone, 2007
cell phone, high hat stand, wood, speakers
Courtesy of the artist

Trevor Paglen
Workers / Las Vegas, NV / Distance – 1 mile, 2006
from the series Limit Telephotography
video
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Chemical and Biological Weapons Proving Ground / Dugway, UT / Distance – 42 miles / 10:51 a.m., 2005
from the series Limit Telephotography
C-print, 3 from an edition of 5
50 x 50 inches
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Unidentified Light Source / Cactus Flats, NV / Distance – 17 miles / 9:45 p.m., 2007
from the series Limit Telephotography
C-print, 1 from an edition of 5
30 x 36 inches
Courtesy of the artist and Bellwether Gallery, New York

Temporary Services
Personal Plastic, 2007
photocopied and offset publications, mounted photographs, banners made from plastic bags, unwanted plastic bags
Courtesy of the artists

Seth Weiner
Cryptographic Payphone, 2008
interactive payphone, chaotic motion system
63 x 15 x 10 inches
Courtesy of the artist

Bart Bridger Woodstrup
Gathering Lore, 2008
computer, custom video software, electronic sensors, weather
Courtesy of the artist

Four sound artists are each invited to create an unchanging radio broadcast. Reacting to a radio culture which accustoms us to the division of time into a grid of discontinuous slices, "Simulcast 1.0b : Saskatoon" is a temporary condition webcast on www.free103point9.org during April, 2008. Four artists are each asked to create an unchanging sound or soundscape. Each of these is webcast continuously over seven consecutive nights. The resulting month-long series reflects on radio's relationship with night and proposes a renewal of radio's relationship with eternity.
"Simulcast 1.0b : Saskatoon" is curated by Montreal-based sound artist Emmanuel Madan, at the initiative of the Saskatoon media arts production centre Paved Arts. The webcasts are hosted by free103point9, a New York-based nonprofit arts organization devoted to Transmission Arts. Webcast nightly on free103point9 Online Radio at www.free103point9.org, April 1 - 28 2008.
Schedule:
Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
All times Central Standard Time (GMT -6). Sunset and sunrise times as observed in Saskatoon, Saskatchewan.

"Western broadcasting is tyrannized by an instrument we have accepted as inviolable: the clock... Radio has become the clock of Western civilization, taking over the function of social timekeeper from the church bell and the factory whistle," said R. Murray Schafer in “Radical Radio,” In EAR Magazine, “Festival for a New Radio” supplement, March 1987.

The idea of "programming" in radio is indissociable from notions of time: we speak of the programming "grid" which represents the subdivision of time according to a two-dimensional Cartesian co-ordinate system; a "schedule" which presumes predictability, punctuality, and periodicity. The time "slots" thus created are further dissected within the confines of each individual programme: news is expected on the hour, weather every seven to ten minutes, regular breaks for advertising spots of 30- or 60-second duration[s] punctuate the remainder. Music programmes fill their time with a battery of pre-recorded songs of similar length; these are then assembled into playlists whose duration is also fixed: "Stay tuned for another thirty-minute non-stop Rock Ride," said a radio DJ on CHOM-FM, Montreal, 2007.

Put simply, radio broadcasting today is an almost exclusively rhythmic affair. Other types of broadcasts do exist, of course. Arno Penzias and Robert Wilson stumbled upon one in 1965, while researching an entirely different phenomenon. They were convinced that their radio telescope was malfunctioning until they realized that they were in fact receiving a signal which had been rocking the universe (commercial-free) since the moment radiation began separating from matter, that is, shortly after the Big Bang. "Scientifically, radio is as old as time," wrote Neil Strauss in the introduction to "Radiotext(e)," published by Semiotext(e) New York 1993.

"Simulcast 1.0b : Saskatoon" proposes to renew radio's link with eternity. It asks four artists to provide a sound, only one sound, which broadcasts continuously and unchangingly for a period of between six and ten hours each night on www.free103point9.org. Each artist's sound is broadcast during seven consecutive nights. As late-night radio listeners well know, strange things can happen on the radio after midnight. There is something about the solitude of night-time listening which brings out radio's best and most original attributes. The densely-packed conformism of daytime programming is loosened. Many smaller broadcasters do not have the resources to staff their station with live DJs during the night hours and resort instead to pre-recorded or automated alternatives. It is unfortunate that the responsibility of broadcasting through the night is often seen as a burden, an unpopular time-slot which is difficult to fill. "Simulcast 1.0b : Saskatoon" recasts the problem as an opportunity, a short test-run for Radio Eternity.

Much has been said about radio's power to transcend space. The standard definition of the word "simulcast" refers to a live broadcast of some public ceremony: a football game, a coronation, a political debate, a state funeral. Events like these bind listeners together, joining disparate spaces into a single location. "Simulcast 1.0b : Saskatoon" applies the idea of simultaneity to time, rather than to space. By bathing listeners in an event which remains unitary for a period of many hours, it suggests a simultaneity between all moments of a broadcast: a collapsing of a long period of time into a single instant.

Schedule

Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
"Danby" is a broadcast composed of a single sound that is the most pervasive in our interior environments: 60 Hz. The frequency 60 Hz is the soundtrack to the electrical currents that power our radios, our appliances, our light. Yet, it is a soundtrack so prevalent in our everyday lives that only at night in the absence of noise do we realize that silence is continually filtered through the buzz and hum of electricity. "Danby" transmits an unchanging loop of the 60 Hz recorded from an everyday household object. By juxtaposing this constant frequency with the 60 Hz that is no doubt also present in listeners' homes, "Danby" creates unpredictable variations and harmonies - a spontaneous simulcast of the singular sound that infiltrates our lives.

GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
"In the 1980's, whenever I wanted to create an all-night broadcast using only a single sound, I would take a long tape-loop and play it through multiple playback heads. This technique always provided a seamless sound sculpture. For "Simulcast 1.0b : Saskatoon," I did something different. Instead of using analog based repetition, I took a short recording of 40 seconds and digitally stretched it into a single ten hour long wave form. The original recording was that of an auto accident, which is a favourite sound source of mine. The resulting effect is very much like ceaseless grinding. Which also happens to be a favourite of mine," wrote Jupitter-Larsen.

Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
"This piece is a recording of seven consecutive nights, each lasting 6 hours, 36 minutes. Two microphones are placed under a ceiling fan on the second floor of a central room in my house. Under the fan hangs a mobile composed of photographs of family members and close friends, illustrating different episodes from my past. In the foreground of the recording we hear the motor of the Westinghouse fan as well as the waving of the photos in the wind. In the background, we can distinguish the ambient sounds of our house at night, as we pass into sleep and back into wakefulness. Over the seven nights, the only measure of time is the evolution of the ambient sounds in the background, changing with the hours of the night and the nights of the week. "7 nuits sous le Westinghouse" is an intimate sound track which offers a view (or a listen) into the passing of time, the memories it leaves us and their effects on our identity," wrote Babin.

Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
In "Tot morgen (à demain)" a chord consisting in two tritones ('diaboli in musica') that overlap each other by a semitone sounds 140 times forwards and 140 times backwards. The unlawful sequence of these soundings forms a palindrome. It spans the interval that separates the beginning of a next day from the end of a previous one, the end of a previous day from the beginning of a next... "until, again, the roar of dawn." (In the first measure of Stockhausen's "Klavierstueck IX," the same chord is played 140 times in an evenly spaced decrescendo that lasts 48 seconds.) "...tezelfder tijd duizend duivels van beneden en van boven duizend goden ..." - a thousand demons from below and from above a thousand gods [ Tip Marugg - De morgen loeit weer aan (The roar of morning), 1988 ].

free103point9 is pleased to contribute a program of works for the Video Gentlemen’s BYOTV exhibition at the New American Art Union in Portland Oregon. Artists contributing work to the free103point9 curated program are listed to the right. Stay tuned for additional artists and work details.

About BYOTV: Late March 2008, The Video Gentlemen’s BYOTV network launches a six-week season of special reports engaged with technocultural turnover from analog airwaves. Transmitted from within the New American Art Union, a variety of interdisciplinary artworks, live presentations, and workshops form inquisitive constellations around topics including e-waste, surveillance, haunted media and media archeology.

Low-wattage transmissions emanate from an array of re-configured electronic detritus distributed around the gallery. Telecommunications, and the distance implicit in its operation is countered by a physical proximity prescribed by the limited range of the BYOTV transmissions. Visitors are encouraged to “bring their own TV,” or borrow one from the gallery, intercepting transmissions from their immediate airspace.

Closely scrutinizing the premise of obsolescence, BYOTV tunes into an alternative agenda, encouraging new modes of cultural production, collaboration and exchange.

Off The Grid features contemporary works which formally and/or conceptually challenge conventional and commercial infrastructures.

Co-presented by the Neuberger Museum of Art and free103point9. Curated by Jacqueline Shilkoff (Neuberger Museum) and Galen Joseph-Hunter, Tianna Kennedy, Tom Roe (free103point9)

Curators’ Statements

Has humankind’s irresponsible production and consumption of energy and resources reached its peak? While regulatory agencies scramble to meet and control the demands of a wireless-obsessed market, a burgeoning urgency about the need to be ecologically responsible has emerged. Off The Grid presents work by thirteen artists examining and reacting to these currents. Works on view propose alternate territories. They repurpose, reuse, and recast communication devices, consumer byproducts, and environmental data. Our culture has long relied on creative practice to invent, innovate, and inspire. Here, the participating artists do so with works that inform, alarm, and entertain.
– Galen Joseph-Hunter

Most of us live, work, and play on the grid. The artists in Off The Grid do not present utopian solutions to complex problems (unsustainability, overconsumption, waste, alienation), but rather invite us all to reinvent, reimagine, and subvert our daily practices through accessible work completed on a human scale. I've enjoyed my conversations with the artists in this exhibition and have been reminded that cultural gridlock is best addressed not with sweeping gestures and apocalyptic arguments, but by working within, around, and perhaps a little outside expectations of art and engagement.
-Tianna Kennedy

The grid is a shifting network of power, distributing social, ecological and intellectual resources. Individuals have agency to engage or withdraw, privatize or empower, collude or disclose. By reevaluating what resources exist and how they are allocated, we redefine our collective identity and personal ideology. It is hopeful that art as activism, as intervention, can produce awareness and change.
-Jacqueline Shilkoff

Checklist of exhibited works
(Please select an artist or work title from the menu to the right for additional information.)

Matt Bua
World Grid – Square World, 2008
ink, collage, paint, pencil on paper
39 x 63 1/2 inches
Courtesy of the artist and Derek Eller Gallery, New York

Benjamin Cohen, Dylan J. Gauthier, and Stephan von Muehlen
Mare Liberum, 2008
blueprint, distributed broadsheet, boat
broadsheet: 24 x 36 inches, boat: 12 feet
Courtesy of the artists

EcoArtTech: Christine Nadir and Cary Peppermint
Environmental Risk Assessment Rover - AT, 2008
solar panels, recycled shipping pallets, industrial garden wagon, video projector, MAC-mini computer, GPS, WiFi, found built and natural surfaces
Courtesy of the artists

eteam International Airport Montello, 2007-08
three-channel projection, map, figures, photographs
Courtesy of the artists

Max Goldfarb
Ambulant Transceivers, 2008
vintage first-aid kits made into two-way radios
Courtesy of the artist

Louis Hock
Nightscope Series, 1985-2003
digital pigment prints
17 x 24 inches each
Courtesy of the artist

Louis Hock
Feral, 2004
two-channel video installation
sound: Louis Hock and Peter Otto
Courtesy of the artist

Nina Katchadourian
Quit Using Us, 2002
c-print mounted on aluminum
18 x 96 inches
Courtesy of the artist and Sara Meltzer Gallery

Nina Katchadourian
Ant Static, 2003
video loop with sound
Courtesy of the artist and Sara Meltzer Gallery

Kristin Lucas
More Melting, 2008
wax, wick, fire
Courtesy of the artist

Joe McKay
Hi Hat Phone, 2007
cell phone, high hat stand, wood, speakers
Courtesy of the artist

Trevor Paglen
Workers / Las Vegas, NV / Distance – 1 mile, 2006
from the series Limit Telephotography
video
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Chemical and Biological Weapons Proving Ground / Dugway, UT / Distance – 42 miles / 10:51 a.m., 2005
from the series Limit Telephotography
C-print, 3 from an edition of 5
50 x 50 inches
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Unidentified Light Source / Cactus Flats, NV / Distance – 17 miles / 9:45 p.m., 2007
from the series Limit Telephotography
C-print, 1 from an edition of 5
30 x 36 inches
Courtesy of the artist and Bellwether Gallery, New York

Temporary Services
Personal Plastic, 2007
photocopied and offset publications, mounted photographs, banners made from plastic bags, unwanted plastic bags
Courtesy of the artists

Seth Weiner
Cryptographic Payphone, 2008
interactive payphone, chaotic motion system
63 x 15 x 10 inches
Courtesy of the artist

Bart Bridger Woodstrup
Gathering Lore, 2008
computer, custom video software, electronic sensors, weather
Courtesy of the artist

Four sound artists are each invited to create an unchanging radio broadcast. Reacting to a radio culture which accustoms us to the division of time into a grid of discontinuous slices, "Simulcast 1.0b : Saskatoon" is a temporary condition webcast on www.free103point9.org during April, 2008. Four artists are each asked to create an unchanging sound or soundscape. Each of these is webcast continuously over seven consecutive nights. The resulting month-long series reflects on radio's relationship with night and proposes a renewal of radio's relationship with eternity.
"Simulcast 1.0b : Saskatoon" is curated by Montreal-based sound artist Emmanuel Madan, at the initiative of the Saskatoon media arts production centre Paved Arts. The webcasts are hosted by free103point9, a New York-based nonprofit arts organization devoted to Transmission Arts. Webcast nightly on free103point9 Online Radio at www.free103point9.org, April 1 - 28 2008.
Schedule:
Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
All times Central Standard Time (GMT -6). Sunset and sunrise times as observed in Saskatoon, Saskatchewan.

