YouTube video from Moscow, Feb. 1991, of Leon Theremin teaching Paul Lansky how to play "Glinka's Skylark," on a theremin, the same tune he taught Lenin to play. Theremin was 95-years-old in the video. From DVD, "The Early Gurus of Electronic Music."