"Western broadcasting is tyrannized by an instrument we have accepted as inviolable: the clock... Radio has become the clock of Western civilization, taking over the function of social timekeeper from the church bell and the factory whistle," said R. Murray Schafer in “Radical Radio,” In EAR Magazine, “Festival for a New Radio” supplement, March 1987.

The idea of "programming" in radio is indissociable from notions of time: we speak of the programming "grid" which represents the subdivision of time according to a two-dimensional Cartesian co-ordinate system; a "schedule" which presumes predictability, punctuality, and periodicity. The time "slots" thus created are further dissected within the confines of each individual programme: news is expected on the hour, weather every seven to ten minutes, regular breaks for advertising spots of 30- or 60-second duration[s] punctuate the remainder. Music programmes fill their time with a battery of pre-recorded songs of similar length; these are then assembled into playlists whose duration is also fixed: "Stay tuned for another thirty-minute non-stop Rock Ride," said a radio DJ on CHOM-FM, Montreal, 2007.

Put simply, radio broadcasting today is an almost exclusively rhythmic affair. Other types of broadcasts do exist, of course. Arno Penzias and Robert Wilson stumbled upon one in 1965, while researching an entirely different phenomenon. They were convinced that their radio telescope was malfunctioning until they realized that they were in fact receiving a signal which had been rocking the universe (commercial-free) since the moment radiation began separating from matter, that is, shortly after the Big Bang. "Scientifically, radio is as old as time," wrote Neil Strauss in the introduction to "Radiotext(e)," published by Semiotext(e) New York 1993.

"Simulcast 1.0b : Saskatoon" proposes to renew radio's link with eternity. It asks four artists to provide a sound, only one sound, which broadcasts continuously and unchangingly for a period of between six and ten hours each night on www.free103point9.org. Each artist's sound is broadcast during seven consecutive nights. As late-night radio listeners well know, strange things can happen on the radio after midnight. There is something about the solitude of night-time listening which brings out radio's best and most original attributes. The densely-packed conformism of daytime programming is loosened. Many smaller broadcasters do not have the resources to staff their station with live DJs during the night hours and resort instead to pre-recorded or automated alternatives. It is unfortunate that the responsibility of broadcasting through the night is often seen as a burden, an unpopular time-slot which is difficult to fill. "Simulcast 1.0b : Saskatoon" recasts the problem as an opportunity, a short test-run for Radio Eternity.

Much has been said about radio's power to transcend space. The standard definition of the word "simulcast" refers to a live broadcast of some public ceremony: a football game, a coronation, a political debate, a state funeral. Events like these bind listeners together, joining disparate spaces into a single location. "Simulcast 1.0b : Saskatoon" applies the idea of simultaneity to time, rather than to space. By bathing listeners in an event which remains unitary for a period of many hours, it suggests a simultaneity between all moments of a broadcast: a collapsing of a long period of time into a single instant.

Schedule

Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
"Danby" is a broadcast composed of a single sound that is the most pervasive in our interior environments: 60 Hz. The frequency 60 Hz is the soundtrack to the electrical currents that power our radios, our appliances, our light. Yet, it is a soundtrack so prevalent in our everyday lives that only at night in the absence of noise do we realize that silence is continually filtered through the buzz and hum of electricity. "Danby" transmits an unchanging loop of the 60 Hz recorded from an everyday household object. By juxtaposing this constant frequency with the 60 Hz that is no doubt also present in listeners' homes, "Danby" creates unpredictable variations and harmonies - a spontaneous simulcast of the singular sound that infiltrates our lives.

GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
"In the 1980's, whenever I wanted to create an all-night broadcast using only a single sound, I would take a long tape-loop and play it through multiple playback heads. This technique always provided a seamless sound sculpture. For "Simulcast 1.0b : Saskatoon," I did something different. Instead of using analog based repetition, I took a short recording of 40 seconds and digitally stretched it into a single ten hour long wave form. The original recording was that of an auto accident, which is a favourite sound source of mine. The resulting effect is very much like ceaseless grinding. Which also happens to be a favourite of mine," wrote Jupitter-Larsen.

Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
"This piece is a recording of seven consecutive nights, each lasting 6 hours, 36 minutes. Two microphones are placed under a ceiling fan on the second floor of a central room in my house. Under the fan hangs a mobile composed of photographs of family members and close friends, illustrating different episodes from my past. In the foreground of the recording we hear the motor of the Westinghouse fan as well as the waving of the photos in the wind. In the background, we can distinguish the ambient sounds of our house at night, as we pass into sleep and back into wakefulness. Over the seven nights, the only measure of time is the evolution of the ambient sounds in the background, changing with the hours of the night and the nights of the week. "7 nuits sous le Westinghouse" is an intimate sound track which offers a view (or a listen) into the passing of time, the memories it leaves us and their effects on our identity," wrote Babin.

Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
In "Tot morgen (à demain)" a chord consisting in two tritones ('diaboli in musica') that overlap each other by a semitone sounds 140 times forwards and 140 times backwards. The unlawful sequence of these soundings forms a palindrome. It spans the interval that separates the beginning of a next day from the end of a previous one, the end of a previous day from the beginning of a next... "until, again, the roar of dawn." (In the first measure of Stockhausen's "Klavierstueck IX," the same chord is played 140 times in an evenly spaced decrescendo that lasts 48 seconds.) "...tezelfder tijd duizend duivels van beneden en van boven duizend goden ..." - a thousand demons from below and from above a thousand gods [ Tip Marugg - De morgen loeit weer aan (The roar of morning), 1988 ].

free103point9 is pleased to contribute a program of works for the Video Gentlemen’s BYOTV exhibition at the New American Art Union in Portland Oregon. Artists contributing work to the free103point9 curated program are listed to the right. Stay tuned for additional artists and work details.

About BYOTV: Late March 2008, The Video Gentlemen’s BYOTV network launches a six-week season of special reports engaged with technocultural turnover from analog airwaves. Transmitted from within the New American Art Union, a variety of interdisciplinary artworks, live presentations, and workshops form inquisitive constellations around topics including e-waste, surveillance, haunted media and media archeology.

Low-wattage transmissions emanate from an array of re-configured electronic detritus distributed around the gallery. Telecommunications, and the distance implicit in its operation is countered by a physical proximity prescribed by the limited range of the BYOTV transmissions. Visitors are encouraged to “bring their own TV,” or borrow one from the gallery, intercepting transmissions from their immediate airspace.

Closely scrutinizing the premise of obsolescence, BYOTV tunes into an alternative agenda, encouraging new modes of cultural production, collaboration and exchange.

Off The Grid features contemporary works which formally and/or conceptually challenge conventional and commercial infrastructures.

Co-presented by the Neuberger Museum of Art and free103point9. Curated by Jacqueline Shilkoff (Neuberger Museum) and Galen Joseph-Hunter, Tianna Kennedy, Tom Roe (free103point9)

Curators’ Statements

Has humankind’s irresponsible production and consumption of energy and resources reached its peak? While regulatory agencies scramble to meet and control the demands of a wireless-obsessed market, a burgeoning urgency about the need to be ecologically responsible has emerged. Off The Grid presents work by thirteen artists examining and reacting to these currents. Works on view propose alternate territories. They repurpose, reuse, and recast communication devices, consumer byproducts, and environmental data. Our culture has long relied on creative practice to invent, innovate, and inspire. Here, the participating artists do so with works that inform, alarm, and entertain.
– Galen Joseph-Hunter

Most of us live, work, and play on the grid. The artists in Off The Grid do not present utopian solutions to complex problems (unsustainability, overconsumption, waste, alienation), but rather invite us all to reinvent, reimagine, and subvert our daily practices through accessible work completed on a human scale. I've enjoyed my conversations with the artists in this exhibition and have been reminded that cultural gridlock is best addressed not with sweeping gestures and apocalyptic arguments, but by working within, around, and perhaps a little outside expectations of art and engagement.
-Tianna Kennedy

The grid is a shifting network of power, distributing social, ecological and intellectual resources. Individuals have agency to engage or withdraw, privatize or empower, collude or disclose. By reevaluating what resources exist and how they are allocated, we redefine our collective identity and personal ideology. It is hopeful that art as activism, as intervention, can produce awareness and change.
-Jacqueline Shilkoff

Checklist of exhibited works
(Please select an artist or work title from the menu to the right for additional information.)

Matt Bua
World Grid – Square World, 2008
ink, collage, paint, pencil on paper
39 x 63 1/2 inches
Courtesy of the artist and Derek Eller Gallery, New York

Benjamin Cohen, Dylan J. Gauthier, and Stephan von Muehlen
Mare Liberum, 2008
blueprint, distributed broadsheet, boat
broadsheet: 24 x 36 inches, boat: 12 feet
Courtesy of the artists

EcoArtTech: Christine Nadir and Cary Peppermint
Environmental Risk Assessment Rover - AT, 2008
solar panels, recycled shipping pallets, industrial garden wagon, video projector, MAC-mini computer, GPS, WiFi, found built and natural surfaces
Courtesy of the artists

eteam International Airport Montello, 2007-08
three-channel projection, map, figures, photographs
Courtesy of the artists

Max Goldfarb
Ambulant Transceivers, 2008
vintage first-aid kits made into two-way radios
Courtesy of the artist

Louis Hock
Nightscope Series, 1985-2003
digital pigment prints
17 x 24 inches each
Courtesy of the artist

Louis Hock
Feral, 2004
two-channel video installation
sound: Louis Hock and Peter Otto
Courtesy of the artist

Nina Katchadourian
Quit Using Us, 2002
c-print mounted on aluminum
18 x 96 inches
Courtesy of the artist and Sara Meltzer Gallery

Nina Katchadourian
Ant Static, 2003
video loop with sound
Courtesy of the artist and Sara Meltzer Gallery

Kristin Lucas
More Melting, 2008
wax, wick, fire
Courtesy of the artist

Joe McKay
Hi Hat Phone, 2007
cell phone, high hat stand, wood, speakers
Courtesy of the artist

Trevor Paglen
Workers / Las Vegas, NV / Distance – 1 mile, 2006
from the series Limit Telephotography
video
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Chemical and Biological Weapons Proving Ground / Dugway, UT / Distance – 42 miles / 10:51 a.m., 2005
from the series Limit Telephotography
C-print, 3 from an edition of 5
50 x 50 inches
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Unidentified Light Source / Cactus Flats, NV / Distance – 17 miles / 9:45 p.m., 2007
from the series Limit Telephotography
C-print, 1 from an edition of 5
30 x 36 inches
Courtesy of the artist and Bellwether Gallery, New York

Temporary Services
Personal Plastic, 2007
photocopied and offset publications, mounted photographs, banners made from plastic bags, unwanted plastic bags
Courtesy of the artists

Seth Weiner
Cryptographic Payphone, 2008
interactive payphone, chaotic motion system
63 x 15 x 10 inches
Courtesy of the artist

Bart Bridger Woodstrup
Gathering Lore, 2008
computer, custom video software, electronic sensors, weather
Courtesy of the artist

Four sound artists are each invited to create an unchanging radio broadcast. Reacting to a radio culture which accustoms us to the division of time into a grid of discontinuous slices, "Simulcast 1.0b : Saskatoon" is a temporary condition webcast on www.free103point9.org during April, 2008. Four artists are each asked to create an unchanging sound or soundscape. Each of these is webcast continuously over seven consecutive nights. The resulting month-long series reflects on radio's relationship with night and proposes a renewal of radio's relationship with eternity.
"Simulcast 1.0b : Saskatoon" is curated by Montreal-based sound artist Emmanuel Madan, at the initiative of the Saskatoon media arts production centre Paved Arts. The webcasts are hosted by free103point9, a New York-based nonprofit arts organization devoted to Transmission Arts. Webcast nightly on free103point9 Online Radio at www.free103point9.org, April 1 - 28 2008.
Schedule:
Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
All times Central Standard Time (GMT -6). Sunset and sunrise times as observed in Saskatoon, Saskatchewan.

"Western broadcasting is tyrannized by an instrument we have accepted as inviolable: the clock... Radio has become the clock of Western civilization, taking over the function of social timekeeper from the church bell and the factory whistle," said R. Murray Schafer in “Radical Radio,” In EAR Magazine, “Festival for a New Radio” supplement, March 1987.

The idea of "programming" in radio is indissociable from notions of time: we speak of the programming "grid" which represents the subdivision of time according to a two-dimensional Cartesian co-ordinate system; a "schedule" which presumes predictability, punctuality, and periodicity. The time "slots" thus created are further dissected within the confines of each individual programme: news is expected on the hour, weather every seven to ten minutes, regular breaks for advertising spots of 30- or 60-second duration[s] punctuate the remainder. Music programmes fill their time with a battery of pre-recorded songs of similar length; these are then assembled into playlists whose duration is also fixed: "Stay tuned for another thirty-minute non-stop Rock Ride," said a radio DJ on CHOM-FM, Montreal, 2007.

Put simply, radio broadcasting today is an almost exclusively rhythmic affair. Other types of broadcasts do exist, of course. Arno Penzias and Robert Wilson stumbled upon one in 1965, while researching an entirely different phenomenon. They were convinced that their radio telescope was malfunctioning until they realized that they were in fact receiving a signal which had been rocking the universe (commercial-free) since the moment radiation began separating from matter, that is, shortly after the Big Bang. "Scientifically, radio is as old as time," wrote Neil Strauss in the introduction to "Radiotext(e)," published by Semiotext(e) New York 1993.

"Simulcast 1.0b : Saskatoon" proposes to renew radio's link with eternity. It asks four artists to provide a sound, only one sound, which broadcasts continuously and unchangingly for a period of between six and ten hours each night on www.free103point9.org. Each artist's sound is broadcast during seven consecutive nights. As late-night radio listeners well know, strange things can happen on the radio after midnight. There is something about the solitude of night-time listening which brings out radio's best and most original attributes. The densely-packed conformism of daytime programming is loosened. Many smaller broadcasters do not have the resources to staff their station with live DJs during the night hours and resort instead to pre-recorded or automated alternatives. It is unfortunate that the responsibility of broadcasting through the night is often seen as a burden, an unpopular time-slot which is difficult to fill. "Simulcast 1.0b : Saskatoon" recasts the problem as an opportunity, a short test-run for Radio Eternity.

Much has been said about radio's power to transcend space. The standard definition of the word "simulcast" refers to a live broadcast of some public ceremony: a football game, a coronation, a political debate, a state funeral. Events like these bind listeners together, joining disparate spaces into a single location. "Simulcast 1.0b : Saskatoon" applies the idea of simultaneity to time, rather than to space. By bathing listeners in an event which remains unitary for a period of many hours, it suggests a simultaneity between all moments of a broadcast: a collapsing of a long period of time into a single instant.

Schedule

Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
"Danby" is a broadcast composed of a single sound that is the most pervasive in our interior environments: 60 Hz. The frequency 60 Hz is the soundtrack to the electrical currents that power our radios, our appliances, our light. Yet, it is a soundtrack so prevalent in our everyday lives that only at night in the absence of noise do we realize that silence is continually filtered through the buzz and hum of electricity. "Danby" transmits an unchanging loop of the 60 Hz recorded from an everyday household object. By juxtaposing this constant frequency with the 60 Hz that is no doubt also present in listeners' homes, "Danby" creates unpredictable variations and harmonies - a spontaneous simulcast of the singular sound that infiltrates our lives.

GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
"In the 1980's, whenever I wanted to create an all-night broadcast using only a single sound, I would take a long tape-loop and play it through multiple playback heads. This technique always provided a seamless sound sculpture. For "Simulcast 1.0b : Saskatoon," I did something different. Instead of using analog based repetition, I took a short recording of 40 seconds and digitally stretched it into a single ten hour long wave form. The original recording was that of an auto accident, which is a favourite sound source of mine. The resulting effect is very much like ceaseless grinding. Which also happens to be a favourite of mine," wrote Jupitter-Larsen.

Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
"This piece is a recording of seven consecutive nights, each lasting 6 hours, 36 minutes. Two microphones are placed under a ceiling fan on the second floor of a central room in my house. Under the fan hangs a mobile composed of photographs of family members and close friends, illustrating different episodes from my past. In the foreground of the recording we hear the motor of the Westinghouse fan as well as the waving of the photos in the wind. In the background, we can distinguish the ambient sounds of our house at night, as we pass into sleep and back into wakefulness. Over the seven nights, the only measure of time is the evolution of the ambient sounds in the background, changing with the hours of the night and the nights of the week. "7 nuits sous le Westinghouse" is an intimate sound track which offers a view (or a listen) into the passing of time, the memories it leaves us and their effects on our identity," wrote Babin.

Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
In "Tot morgen (à demain)" a chord consisting in two tritones ('diaboli in musica') that overlap each other by a semitone sounds 140 times forwards and 140 times backwards. The unlawful sequence of these soundings forms a palindrome. It spans the interval that separates the beginning of a next day from the end of a previous one, the end of a previous day from the beginning of a next... "until, again, the roar of dawn." (In the first measure of Stockhausen's "Klavierstueck IX," the same chord is played 140 times in an evenly spaced decrescendo that lasts 48 seconds.) "...tezelfder tijd duizend duivels van beneden en van boven duizend goden ..." - a thousand demons from below and from above a thousand gods [ Tip Marugg - De morgen loeit weer aan (The roar of morning), 1988 ].

Off The Grid features contemporary works which formally and/or conceptually challenge conventional and commercial infrastructures.

Co-presented by the Neuberger Museum of Art and free103point9. Curated by Jacqueline Shilkoff (Neuberger Museum) and Galen Joseph-Hunter, Tianna Kennedy, Tom Roe (free103point9)

Curators’ Statements

Has humankind’s irresponsible production and consumption of energy and resources reached its peak? While regulatory agencies scramble to meet and control the demands of a wireless-obsessed market, a burgeoning urgency about the need to be ecologically responsible has emerged. Off The Grid presents work by thirteen artists examining and reacting to these currents. Works on view propose alternate territories. They repurpose, reuse, and recast communication devices, consumer byproducts, and environmental data. Our culture has long relied on creative practice to invent, innovate, and inspire. Here, the participating artists do so with works that inform, alarm, and entertain.
– Galen Joseph-Hunter

Most of us live, work, and play on the grid. The artists in Off The Grid do not present utopian solutions to complex problems (unsustainability, overconsumption, waste, alienation), but rather invite us all to reinvent, reimagine, and subvert our daily practices through accessible work completed on a human scale. I've enjoyed my conversations with the artists in this exhibition and have been reminded that cultural gridlock is best addressed not with sweeping gestures and apocalyptic arguments, but by working within, around, and perhaps a little outside expectations of art and engagement.
-Tianna Kennedy

The grid is a shifting network of power, distributing social, ecological and intellectual resources. Individuals have agency to engage or withdraw, privatize or empower, collude or disclose. By reevaluating what resources exist and how they are allocated, we redefine our collective identity and personal ideology. It is hopeful that art as activism, as intervention, can produce awareness and change.
-Jacqueline Shilkoff

Checklist of exhibited works
(Please select an artist or work title from the menu to the right for additional information.)

Matt Bua
World Grid – Square World, 2008
ink, collage, paint, pencil on paper
39 x 63 1/2 inches
Courtesy of the artist and Derek Eller Gallery, New York

Benjamin Cohen, Dylan J. Gauthier, and Stephan von Muehlen
Mare Liberum, 2008
blueprint, distributed broadsheet, boat
broadsheet: 24 x 36 inches, boat: 12 feet
Courtesy of the artists

EcoArtTech: Christine Nadir and Cary Peppermint
Environmental Risk Assessment Rover - AT, 2008
solar panels, recycled shipping pallets, industrial garden wagon, video projector, MAC-mini computer, GPS, WiFi, found built and natural surfaces
Courtesy of the artists

eteam International Airport Montello, 2007-08
three-channel projection, map, figures, photographs
Courtesy of the artists

Max Goldfarb
Ambulant Transceivers, 2008
vintage first-aid kits made into two-way radios
Courtesy of the artist

Louis Hock
Nightscope Series, 1985-2003
digital pigment prints
17 x 24 inches each
Courtesy of the artist

Louis Hock
Feral, 2004
two-channel video installation
sound: Louis Hock and Peter Otto
Courtesy of the artist

Nina Katchadourian
Quit Using Us, 2002
c-print mounted on aluminum
18 x 96 inches
Courtesy of the artist and Sara Meltzer Gallery

Nina Katchadourian
Ant Static, 2003
video loop with sound
Courtesy of the artist and Sara Meltzer Gallery

Kristin Lucas
More Melting, 2008
wax, wick, fire
Courtesy of the artist

Joe McKay
Hi Hat Phone, 2007
cell phone, high hat stand, wood, speakers
Courtesy of the artist

Trevor Paglen
Workers / Las Vegas, NV / Distance – 1 mile, 2006
from the series Limit Telephotography
video
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Chemical and Biological Weapons Proving Ground / Dugway, UT / Distance – 42 miles / 10:51 a.m., 2005
from the series Limit Telephotography
C-print, 3 from an edition of 5
50 x 50 inches
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Unidentified Light Source / Cactus Flats, NV / Distance – 17 miles / 9:45 p.m., 2007
from the series Limit Telephotography
C-print, 1 from an edition of 5
30 x 36 inches
Courtesy of the artist and Bellwether Gallery, New York

Temporary Services
Personal Plastic, 2007
photocopied and offset publications, mounted photographs, banners made from plastic bags, unwanted plastic bags
Courtesy of the artists

Seth Weiner
Cryptographic Payphone, 2008
interactive payphone, chaotic motion system
63 x 15 x 10 inches
Courtesy of the artist

Bart Bridger Woodstrup
Gathering Lore, 2008
computer, custom video software, electronic sensors, weather
Courtesy of the artist

Four sound artists are each invited to create an unchanging radio broadcast. Reacting to a radio culture which accustoms us to the division of time into a grid of discontinuous slices, "Simulcast 1.0b : Saskatoon" is a temporary condition webcast on www.free103point9.org during April, 2008. Four artists are each asked to create an unchanging sound or soundscape. Each of these is webcast continuously over seven consecutive nights. The resulting month-long series reflects on radio's relationship with night and proposes a renewal of radio's relationship with eternity.
"Simulcast 1.0b : Saskatoon" is curated by Montreal-based sound artist Emmanuel Madan, at the initiative of the Saskatoon media arts production centre Paved Arts. The webcasts are hosted by free103point9, a New York-based nonprofit arts organization devoted to Transmission Arts. Webcast nightly on free103point9 Online Radio at www.free103point9.org, April 1 - 28 2008.
Schedule:
Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
All times Central Standard Time (GMT -6). Sunset and sunrise times as observed in Saskatoon, Saskatchewan.

"Western broadcasting is tyrannized by an instrument we have accepted as inviolable: the clock... Radio has become the clock of Western civilization, taking over the function of social timekeeper from the church bell and the factory whistle," said R. Murray Schafer in “Radical Radio,” In EAR Magazine, “Festival for a New Radio” supplement, March 1987.

The idea of "programming" in radio is indissociable from notions of time: we speak of the programming "grid" which represents the subdivision of time according to a two-dimensional Cartesian co-ordinate system; a "schedule" which presumes predictability, punctuality, and periodicity. The time "slots" thus created are further dissected within the confines of each individual programme: news is expected on the hour, weather every seven to ten minutes, regular breaks for advertising spots of 30- or 60-second duration[s] punctuate the remainder. Music programmes fill their time with a battery of pre-recorded songs of similar length; these are then assembled into playlists whose duration is also fixed: "Stay tuned for another thirty-minute non-stop Rock Ride," said a radio DJ on CHOM-FM, Montreal, 2007.

Put simply, radio broadcasting today is an almost exclusively rhythmic affair. Other types of broadcasts do exist, of course. Arno Penzias and Robert Wilson stumbled upon one in 1965, while researching an entirely different phenomenon. They were convinced that their radio telescope was malfunctioning until they realized that they were in fact receiving a signal which had been rocking the universe (commercial-free) since the moment radiation began separating from matter, that is, shortly after the Big Bang. "Scientifically, radio is as old as time," wrote Neil Strauss in the introduction to "Radiotext(e)," published by Semiotext(e) New York 1993.

"Simulcast 1.0b : Saskatoon" proposes to renew radio's link with eternity. It asks four artists to provide a sound, only one sound, which broadcasts continuously and unchangingly for a period of between six and ten hours each night on www.free103point9.org. Each artist's sound is broadcast during seven consecutive nights. As late-night radio listeners well know, strange things can happen on the radio after midnight. There is something about the solitude of night-time listening which brings out radio's best and most original attributes. The densely-packed conformism of daytime programming is loosened. Many smaller broadcasters do not have the resources to staff their station with live DJs during the night hours and resort instead to pre-recorded or automated alternatives. It is unfortunate that the responsibility of broadcasting through the night is often seen as a burden, an unpopular time-slot which is difficult to fill. "Simulcast 1.0b : Saskatoon" recasts the problem as an opportunity, a short test-run for Radio Eternity.

Much has been said about radio's power to transcend space. The standard definition of the word "simulcast" refers to a live broadcast of some public ceremony: a football game, a coronation, a political debate, a state funeral. Events like these bind listeners together, joining disparate spaces into a single location. "Simulcast 1.0b : Saskatoon" applies the idea of simultaneity to time, rather than to space. By bathing listeners in an event which remains unitary for a period of many hours, it suggests a simultaneity between all moments of a broadcast: a collapsing of a long period of time into a single instant.

Schedule

Martine H. Crispo (Montréal) "Danby;" April 1 to 7, midnight to sunrise.
"Danby" is a broadcast composed of a single sound that is the most pervasive in our interior environments: 60 Hz. The frequency 60 Hz is the soundtrack to the electrical currents that power our radios, our appliances, our light. Yet, it is a soundtrack so prevalent in our everyday lives that only at night in the absence of noise do we realize that silence is continually filtered through the buzz and hum of electricity. "Danby" transmits an unchanging loop of the 60 Hz recorded from an everyday household object. By juxtaposing this constant frequency with the 60 Hz that is no doubt also present in listeners' homes, "Danby" creates unpredictable variations and harmonies - a spontaneous simulcast of the singular sound that infiltrates our lives.

GX Jupitter-Larsen (Los Angeles) "Big Time Crash Bang 2008;" April 7 to 14, sunset to sunrise.
"In the 1980's, whenever I wanted to create an all-night broadcast using only a single sound, I would take a long tape-loop and play it through multiple playback heads. This technique always provided a seamless sound sculpture. For "Simulcast 1.0b : Saskatoon," I did something different. Instead of using analog based repetition, I took a short recording of 40 seconds and digitally stretched it into a single ten hour long wave form. The original recording was that of an auto accident, which is a favourite sound source of mine. The resulting effect is very much like ceaseless grinding. Which also happens to be a favourite of mine," wrote Jupitter-Larsen.

Magali Babin (Montréal) "7 nuits sous le Westinghouse;" April 15 to 21, midnight to 6:36 a.m.
"This piece is a recording of seven consecutive nights, each lasting 6 hours, 36 minutes. Two microphones are placed under a ceiling fan on the second floor of a central room in my house. Under the fan hangs a mobile composed of photographs of family members and close friends, illustrating different episodes from my past. In the foreground of the recording we hear the motor of the Westinghouse fan as well as the waving of the photos in the wind. In the background, we can distinguish the ambient sounds of our house at night, as we pass into sleep and back into wakefulness. Over the seven nights, the only measure of time is the evolution of the ambient sounds in the background, changing with the hours of the night and the nights of the week. "7 nuits sous le Westinghouse" is an intimate sound track which offers a view (or a listen) into the passing of time, the memories it leaves us and their effects on our identity," wrote Babin.

Harold Schellinx (Paris/Amsterdam) "Tot morgen (à demain);" April 21 to 28, sunset to sunrise.
In "Tot morgen (à demain)" a chord consisting in two tritones ('diaboli in musica') that overlap each other by a semitone sounds 140 times forwards and 140 times backwards. The unlawful sequence of these soundings forms a palindrome. It spans the interval that separates the beginning of a next day from the end of a previous one, the end of a previous day from the beginning of a next... "until, again, the roar of dawn." (In the first measure of Stockhausen's "Klavierstueck IX," the same chord is played 140 times in an evenly spaced decrescendo that lasts 48 seconds.) "...tezelfder tijd duizend duivels van beneden en van boven duizend goden ..." - a thousand demons from below and from above a thousand gods [ Tip Marugg - De morgen loeit weer aan (The roar of morning), 1988 ].

Off The Grid features contemporary works which formally and/or conceptually challenge conventional and commercial infrastructures.

Co-presented by the Neuberger Museum of Art and free103point9. Curated by Jacqueline Shilkoff (Neuberger Museum) and Galen Joseph-Hunter, Tianna Kennedy, Tom Roe (free103point9)

Curators’ Statements

Has humankind’s irresponsible production and consumption of energy and resources reached its peak? While regulatory agencies scramble to meet and control the demands of a wireless-obsessed market, a burgeoning urgency about the need to be ecologically responsible has emerged. Off The Grid presents work by thirteen artists examining and reacting to these currents. Works on view propose alternate territories. They repurpose, reuse, and recast communication devices, consumer byproducts, and environmental data. Our culture has long relied on creative practice to invent, innovate, and inspire. Here, the participating artists do so with works that inform, alarm, and entertain.
– Galen Joseph-Hunter

Most of us live, work, and play on the grid. The artists in Off The Grid do not present utopian solutions to complex problems (unsustainability, overconsumption, waste, alienation), but rather invite us all to reinvent, reimagine, and subvert our daily practices through accessible work completed on a human scale. I've enjoyed my conversations with the artists in this exhibition and have been reminded that cultural gridlock is best addressed not with sweeping gestures and apocalyptic arguments, but by working within, around, and perhaps a little outside expectations of art and engagement.
-Tianna Kennedy

The grid is a shifting network of power, distributing social, ecological and intellectual resources. Individuals have agency to engage or withdraw, privatize or empower, collude or disclose. By reevaluating what resources exist and how they are allocated, we redefine our collective identity and personal ideology. It is hopeful that art as activism, as intervention, can produce awareness and change.
-Jacqueline Shilkoff

Checklist of exhibited works
(Please select an artist or work title from the menu to the right for additional information.)

Matt Bua
World Grid – Square World, 2008
ink, collage, paint, pencil on paper
39 x 63 1/2 inches
Courtesy of the artist and Derek Eller Gallery, New York

Benjamin Cohen, Dylan J. Gauthier, and Stephan von Muehlen
Mare Liberum, 2008
blueprint, distributed broadsheet, boat
broadsheet: 24 x 36 inches, boat: 12 feet
Courtesy of the artists

EcoArtTech: Christine Nadir and Cary Peppermint
Environmental Risk Assessment Rover - AT, 2008
solar panels, recycled shipping pallets, industrial garden wagon, video projector, MAC-mini computer, GPS, WiFi, found built and natural surfaces
Courtesy of the artists

eteam International Airport Montello, 2007-08
three-channel projection, map, figures, photographs
Courtesy of the artists

Max Goldfarb
Ambulant Transceivers, 2008
vintage first-aid kits made into two-way radios
Courtesy of the artist

Louis Hock
Nightscope Series, 1985-2003
digital pigment prints
17 x 24 inches each
Courtesy of the artist

Louis Hock
Feral, 2004
two-channel video installation
sound: Louis Hock and Peter Otto
Courtesy of the artist

Nina Katchadourian
Quit Using Us, 2002
c-print mounted on aluminum
18 x 96 inches
Courtesy of the artist and Sara Meltzer Gallery

Nina Katchadourian
Ant Static, 2003
video loop with sound
Courtesy of the artist and Sara Meltzer Gallery

Kristin Lucas
More Melting, 2008
wax, wick, fire
Courtesy of the artist

Joe McKay
Hi Hat Phone, 2007
cell phone, high hat stand, wood, speakers
Courtesy of the artist

Trevor Paglen
Workers / Las Vegas, NV / Distance – 1 mile, 2006
from the series Limit Telephotography
video
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Chemical and Biological Weapons Proving Ground / Dugway, UT / Distance – 42 miles / 10:51 a.m., 2005
from the series Limit Telephotography
C-print, 3 from an edition of 5
50 x 50 inches
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Unidentified Light Source / Cactus Flats, NV / Distance – 17 miles / 9:45 p.m., 2007
from the series Limit Telephotography
C-print, 1 from an edition of 5
30 x 36 inches
Courtesy of the artist and Bellwether Gallery, New York

Temporary Services
Personal Plastic, 2007
photocopied and offset publications, mounted photographs, banners made from plastic bags, unwanted plastic bags
Courtesy of the artists

Seth Weiner
Cryptographic Payphone, 2008
interactive payphone, chaotic motion system
63 x 15 x 10 inches
Courtesy of the artist

Bart Bridger Woodstrup
Gathering Lore, 2008
computer, custom video software, electronic sensors, weather
Courtesy of the artist

Off The Grid features contemporary works which formally and/or conceptually challenge conventional and commercial infrastructures.

Co-presented by the Neuberger Museum of Art and free103point9. Curated by Jacqueline Shilkoff (Neuberger Museum) and Galen Joseph-Hunter, Tianna Kennedy, Tom Roe (free103point9)

Curators’ Statements

Has humankind’s irresponsible production and consumption of energy and resources reached its peak? While regulatory agencies scramble to meet and control the demands of a wireless-obsessed market, a burgeoning urgency about the need to be ecologically responsible has emerged. Off The Grid presents work by thirteen artists examining and reacting to these currents. Works on view propose alternate territories. They repurpose, reuse, and recast communication devices, consumer byproducts, and environmental data. Our culture has long relied on creative practice to invent, innovate, and inspire. Here, the participating artists do so with works that inform, alarm, and entertain.
– Galen Joseph-Hunter

Most of us live, work, and play on the grid. The artists in Off The Grid do not present utopian solutions to complex problems (unsustainability, overconsumption, waste, alienation), but rather invite us all to reinvent, reimagine, and subvert our daily practices through accessible work completed on a human scale. I've enjoyed my conversations with the artists in this exhibition and have been reminded that cultural gridlock is best addressed not with sweeping gestures and apocalyptic arguments, but by working within, around, and perhaps a little outside expectations of art and engagement.
-Tianna Kennedy

The grid is a shifting network of power, distributing social, ecological and intellectual resources. Individuals have agency to engage or withdraw, privatize or empower, collude or disclose. By reevaluating what resources exist and how they are allocated, we redefine our collective identity and personal ideology. It is hopeful that art as activism, as intervention, can produce awareness and change.
-Jacqueline Shilkoff

Checklist of exhibited works
(Please select an artist or work title from the menu to the right for additional information.)

Matt Bua
World Grid – Square World, 2008
ink, collage, paint, pencil on paper
39 x 63 1/2 inches
Courtesy of the artist and Derek Eller Gallery, New York

Benjamin Cohen, Dylan J. Gauthier, and Stephan von Muehlen
Mare Liberum, 2008
blueprint, distributed broadsheet, boat
broadsheet: 24 x 36 inches, boat: 12 feet
Courtesy of the artists

EcoArtTech: Christine Nadir and Cary Peppermint
Environmental Risk Assessment Rover - AT, 2008
solar panels, recycled shipping pallets, industrial garden wagon, video projector, MAC-mini computer, GPS, WiFi, found built and natural surfaces
Courtesy of the artists

eteam International Airport Montello, 2007-08
three-channel projection, map, figures, photographs
Courtesy of the artists

Max Goldfarb
Ambulant Transceivers, 2008
vintage first-aid kits made into two-way radios
Courtesy of the artist

Louis Hock
Nightscope Series, 1985-2003
digital pigment prints
17 x 24 inches each
Courtesy of the artist

Louis Hock
Feral, 2004
two-channel video installation
sound: Louis Hock and Peter Otto
Courtesy of the artist

Nina Katchadourian
Quit Using Us, 2002
c-print mounted on aluminum
18 x 96 inches
Courtesy of the artist and Sara Meltzer Gallery

Nina Katchadourian
Ant Static, 2003
video loop with sound
Courtesy of the artist and Sara Meltzer Gallery

Kristin Lucas
More Melting, 2008
wax, wick, fire
Courtesy of the artist

Joe McKay
Hi Hat Phone, 2007
cell phone, high hat stand, wood, speakers
Courtesy of the artist

Trevor Paglen
Workers / Las Vegas, NV / Distance – 1 mile, 2006
from the series Limit Telephotography
video
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Chemical and Biological Weapons Proving Ground / Dugway, UT / Distance – 42 miles / 10:51 a.m., 2005
from the series Limit Telephotography
C-print, 3 from an edition of 5
50 x 50 inches
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Unidentified Light Source / Cactus Flats, NV / Distance – 17 miles / 9:45 p.m., 2007
from the series Limit Telephotography
C-print, 1 from an edition of 5
30 x 36 inches
Courtesy of the artist and Bellwether Gallery, New York

Temporary Services
Personal Plastic, 2007
photocopied and offset publications, mounted photographs, banners made from plastic bags, unwanted plastic bags
Courtesy of the artists

Seth Weiner
Cryptographic Payphone, 2008
interactive payphone, chaotic motion system
63 x 15 x 10 inches
Courtesy of the artist

Bart Bridger Woodstrup
Gathering Lore, 2008
computer, custom video software, electronic sensors, weather
Courtesy of the artist

Off The Grid features contemporary works which formally and/or conceptually challenge conventional and commercial infrastructures.

Co-presented by the Neuberger Museum of Art and free103point9. Curated by Jacqueline Shilkoff (Neuberger Museum) and Galen Joseph-Hunter, Tianna Kennedy, Tom Roe (free103point9)

Curators’ Statements

Has humankind’s irresponsible production and consumption of energy and resources reached its peak? While regulatory agencies scramble to meet and control the demands of a wireless-obsessed market, a burgeoning urgency about the need to be ecologically responsible has emerged. Off The Grid presents work by thirteen artists examining and reacting to these currents. Works on view propose alternate territories. They repurpose, reuse, and recast communication devices, consumer byproducts, and environmental data. Our culture has long relied on creative practice to invent, innovate, and inspire. Here, the participating artists do so with works that inform, alarm, and entertain.
– Galen Joseph-Hunter

Most of us live, work, and play on the grid. The artists in Off The Grid do not present utopian solutions to complex problems (unsustainability, overconsumption, waste, alienation), but rather invite us all to reinvent, reimagine, and subvert our daily practices through accessible work completed on a human scale. I've enjoyed my conversations with the artists in this exhibition and have been reminded that cultural gridlock is best addressed not with sweeping gestures and apocalyptic arguments, but by working within, around, and perhaps a little outside expectations of art and engagement.
-Tianna Kennedy

The grid is a shifting network of power, distributing social, ecological and intellectual resources. Individuals have agency to engage or withdraw, privatize or empower, collude or disclose. By reevaluating what resources exist and how they are allocated, we redefine our collective identity and personal ideology. It is hopeful that art as activism, as intervention, can produce awareness and change.
-Jacqueline Shilkoff

Checklist of exhibited works
(Please select an artist or work title from the menu to the right for additional information.)

Matt Bua
World Grid – Square World, 2008
ink, collage, paint, pencil on paper
39 x 63 1/2 inches
Courtesy of the artist and Derek Eller Gallery, New York

Benjamin Cohen, Dylan J. Gauthier, and Stephan von Muehlen
Mare Liberum, 2008
blueprint, distributed broadsheet, boat
broadsheet: 24 x 36 inches, boat: 12 feet
Courtesy of the artists

EcoArtTech: Christine Nadir and Cary Peppermint
Environmental Risk Assessment Rover - AT, 2008
solar panels, recycled shipping pallets, industrial garden wagon, video projector, MAC-mini computer, GPS, WiFi, found built and natural surfaces
Courtesy of the artists

eteam International Airport Montello, 2007-08
three-channel projection, map, figures, photographs
Courtesy of the artists

Max Goldfarb
Ambulant Transceivers, 2008
vintage first-aid kits made into two-way radios
Courtesy of the artist

Louis Hock
Nightscope Series, 1985-2003
digital pigment prints
17 x 24 inches each
Courtesy of the artist

Louis Hock
Feral, 2004
two-channel video installation
sound: Louis Hock and Peter Otto
Courtesy of the artist

Nina Katchadourian
Quit Using Us, 2002
c-print mounted on aluminum
18 x 96 inches
Courtesy of the artist and Sara Meltzer Gallery

Nina Katchadourian
Ant Static, 2003
video loop with sound
Courtesy of the artist and Sara Meltzer Gallery

Kristin Lucas
More Melting, 2008
wax, wick, fire
Courtesy of the artist

Joe McKay
Hi Hat Phone, 2007
cell phone, high hat stand, wood, speakers
Courtesy of the artist

Trevor Paglen
Workers / Las Vegas, NV / Distance – 1 mile, 2006
from the series Limit Telephotography
video
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Chemical and Biological Weapons Proving Ground / Dugway, UT / Distance – 42 miles / 10:51 a.m., 2005
from the series Limit Telephotography
C-print, 3 from an edition of 5
50 x 50 inches
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Unidentified Light Source / Cactus Flats, NV / Distance – 17 miles / 9:45 p.m., 2007
from the series Limit Telephotography
C-print, 1 from an edition of 5
30 x 36 inches
Courtesy of the artist and Bellwether Gallery, New York

Temporary Services
Personal Plastic, 2007
photocopied and offset publications, mounted photographs, banners made from plastic bags, unwanted plastic bags
Courtesy of the artists

Seth Weiner
Cryptographic Payphone, 2008
interactive payphone, chaotic motion system
63 x 15 x 10 inches
Courtesy of the artist

Bart Bridger Woodstrup
Gathering Lore, 2008
computer, custom video software, electronic sensors, weather
Courtesy of the artist

Off The Grid features contemporary works which formally and/or conceptually challenge conventional and commercial infrastructures.

Co-presented by the Neuberger Museum of Art and free103point9. Curated by Jacqueline Shilkoff (Neuberger Museum) and Galen Joseph-Hunter, Tianna Kennedy, Tom Roe (free103point9)

Curators’ Statements

Has humankind’s irresponsible production and consumption of energy and resources reached its peak? While regulatory agencies scramble to meet and control the demands of a wireless-obsessed market, a burgeoning urgency about the need to be ecologically responsible has emerged. Off The Grid presents work by thirteen artists examining and reacting to these currents. Works on view propose alternate territories. They repurpose, reuse, and recast communication devices, consumer byproducts, and environmental data. Our culture has long relied on creative practice to invent, innovate, and inspire. Here, the participating artists do so with works that inform, alarm, and entertain.
– Galen Joseph-Hunter

Most of us live, work, and play on the grid. The artists in Off The Grid do not present utopian solutions to complex problems (unsustainability, overconsumption, waste, alienation), but rather invite us all to reinvent, reimagine, and subvert our daily practices through accessible work completed on a human scale. I've enjoyed my conversations with the artists in this exhibition and have been reminded that cultural gridlock is best addressed not with sweeping gestures and apocalyptic arguments, but by working within, around, and perhaps a little outside expectations of art and engagement.
-Tianna Kennedy

The grid is a shifting network of power, distributing social, ecological and intellectual resources. Individuals have agency to engage or withdraw, privatize or empower, collude or disclose. By reevaluating what resources exist and how they are allocated, we redefine our collective identity and personal ideology. It is hopeful that art as activism, as intervention, can produce awareness and change.
-Jacqueline Shilkoff

Checklist of exhibited works
(Please select an artist or work title from the menu to the right for additional information.)

Matt Bua
World Grid – Square World, 2008
ink, collage, paint, pencil on paper
39 x 63 1/2 inches
Courtesy of the artist and Derek Eller Gallery, New York

Benjamin Cohen, Dylan J. Gauthier, and Stephan von Muehlen
Mare Liberum, 2008
blueprint, distributed broadsheet, boat
broadsheet: 24 x 36 inches, boat: 12 feet
Courtesy of the artists

EcoArtTech: Christine Nadir and Cary Peppermint
Environmental Risk Assessment Rover - AT, 2008
solar panels, recycled shipping pallets, industrial garden wagon, video projector, MAC-mini computer, GPS, WiFi, found built and natural surfaces
Courtesy of the artists

eteam International Airport Montello, 2007-08
three-channel projection, map, figures, photographs
Courtesy of the artists

Max Goldfarb
Ambulant Transceivers, 2008
vintage first-aid kits made into two-way radios
Courtesy of the artist

Louis Hock
Nightscope Series, 1985-2003
digital pigment prints
17 x 24 inches each
Courtesy of the artist

Louis Hock
Feral, 2004
two-channel video installation
sound: Louis Hock and Peter Otto
Courtesy of the artist

Nina Katchadourian
Quit Using Us, 2002
c-print mounted on aluminum
18 x 96 inches
Courtesy of the artist and Sara Meltzer Gallery

Nina Katchadourian
Ant Static, 2003
video loop with sound
Courtesy of the artist and Sara Meltzer Gallery

Kristin Lucas
More Melting, 2008
wax, wick, fire
Courtesy of the artist

Joe McKay
Hi Hat Phone, 2007
cell phone, high hat stand, wood, speakers
Courtesy of the artist

Trevor Paglen
Workers / Las Vegas, NV / Distance – 1 mile, 2006
from the series Limit Telephotography
video
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Chemical and Biological Weapons Proving Ground / Dugway, UT / Distance – 42 miles / 10:51 a.m., 2005
from the series Limit Telephotography
C-print, 3 from an edition of 5
50 x 50 inches
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Unidentified Light Source / Cactus Flats, NV / Distance – 17 miles / 9:45 p.m., 2007
from the series Limit Telephotography
C-print, 1 from an edition of 5
30 x 36 inches
Courtesy of the artist and Bellwether Gallery, New York

Temporary Services
Personal Plastic, 2007
photocopied and offset publications, mounted photographs, banners made from plastic bags, unwanted plastic bags
Courtesy of the artists

Seth Weiner
Cryptographic Payphone, 2008
interactive payphone, chaotic motion system
63 x 15 x 10 inches
Courtesy of the artist

Bart Bridger Woodstrup
Gathering Lore, 2008
computer, custom video software, electronic sensors, weather
Courtesy of the artist

Off The Grid features contemporary works which formally and/or conceptually challenge conventional and commercial infrastructures.

Co-presented by the Neuberger Museum of Art and free103point9. Curated by Jacqueline Shilkoff (Neuberger Museum) and Galen Joseph-Hunter, Tianna Kennedy, Tom Roe (free103point9)

Curators’ Statements

Has humankind’s irresponsible production and consumption of energy and resources reached its peak? While regulatory agencies scramble to meet and control the demands of a wireless-obsessed market, a burgeoning urgency about the need to be ecologically responsible has emerged. Off The Grid presents work by thirteen artists examining and reacting to these currents. Works on view propose alternate territories. They repurpose, reuse, and recast communication devices, consumer byproducts, and environmental data. Our culture has long relied on creative practice to invent, innovate, and inspire. Here, the participating artists do so with works that inform, alarm, and entertain.
– Galen Joseph-Hunter

Most of us live, work, and play on the grid. The artists in Off The Grid do not present utopian solutions to complex problems (unsustainability, overconsumption, waste, alienation), but rather invite us all to reinvent, reimagine, and subvert our daily practices through accessible work completed on a human scale. I've enjoyed my conversations with the artists in this exhibition and have been reminded that cultural gridlock is best addressed not with sweeping gestures and apocalyptic arguments, but by working within, around, and perhaps a little outside expectations of art and engagement.
-Tianna Kennedy

The grid is a shifting network of power, distributing social, ecological and intellectual resources. Individuals have agency to engage or withdraw, privatize or empower, collude or disclose. By reevaluating what resources exist and how they are allocated, we redefine our collective identity and personal ideology. It is hopeful that art as activism, as intervention, can produce awareness and change.
-Jacqueline Shilkoff

Checklist of exhibited works
(Please select an artist or work title from the menu to the right for additional information.)

Matt Bua
World Grid – Square World, 2008
ink, collage, paint, pencil on paper
39 x 63 1/2 inches
Courtesy of the artist and Derek Eller Gallery, New York

Benjamin Cohen, Dylan J. Gauthier, and Stephan von Muehlen
Mare Liberum, 2008
blueprint, distributed broadsheet, boat
broadsheet: 24 x 36 inches, boat: 12 feet
Courtesy of the artists

EcoArtTech: Christine Nadir and Cary Peppermint
Environmental Risk Assessment Rover - AT, 2008
solar panels, recycled shipping pallets, industrial garden wagon, video projector, MAC-mini computer, GPS, WiFi, found built and natural surfaces
Courtesy of the artists

eteam International Airport Montello, 2007-08
three-channel projection, map, figures, photographs
Courtesy of the artists

Max Goldfarb
Ambulant Transceivers, 2008
vintage first-aid kits made into two-way radios
Courtesy of the artist

Louis Hock
Nightscope Series, 1985-2003
digital pigment prints
17 x 24 inches each
Courtesy of the artist

Louis Hock
Feral, 2004
two-channel video installation
sound: Louis Hock and Peter Otto
Courtesy of the artist

Nina Katchadourian
Quit Using Us, 2002
c-print mounted on aluminum
18 x 96 inches
Courtesy of the artist and Sara Meltzer Gallery

Nina Katchadourian
Ant Static, 2003
video loop with sound
Courtesy of the artist and Sara Meltzer Gallery

Kristin Lucas
More Melting, 2008
wax, wick, fire
Courtesy of the artist

Joe McKay
Hi Hat Phone, 2007
cell phone, high hat stand, wood, speakers
Courtesy of the artist

Trevor Paglen
Workers / Las Vegas, NV / Distance – 1 mile, 2006
from the series Limit Telephotography
video
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Chemical and Biological Weapons Proving Ground / Dugway, UT / Distance – 42 miles / 10:51 a.m., 2005
from the series Limit Telephotography
C-print, 3 from an edition of 5
50 x 50 inches
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Unidentified Light Source / Cactus Flats, NV / Distance – 17 miles / 9:45 p.m., 2007
from the series Limit Telephotography
C-print, 1 from an edition of 5
30 x 36 inches
Courtesy of the artist and Bellwether Gallery, New York

Temporary Services
Personal Plastic, 2007
photocopied and offset publications, mounted photographs, banners made from plastic bags, unwanted plastic bags
Courtesy of the artists

Seth Weiner
Cryptographic Payphone, 2008
interactive payphone, chaotic motion system
63 x 15 x 10 inches
Courtesy of the artist

Bart Bridger Woodstrup
Gathering Lore, 2008
computer, custom video software, electronic sensors, weather
Courtesy of the artist

Off The Grid features contemporary works which formally and/or conceptually challenge conventional and commercial infrastructures.

Co-presented by the Neuberger Museum of Art and free103point9. Curated by Jacqueline Shilkoff (Neuberger Museum) and Galen Joseph-Hunter, Tianna Kennedy, Tom Roe (free103point9)

Curators’ Statements

Has humankind’s irresponsible production and consumption of energy and resources reached its peak? While regulatory agencies scramble to meet and control the demands of a wireless-obsessed market, a burgeoning urgency about the need to be ecologically responsible has emerged. Off The Grid presents work by thirteen artists examining and reacting to these currents. Works on view propose alternate territories. They repurpose, reuse, and recast communication devices, consumer byproducts, and environmental data. Our culture has long relied on creative practice to invent, innovate, and inspire. Here, the participating artists do so with works that inform, alarm, and entertain.
– Galen Joseph-Hunter

Most of us live, work, and play on the grid. The artists in Off The Grid do not present utopian solutions to complex problems (unsustainability, overconsumption, waste, alienation), but rather invite us all to reinvent, reimagine, and subvert our daily practices through accessible work completed on a human scale. I've enjoyed my conversations with the artists in this exhibition and have been reminded that cultural gridlock is best addressed not with sweeping gestures and apocalyptic arguments, but by working within, around, and perhaps a little outside expectations of art and engagement.
-Tianna Kennedy

The grid is a shifting network of power, distributing social, ecological and intellectual resources. Individuals have agency to engage or withdraw, privatize or empower, collude or disclose. By reevaluating what resources exist and how they are allocated, we redefine our collective identity and personal ideology. It is hopeful that art as activism, as intervention, can produce awareness and change.
-Jacqueline Shilkoff

Checklist of exhibited works
(Please select an artist or work title from the menu to the right for additional information.)

Matt Bua
World Grid – Square World, 2008
ink, collage, paint, pencil on paper
39 x 63 1/2 inches
Courtesy of the artist and Derek Eller Gallery, New York

Benjamin Cohen, Dylan J. Gauthier, and Stephan von Muehlen
Mare Liberum, 2008
blueprint, distributed broadsheet, boat
broadsheet: 24 x 36 inches, boat: 12 feet
Courtesy of the artists

EcoArtTech: Christine Nadir and Cary Peppermint
Environmental Risk Assessment Rover - AT, 2008
solar panels, recycled shipping pallets, industrial garden wagon, video projector, MAC-mini computer, GPS, WiFi, found built and natural surfaces
Courtesy of the artists

eteam International Airport Montello, 2007-08
three-channel projection, map, figures, photographs
Courtesy of the artists

Max Goldfarb
Ambulant Transceivers, 2008
vintage first-aid kits made into two-way radios
Courtesy of the artist

Louis Hock
Nightscope Series, 1985-2003
digital pigment prints
17 x 24 inches each
Courtesy of the artist

Louis Hock
Feral, 2004
two-channel video installation
sound: Louis Hock and Peter Otto
Courtesy of the artist

Nina Katchadourian
Quit Using Us, 2002
c-print mounted on aluminum
18 x 96 inches
Courtesy of the artist and Sara Meltzer Gallery

Nina Katchadourian
Ant Static, 2003
video loop with sound
Courtesy of the artist and Sara Meltzer Gallery

Kristin Lucas
More Melting, 2008
wax, wick, fire
Courtesy of the artist

Joe McKay
Hi Hat Phone, 2007
cell phone, high hat stand, wood, speakers
Courtesy of the artist

Trevor Paglen
Workers / Las Vegas, NV / Distance – 1 mile, 2006
from the series Limit Telephotography
video
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Chemical and Biological Weapons Proving Ground / Dugway, UT / Distance – 42 miles / 10:51 a.m., 2005
from the series Limit Telephotography
C-print, 3 from an edition of 5
50 x 50 inches
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Unidentified Light Source / Cactus Flats, NV / Distance – 17 miles / 9:45 p.m., 2007
from the series Limit Telephotography
C-print, 1 from an edition of 5
30 x 36 inches
Courtesy of the artist and Bellwether Gallery, New York

Temporary Services
Personal Plastic, 2007
photocopied and offset publications, mounted photographs, banners made from plastic bags, unwanted plastic bags
Courtesy of the artists

Seth Weiner
Cryptographic Payphone, 2008
interactive payphone, chaotic motion system
63 x 15 x 10 inches
Courtesy of the artist

Bart Bridger Woodstrup
Gathering Lore, 2008
computer, custom video software, electronic sensors, weather
Courtesy of the artist

Off The Grid features contemporary works which formally and/or conceptually challenge conventional and commercial infrastructures.

Co-presented by the Neuberger Museum of Art and free103point9. Curated by Jacqueline Shilkoff (Neuberger Museum) and Galen Joseph-Hunter, Tianna Kennedy, Tom Roe (free103point9)

Curators’ Statements

Has humankind’s irresponsible production and consumption of energy and resources reached its peak? While regulatory agencies scramble to meet and control the demands of a wireless-obsessed market, a burgeoning urgency about the need to be ecologically responsible has emerged. Off The Grid presents work by thirteen artists examining and reacting to these currents. Works on view propose alternate territories. They repurpose, reuse, and recast communication devices, consumer byproducts, and environmental data. Our culture has long relied on creative practice to invent, innovate, and inspire. Here, the participating artists do so with works that inform, alarm, and entertain.
– Galen Joseph-Hunter

Most of us live, work, and play on the grid. The artists in Off The Grid do not present utopian solutions to complex problems (unsustainability, overconsumption, waste, alienation), but rather invite us all to reinvent, reimagine, and subvert our daily practices through accessible work completed on a human scale. I've enjoyed my conversations with the artists in this exhibition and have been reminded that cultural gridlock is best addressed not with sweeping gestures and apocalyptic arguments, but by working within, around, and perhaps a little outside expectations of art and engagement.
-Tianna Kennedy

The grid is a shifting network of power, distributing social, ecological and intellectual resources. Individuals have agency to engage or withdraw, privatize or empower, collude or disclose. By reevaluating what resources exist and how they are allocated, we redefine our collective identity and personal ideology. It is hopeful that art as activism, as intervention, can produce awareness and change.
-Jacqueline Shilkoff

Checklist of exhibited works
(Please select an artist or work title from the menu to the right for additional information.)

Matt Bua
World Grid – Square World, 2008
ink, collage, paint, pencil on paper
39 x 63 1/2 inches
Courtesy of the artist and Derek Eller Gallery, New York

Benjamin Cohen, Dylan J. Gauthier, and Stephan von Muehlen
Mare Liberum, 2008
blueprint, distributed broadsheet, boat
broadsheet: 24 x 36 inches, boat: 12 feet
Courtesy of the artists

EcoArtTech: Christine Nadir and Cary Peppermint
Environmental Risk Assessment Rover - AT, 2008
solar panels, recycled shipping pallets, industrial garden wagon, video projector, MAC-mini computer, GPS, WiFi, found built and natural surfaces
Courtesy of the artists

eteam International Airport Montello, 2007-08
three-channel projection, map, figures, photographs
Courtesy of the artists

Max Goldfarb
Ambulant Transceivers, 2008
vintage first-aid kits made into two-way radios
Courtesy of the artist

Louis Hock
Nightscope Series, 1985-2003
digital pigment prints
17 x 24 inches each
Courtesy of the artist

Louis Hock
Feral, 2004
two-channel video installation
sound: Louis Hock and Peter Otto
Courtesy of the artist

Nina Katchadourian
Quit Using Us, 2002
c-print mounted on aluminum
18 x 96 inches
Courtesy of the artist and Sara Meltzer Gallery

Nina Katchadourian
Ant Static, 2003
video loop with sound
Courtesy of the artist and Sara Meltzer Gallery

Kristin Lucas
More Melting, 2008
wax, wick, fire
Courtesy of the artist

Joe McKay
Hi Hat Phone, 2007
cell phone, high hat stand, wood, speakers
Courtesy of the artist

Trevor Paglen
Workers / Las Vegas, NV / Distance – 1 mile, 2006
from the series Limit Telephotography
video
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Chemical and Biological Weapons Proving Ground / Dugway, UT / Distance – 42 miles / 10:51 a.m., 2005
from the series Limit Telephotography
C-print, 3 from an edition of 5
50 x 50 inches
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Unidentified Light Source / Cactus Flats, NV / Distance – 17 miles / 9:45 p.m., 2007
from the series Limit Telephotography
C-print, 1 from an edition of 5
30 x 36 inches
Courtesy of the artist and Bellwether Gallery, New York

Temporary Services
Personal Plastic, 2007
photocopied and offset publications, mounted photographs, banners made from plastic bags, unwanted plastic bags
Courtesy of the artists

Seth Weiner
Cryptographic Payphone, 2008
interactive payphone, chaotic motion system
63 x 15 x 10 inches
Courtesy of the artist

Bart Bridger Woodstrup
Gathering Lore, 2008
computer, custom video software, electronic sensors, weather
Courtesy of the artist

Off The Grid features contemporary works which formally and/or conceptually challenge conventional and commercial infrastructures.

Co-presented by the Neuberger Museum of Art and free103point9. Curated by Jacqueline Shilkoff (Neuberger Museum) and Galen Joseph-Hunter, Tianna Kennedy, Tom Roe (free103point9)

Curators’ Statements

Has humankind’s irresponsible production and consumption of energy and resources reached its peak? While regulatory agencies scramble to meet and control the demands of a wireless-obsessed market, a burgeoning urgency about the need to be ecologically responsible has emerged. Off The Grid presents work by thirteen artists examining and reacting to these currents. Works on view propose alternate territories. They repurpose, reuse, and recast communication devices, consumer byproducts, and environmental data. Our culture has long relied on creative practice to invent, innovate, and inspire. Here, the participating artists do so with works that inform, alarm, and entertain.
– Galen Joseph-Hunter

Most of us live, work, and play on the grid. The artists in Off The Grid do not present utopian solutions to complex problems (unsustainability, overconsumption, waste, alienation), but rather invite us all to reinvent, reimagine, and subvert our daily practices through accessible work completed on a human scale. I've enjoyed my conversations with the artists in this exhibition and have been reminded that cultural gridlock is best addressed not with sweeping gestures and apocalyptic arguments, but by working within, around, and perhaps a little outside expectations of art and engagement.
-Tianna Kennedy

The grid is a shifting network of power, distributing social, ecological and intellectual resources. Individuals have agency to engage or withdraw, privatize or empower, collude or disclose. By reevaluating what resources exist and how they are allocated, we redefine our collective identity and personal ideology. It is hopeful that art as activism, as intervention, can produce awareness and change.
-Jacqueline Shilkoff

Checklist of exhibited works
(Please select an artist or work title from the menu to the right for additional information.)

Matt Bua
World Grid – Square World, 2008
ink, collage, paint, pencil on paper
39 x 63 1/2 inches
Courtesy of the artist and Derek Eller Gallery, New York

Benjamin Cohen, Dylan J. Gauthier, and Stephan von Muehlen
Mare Liberum, 2008
blueprint, distributed broadsheet, boat
broadsheet: 24 x 36 inches, boat: 12 feet
Courtesy of the artists

EcoArtTech: Christine Nadir and Cary Peppermint
Environmental Risk Assessment Rover - AT, 2008
solar panels, recycled shipping pallets, industrial garden wagon, video projector, MAC-mini computer, GPS, WiFi, found built and natural surfaces
Courtesy of the artists

eteam International Airport Montello, 2007-08
three-channel projection, map, figures, photographs
Courtesy of the artists

Max Goldfarb
Ambulant Transceivers, 2008
vintage first-aid kits made into two-way radios
Courtesy of the artist

Louis Hock
Nightscope Series, 1985-2003
digital pigment prints
17 x 24 inches each
Courtesy of the artist

Louis Hock
Feral, 2004
two-channel video installation
sound: Louis Hock and Peter Otto
Courtesy of the artist

Nina Katchadourian
Quit Using Us, 2002
c-print mounted on aluminum
18 x 96 inches
Courtesy of the artist and Sara Meltzer Gallery

Nina Katchadourian
Ant Static, 2003
video loop with sound
Courtesy of the artist and Sara Meltzer Gallery

Kristin Lucas
More Melting, 2008
wax, wick, fire
Courtesy of the artist

Joe McKay
Hi Hat Phone, 2007
cell phone, high hat stand, wood, speakers
Courtesy of the artist

Trevor Paglen
Workers / Las Vegas, NV / Distance – 1 mile, 2006
from the series Limit Telephotography
video
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Chemical and Biological Weapons Proving Ground / Dugway, UT / Distance – 42 miles / 10:51 a.m., 2005
from the series Limit Telephotography
C-print, 3 from an edition of 5
50 x 50 inches
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Unidentified Light Source / Cactus Flats, NV / Distance – 17 miles / 9:45 p.m., 2007
from the series Limit Telephotography
C-print, 1 from an edition of 5
30 x 36 inches
Courtesy of the artist and Bellwether Gallery, New York

Temporary Services
Personal Plastic, 2007
photocopied and offset publications, mounted photographs, banners made from plastic bags, unwanted plastic bags
Courtesy of the artists

Seth Weiner
Cryptographic Payphone, 2008
interactive payphone, chaotic motion system
63 x 15 x 10 inches
Courtesy of the artist

Bart Bridger Woodstrup
Gathering Lore, 2008
computer, custom video software, electronic sensors, weather
Courtesy of the artist

Off The Grid features contemporary works which formally and/or conceptually challenge conventional and commercial infrastructures.

Co-presented by the Neuberger Museum of Art and free103point9. Curated by Jacqueline Shilkoff (Neuberger Museum) and Galen Joseph-Hunter, Tianna Kennedy, Tom Roe (free103point9)

Curators’ Statements

Has humankind’s irresponsible production and consumption of energy and resources reached its peak? While regulatory agencies scramble to meet and control the demands of a wireless-obsessed market, a burgeoning urgency about the need to be ecologically responsible has emerged. Off The Grid presents work by thirteen artists examining and reacting to these currents. Works on view propose alternate territories. They repurpose, reuse, and recast communication devices, consumer byproducts, and environmental data. Our culture has long relied on creative practice to invent, innovate, and inspire. Here, the participating artists do so with works that inform, alarm, and entertain.
– Galen Joseph-Hunter

Most of us live, work, and play on the grid. The artists in Off The Grid do not present utopian solutions to complex problems (unsustainability, overconsumption, waste, alienation), but rather invite us all to reinvent, reimagine, and subvert our daily practices through accessible work completed on a human scale. I've enjoyed my conversations with the artists in this exhibition and have been reminded that cultural gridlock is best addressed not with sweeping gestures and apocalyptic arguments, but by working within, around, and perhaps a little outside expectations of art and engagement.
-Tianna Kennedy

The grid is a shifting network of power, distributing social, ecological and intellectual resources. Individuals have agency to engage or withdraw, privatize or empower, collude or disclose. By reevaluating what resources exist and how they are allocated, we redefine our collective identity and personal ideology. It is hopeful that art as activism, as intervention, can produce awareness and change.
-Jacqueline Shilkoff

Checklist of exhibited works
(Please select an artist or work title from the menu to the right for additional information.)

Matt Bua
World Grid – Square World, 2008
ink, collage, paint, pencil on paper
39 x 63 1/2 inches
Courtesy of the artist and Derek Eller Gallery, New York

Benjamin Cohen, Dylan J. Gauthier, and Stephan von Muehlen
Mare Liberum, 2008
blueprint, distributed broadsheet, boat
broadsheet: 24 x 36 inches, boat: 12 feet
Courtesy of the artists

EcoArtTech: Christine Nadir and Cary Peppermint
Environmental Risk Assessment Rover - AT, 2008
solar panels, recycled shipping pallets, industrial garden wagon, video projector, MAC-mini computer, GPS, WiFi, found built and natural surfaces
Courtesy of the artists

eteam International Airport Montello, 2007-08
three-channel projection, map, figures, photographs
Courtesy of the artists

Max Goldfarb
Ambulant Transceivers, 2008
vintage first-aid kits made into two-way radios
Courtesy of the artist

Louis Hock
Nightscope Series, 1985-2003
digital pigment prints
17 x 24 inches each
Courtesy of the artist

Louis Hock
Feral, 2004
two-channel video installation
sound: Louis Hock and Peter Otto
Courtesy of the artist

Nina Katchadourian
Quit Using Us, 2002
c-print mounted on aluminum
18 x 96 inches
Courtesy of the artist and Sara Meltzer Gallery

Nina Katchadourian
Ant Static, 2003
video loop with sound
Courtesy of the artist and Sara Meltzer Gallery

Kristin Lucas
More Melting, 2008
wax, wick, fire
Courtesy of the artist

Joe McKay
Hi Hat Phone, 2007
cell phone, high hat stand, wood, speakers
Courtesy of the artist

Trevor Paglen
Workers / Las Vegas, NV / Distance – 1 mile, 2006
from the series Limit Telephotography
video
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Chemical and Biological Weapons Proving Ground / Dugway, UT / Distance – 42 miles / 10:51 a.m., 2005
from the series Limit Telephotography
C-print, 3 from an edition of 5
50 x 50 inches
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Unidentified Light Source / Cactus Flats, NV / Distance – 17 miles / 9:45 p.m., 2007
from the series Limit Telephotography
C-print, 1 from an edition of 5
30 x 36 inches
Courtesy of the artist and Bellwether Gallery, New York

Temporary Services
Personal Plastic, 2007
photocopied and offset publications, mounted photographs, banners made from plastic bags, unwanted plastic bags
Courtesy of the artists

Seth Weiner
Cryptographic Payphone, 2008
interactive payphone, chaotic motion system
63 x 15 x 10 inches
Courtesy of the artist

Bart Bridger Woodstrup
Gathering Lore, 2008
computer, custom video software, electronic sensors, weather
Courtesy of the artist

Off The Grid features contemporary works which formally and/or conceptually challenge conventional and commercial infrastructures.

Co-presented by the Neuberger Museum of Art and free103point9. Curated by Jacqueline Shilkoff (Neuberger Museum) and Galen Joseph-Hunter, Tianna Kennedy, Tom Roe (free103point9)

Curators’ Statements

Has humankind’s irresponsible production and consumption of energy and resources reached its peak? While regulatory agencies scramble to meet and control the demands of a wireless-obsessed market, a burgeoning urgency about the need to be ecologically responsible has emerged. Off The Grid presents work by thirteen artists examining and reacting to these currents. Works on view propose alternate territories. They repurpose, reuse, and recast communication devices, consumer byproducts, and environmental data. Our culture has long relied on creative practice to invent, innovate, and inspire. Here, the participating artists do so with works that inform, alarm, and entertain.
– Galen Joseph-Hunter

Most of us live, work, and play on the grid. The artists in Off The Grid do not present utopian solutions to complex problems (unsustainability, overconsumption, waste, alienation), but rather invite us all to reinvent, reimagine, and subvert our daily practices through accessible work completed on a human scale. I've enjoyed my conversations with the artists in this exhibition and have been reminded that cultural gridlock is best addressed not with sweeping gestures and apocalyptic arguments, but by working within, around, and perhaps a little outside expectations of art and engagement.
-Tianna Kennedy

The grid is a shifting network of power, distributing social, ecological and intellectual resources. Individuals have agency to engage or withdraw, privatize or empower, collude or disclose. By reevaluating what resources exist and how they are allocated, we redefine our collective identity and personal ideology. It is hopeful that art as activism, as intervention, can produce awareness and change.
-Jacqueline Shilkoff

Checklist of exhibited works
(Please select an artist or work title from the menu to the right for additional information.)

Matt Bua
World Grid – Square World, 2008
ink, collage, paint, pencil on paper
39 x 63 1/2 inches
Courtesy of the artist and Derek Eller Gallery, New York

Benjamin Cohen, Dylan J. Gauthier, and Stephan von Muehlen
Mare Liberum, 2008
blueprint, distributed broadsheet, boat
broadsheet: 24 x 36 inches, boat: 12 feet
Courtesy of the artists

EcoArtTech: Christine Nadir and Cary Peppermint
Environmental Risk Assessment Rover - AT, 2008
solar panels, recycled shipping pallets, industrial garden wagon, video projector, MAC-mini computer, GPS, WiFi, found built and natural surfaces
Courtesy of the artists

eteam International Airport Montello, 2007-08
three-channel projection, map, figures, photographs
Courtesy of the artists

Max Goldfarb
Ambulant Transceivers, 2008
vintage first-aid kits made into two-way radios
Courtesy of the artist

Louis Hock
Nightscope Series, 1985-2003
digital pigment prints
17 x 24 inches each
Courtesy of the artist

Louis Hock
Feral, 2004
two-channel video installation
sound: Louis Hock and Peter Otto
Courtesy of the artist

Nina Katchadourian
Quit Using Us, 2002
c-print mounted on aluminum
18 x 96 inches
Courtesy of the artist and Sara Meltzer Gallery

Nina Katchadourian
Ant Static, 2003
video loop with sound
Courtesy of the artist and Sara Meltzer Gallery

Kristin Lucas
More Melting, 2008
wax, wick, fire
Courtesy of the artist

Joe McKay
Hi Hat Phone, 2007
cell phone, high hat stand, wood, speakers
Courtesy of the artist

Trevor Paglen
Workers / Las Vegas, NV / Distance – 1 mile, 2006
from the series Limit Telephotography
video
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Chemical and Biological Weapons Proving Ground / Dugway, UT / Distance – 42 miles / 10:51 a.m., 2005
from the series Limit Telephotography
C-print, 3 from an edition of 5
50 x 50 inches
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Unidentified Light Source / Cactus Flats, NV / Distance – 17 miles / 9:45 p.m., 2007
from the series Limit Telephotography
C-print, 1 from an edition of 5
30 x 36 inches
Courtesy of the artist and Bellwether Gallery, New York

Temporary Services
Personal Plastic, 2007
photocopied and offset publications, mounted photographs, banners made from plastic bags, unwanted plastic bags
Courtesy of the artists

Seth Weiner
Cryptographic Payphone, 2008
interactive payphone, chaotic motion system
63 x 15 x 10 inches
Courtesy of the artist

Bart Bridger Woodstrup
Gathering Lore, 2008
computer, custom video software, electronic sensors, weather
Courtesy of the artist

Off The Grid features contemporary works which formally and/or conceptually challenge conventional and commercial infrastructures.

Co-presented by the Neuberger Museum of Art and free103point9. Curated by Jacqueline Shilkoff (Neuberger Museum) and Galen Joseph-Hunter, Tianna Kennedy, Tom Roe (free103point9)

Curators’ Statements

Has humankind’s irresponsible production and consumption of energy and resources reached its peak? While regulatory agencies scramble to meet and control the demands of a wireless-obsessed market, a burgeoning urgency about the need to be ecologically responsible has emerged. Off The Grid presents work by thirteen artists examining and reacting to these currents. Works on view propose alternate territories. They repurpose, reuse, and recast communication devices, consumer byproducts, and environmental data. Our culture has long relied on creative practice to invent, innovate, and inspire. Here, the participating artists do so with works that inform, alarm, and entertain.
– Galen Joseph-Hunter

Most of us live, work, and play on the grid. The artists in Off The Grid do not present utopian solutions to complex problems (unsustainability, overconsumption, waste, alienation), but rather invite us all to reinvent, reimagine, and subvert our daily practices through accessible work completed on a human scale. I've enjoyed my conversations with the artists in this exhibition and have been reminded that cultural gridlock is best addressed not with sweeping gestures and apocalyptic arguments, but by working within, around, and perhaps a little outside expectations of art and engagement.
-Tianna Kennedy

The grid is a shifting network of power, distributing social, ecological and intellectual resources. Individuals have agency to engage or withdraw, privatize or empower, collude or disclose. By reevaluating what resources exist and how they are allocated, we redefine our collective identity and personal ideology. It is hopeful that art as activism, as intervention, can produce awareness and change.
-Jacqueline Shilkoff

Checklist of exhibited works
(Please select an artist or work title from the menu to the right for additional information.)

Matt Bua
World Grid – Square World, 2008
ink, collage, paint, pencil on paper
39 x 63 1/2 inches
Courtesy of the artist and Derek Eller Gallery, New York

Benjamin Cohen, Dylan J. Gauthier, and Stephan von Muehlen
Mare Liberum, 2008
blueprint, distributed broadsheet, boat
broadsheet: 24 x 36 inches, boat: 12 feet
Courtesy of the artists

EcoArtTech: Christine Nadir and Cary Peppermint
Environmental Risk Assessment Rover - AT, 2008
solar panels, recycled shipping pallets, industrial garden wagon, video projector, MAC-mini computer, GPS, WiFi, found built and natural surfaces
Courtesy of the artists

eteam International Airport Montello, 2007-08
three-channel projection, map, figures, photographs
Courtesy of the artists

Max Goldfarb
Ambulant Transceivers, 2008
vintage first-aid kits made into two-way radios
Courtesy of the artist

Louis Hock
Nightscope Series, 1985-2003
digital pigment prints
17 x 24 inches each
Courtesy of the artist

Louis Hock
Feral, 2004
two-channel video installation
sound: Louis Hock and Peter Otto
Courtesy of the artist

Nina Katchadourian
Quit Using Us, 2002
c-print mounted on aluminum
18 x 96 inches
Courtesy of the artist and Sara Meltzer Gallery

Nina Katchadourian
Ant Static, 2003
video loop with sound
Courtesy of the artist and Sara Meltzer Gallery

Kristin Lucas
More Melting, 2008
wax, wick, fire
Courtesy of the artist

Joe McKay
Hi Hat Phone, 2007
cell phone, high hat stand, wood, speakers
Courtesy of the artist

Trevor Paglen
Workers / Las Vegas, NV / Distance – 1 mile, 2006
from the series Limit Telephotography
video
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Chemical and Biological Weapons Proving Ground / Dugway, UT / Distance – 42 miles / 10:51 a.m., 2005
from the series Limit Telephotography
C-print, 3 from an edition of 5
50 x 50 inches
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Unidentified Light Source / Cactus Flats, NV / Distance – 17 miles / 9:45 p.m., 2007
from the series Limit Telephotography
C-print, 1 from an edition of 5
30 x 36 inches
Courtesy of the artist and Bellwether Gallery, New York

Temporary Services
Personal Plastic, 2007
photocopied and offset publications, mounted photographs, banners made from plastic bags, unwanted plastic bags
Courtesy of the artists

Seth Weiner
Cryptographic Payphone, 2008
interactive payphone, chaotic motion system
63 x 15 x 10 inches
Courtesy of the artist

Bart Bridger Woodstrup
Gathering Lore, 2008
computer, custom video software, electronic sensors, weather
Courtesy of the artist

Noise! is a sound performance festival started in 2005. free103point9 curates for the second year. Each year the "Incubator" program at Ontological Theater hosts a Noise! festival, a three-night multi-arts event designed to promote interest in new forms of sound art. The festival will feature short compositions and performances by established and emerging artists.

Each evening opens with a Radio 4x4 as the audience enters the theater. Radio 4x4 is a free103point9 collaborative radio transmission performance. Four simultaneous audio performances are separately sent through FM transmitters to radios positioned throughout a performance space. Each radio receives only one of the signals, so that the audience becomes an active collaborator in the performance, "mixing" the audio feeds by moving about the space among the four signals. Other artists will perform each evening.

Thursday, May 8
Curated by Tianna Kennedy
Opens with Radio 4x4 with Tianna Kennedy + Mark Anderson + Jordi Wheeler + Tyler Nolan
Lith (Jordi Wheeler)
Diamond Terrifier (featuring Sam Hillmer from the Zs)
Dome Theater (Forrest Gillespie directing "Fucked for Real")

Friday, May 9
Curated by Tom Roe
Opens with Radio 4x4 with Giancarlo Bracchi + Tom Roe + Slink Moss + Michael Garafalo.
Bunnybrains
Michael Garafalo (Latitude/Longitude)
Giancarlo Bracchi
Tom Roe

Saturday, May 10
Curated by Damian Catera
Opens with Radio 4x4 with Damian Catera + () + Tom Roe + John Baird
Skyline
Damian Catera
Andrea Parkins

Watch and listen to video and audio LIVE from Noise! and Experimental Music at Ontological Theater May 8-10, 2008. Refresh browser if image or audio freezes.

Off The Grid features contemporary works which formally and/or conceptually challenge conventional and commercial infrastructures.

Co-presented by the Neuberger Museum of Art and free103point9. Curated by Jacqueline Shilkoff (Neuberger Museum) and Galen Joseph-Hunter, Tianna Kennedy, Tom Roe (free103point9)

Curators’ Statements

Has humankind’s irresponsible production and consumption of energy and resources reached its peak? While regulatory agencies scramble to meet and control the demands of a wireless-obsessed market, a burgeoning urgency about the need to be ecologically responsible has emerged. Off The Grid presents work by thirteen artists examining and reacting to these currents. Works on view propose alternate territories. They repurpose, reuse, and recast communication devices, consumer byproducts, and environmental data. Our culture has long relied on creative practice to invent, innovate, and inspire. Here, the participating artists do so with works that inform, alarm, and entertain.
– Galen Joseph-Hunter

Most of us live, work, and play on the grid. The artists in Off The Grid do not present utopian solutions to complex problems (unsustainability, overconsumption, waste, alienation), but rather invite us all to reinvent, reimagine, and subvert our daily practices through accessible work completed on a human scale. I've enjoyed my conversations with the artists in this exhibition and have been reminded that cultural gridlock is best addressed not with sweeping gestures and apocalyptic arguments, but by working within, around, and perhaps a little outside expectations of art and engagement.
-Tianna Kennedy

The grid is a shifting network of power, distributing social, ecological and intellectual resources. Individuals have agency to engage or withdraw, privatize or empower, collude or disclose. By reevaluating what resources exist and how they are allocated, we redefine our collective identity and personal ideology. It is hopeful that art as activism, as intervention, can produce awareness and change.
-Jacqueline Shilkoff

Checklist of exhibited works
(Please select an artist or work title from the menu to the right for additional information.)

Matt Bua
World Grid – Square World, 2008
ink, collage, paint, pencil on paper
39 x 63 1/2 inches
Courtesy of the artist and Derek Eller Gallery, New York

Benjamin Cohen, Dylan J. Gauthier, and Stephan von Muehlen
Mare Liberum, 2008
blueprint, distributed broadsheet, boat
broadsheet: 24 x 36 inches, boat: 12 feet
Courtesy of the artists

EcoArtTech: Christine Nadir and Cary Peppermint
Environmental Risk Assessment Rover - AT, 2008
solar panels, recycled shipping pallets, industrial garden wagon, video projector, MAC-mini computer, GPS, WiFi, found built and natural surfaces
Courtesy of the artists

eteam International Airport Montello, 2007-08
three-channel projection, map, figures, photographs
Courtesy of the artists

Max Goldfarb
Ambulant Transceivers, 2008
vintage first-aid kits made into two-way radios
Courtesy of the artist

Louis Hock
Nightscope Series, 1985-2003
digital pigment prints
17 x 24 inches each
Courtesy of the artist

Louis Hock
Feral, 2004
two-channel video installation
sound: Louis Hock and Peter Otto
Courtesy of the artist

Nina Katchadourian
Quit Using Us, 2002
c-print mounted on aluminum
18 x 96 inches
Courtesy of the artist and Sara Meltzer Gallery

Nina Katchadourian
Ant Static, 2003
video loop with sound
Courtesy of the artist and Sara Meltzer Gallery

Kristin Lucas
More Melting, 2008
wax, wick, fire
Courtesy of the artist

Joe McKay
Hi Hat Phone, 2007
cell phone, high hat stand, wood, speakers
Courtesy of the artist

Trevor Paglen
Workers / Las Vegas, NV / Distance – 1 mile, 2006
from the series Limit Telephotography
video
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Chemical and Biological Weapons Proving Ground / Dugway, UT / Distance – 42 miles / 10:51 a.m., 2005
from the series Limit Telephotography
C-print, 3 from an edition of 5
50 x 50 inches
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Unidentified Light Source / Cactus Flats, NV / Distance – 17 miles / 9:45 p.m., 2007
from the series Limit Telephotography
C-print, 1 from an edition of 5
30 x 36 inches
Courtesy of the artist and Bellwether Gallery, New York

Temporary Services
Personal Plastic, 2007
photocopied and offset publications, mounted photographs, banners made from plastic bags, unwanted plastic bags
Courtesy of the artists

Seth Weiner
Cryptographic Payphone, 2008
interactive payphone, chaotic motion system
63 x 15 x 10 inches
Courtesy of the artist

Bart Bridger Woodstrup
Gathering Lore, 2008
computer, custom video software, electronic sensors, weather
Courtesy of the artist

Noise! is a sound performance festival started in 2005. free103point9 curates for the second year. Each year the "Incubator" program at Ontological Theater hosts a Noise! festival, a three-night multi-arts event designed to promote interest in new forms of sound art. The festival will feature short compositions and performances by established and emerging artists.

Each evening opens with a Radio 4x4 as the audience enters the theater. Radio 4x4 is a free103point9 collaborative radio transmission performance. Four simultaneous audio performances are separately sent through FM transmitters to radios positioned throughout a performance space. Each radio receives only one of the signals, so that the audience becomes an active collaborator in the performance, "mixing" the audio feeds by moving about the space among the four signals. Other artists will perform each evening.

Thursday, May 8
Curated by Tianna Kennedy
Opens with Radio 4x4 with Tianna Kennedy + Mark Anderson + Jordi Wheeler + Tyler Nolan
Lith (Jordi Wheeler)
Diamond Terrifier (featuring Sam Hillmer from the Zs)
Dome Theater (Forrest Gillespie directing "Fucked for Real")

Friday, May 9
Curated by Tom Roe
Opens with Radio 4x4 with Giancarlo Bracchi + Tom Roe + Slink Moss + Michael Garafalo.
Bunnybrains
Michael Garafalo (Latitude/Longitude)
Giancarlo Bracchi
Tom Roe

Saturday, May 10
Curated by Damian Catera
Opens with Radio 4x4 with Damian Catera + () + Tom Roe + John Baird
Skyline
Damian Catera
Andrea Parkins

Watch and listen to video and audio LIVE from Noise! and Experimental Music at Ontological Theater May 8-10, 2008. Refresh browser if image or audio freezes.

Off The Grid features contemporary works which formally and/or conceptually challenge conventional and commercial infrastructures.

Co-presented by the Neuberger Museum of Art and free103point9. Curated by Jacqueline Shilkoff (Neuberger Museum) and Galen Joseph-Hunter, Tianna Kennedy, Tom Roe (free103point9)

Curators’ Statements

Has humankind’s irresponsible production and consumption of energy and resources reached its peak? While regulatory agencies scramble to meet and control the demands of a wireless-obsessed market, a burgeoning urgency about the need to be ecologically responsible has emerged. Off The Grid presents work by thirteen artists examining and reacting to these currents. Works on view propose alternate territories. They repurpose, reuse, and recast communication devices, consumer byproducts, and environmental data. Our culture has long relied on creative practice to invent, innovate, and inspire. Here, the participating artists do so with works that inform, alarm, and entertain.
– Galen Joseph-Hunter

Most of us live, work, and play on the grid. The artists in Off The Grid do not present utopian solutions to complex problems (unsustainability, overconsumption, waste, alienation), but rather invite us all to reinvent, reimagine, and subvert our daily practices through accessible work completed on a human scale. I've enjoyed my conversations with the artists in this exhibition and have been reminded that cultural gridlock is best addressed not with sweeping gestures and apocalyptic arguments, but by working within, around, and perhaps a little outside expectations of art and engagement.
-Tianna Kennedy

The grid is a shifting network of power, distributing social, ecological and intellectual resources. Individuals have agency to engage or withdraw, privatize or empower, collude or disclose. By reevaluating what resources exist and how they are allocated, we redefine our collective identity and personal ideology. It is hopeful that art as activism, as intervention, can produce awareness and change.
-Jacqueline Shilkoff

Checklist of exhibited works
(Please select an artist or work title from the menu to the right for additional information.)

Matt Bua
World Grid – Square World, 2008
ink, collage, paint, pencil on paper
39 x 63 1/2 inches
Courtesy of the artist and Derek Eller Gallery, New York

Benjamin Cohen, Dylan J. Gauthier, and Stephan von Muehlen
Mare Liberum, 2008
blueprint, distributed broadsheet, boat
broadsheet: 24 x 36 inches, boat: 12 feet
Courtesy of the artists

EcoArtTech: Christine Nadir and Cary Peppermint
Environmental Risk Assessment Rover - AT, 2008
solar panels, recycled shipping pallets, industrial garden wagon, video projector, MAC-mini computer, GPS, WiFi, found built and natural surfaces
Courtesy of the artists

eteam International Airport Montello, 2007-08
three-channel projection, map, figures, photographs
Courtesy of the artists

Max Goldfarb
Ambulant Transceivers, 2008
vintage first-aid kits made into two-way radios
Courtesy of the artist

Louis Hock
Nightscope Series, 1985-2003
digital pigment prints
17 x 24 inches each
Courtesy of the artist

Louis Hock
Feral, 2004
two-channel video installation
sound: Louis Hock and Peter Otto
Courtesy of the artist

Nina Katchadourian
Quit Using Us, 2002
c-print mounted on aluminum
18 x 96 inches
Courtesy of the artist and Sara Meltzer Gallery

Nina Katchadourian
Ant Static, 2003
video loop with sound
Courtesy of the artist and Sara Meltzer Gallery

Kristin Lucas
More Melting, 2008
wax, wick, fire
Courtesy of the artist

Joe McKay
Hi Hat Phone, 2007
cell phone, high hat stand, wood, speakers
Courtesy of the artist

Trevor Paglen
Workers / Las Vegas, NV / Distance – 1 mile, 2006
from the series Limit Telephotography
video
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Chemical and Biological Weapons Proving Ground / Dugway, UT / Distance – 42 miles / 10:51 a.m., 2005
from the series Limit Telephotography
C-print, 3 from an edition of 5
50 x 50 inches
Courtesy of the artist and Bellwether Gallery, New York

Trevor Paglen
Unidentified Light Source / Cactus Flats, NV / Distance – 17 miles / 9:45 p.m., 2007
from the series Limit Telephotography
C-print, 1 from an edition of 5
30 x 36 inches
Courtesy of the artist and Bellwether Gallery, New York

Temporary Services
Personal Plastic, 2007
photocopied and offset publications, mounted photographs, banners made from plastic bags, unwanted plastic bags
Courtesy of the artists

Seth Weiner
Cryptographic Payphone, 2008
interactive payphone, chaotic motion system
63 x 15 x 10 inches
Courtesy of the artist

Bart Bridger Woodstrup
Gathering Lore, 2008
computer, custom video software, electronic sensors, weather
Courtesy of the artist

Noise! is a sound performance festival started in 2005. free103point9 curates for the second year. Each year the "Incubator" program at Ontological Theater hosts a Noise! festival, a three-night multi-arts event designed to promote interest in new forms of sound art. The festival will feature short compositions and performances by established and emerging artists.

Each evening opens with a Radio 4x4 as the audience enters the theater. Radio 4x4 is a free103point9 collaborative radio transmission performance. Four simultaneous audio performances are separately sent through FM transmitters to radios positioned throughout a performance space. Each radio receives only one of the signals, so that the audience becomes an active collaborator in the performance, "mixing" the audio feeds by moving about the space among the four signals. Other artists will perform each evening.

Thursday, May 8
Curated by Tianna Kennedy
Opens with Radio 4x4 with Tianna Kennedy + Mark Anderson + Jordi Wheeler + Tyler Nolan
Lith (Jordi Wheeler)
Diamond Terrifier (featuring Sam Hillmer from the Zs)
Dome Theater (Forrest Gillespie directing "Fucked for Real")

Friday, May 9
Curated by Tom Roe
Opens with Radio 4x4 with Giancarlo Bracchi + Tom Roe + Slink Moss + Michael Garafalo.
Bunnybrains
Michael Garafalo (Latitude/Longitude)
Giancarlo Bracchi
Tom Roe

Saturday, May 10
Curated by Damian Catera
Opens with Radio 4x4 with Damian Catera + () + Tom Roe + John Baird
Skyline
Damian Catera
Andrea Parkins

Watch and listen to video and audio LIVE from Noise! and Experimental Music at Ontological Theater May 8-10, 2008. Refresh browser if image or audio freezes.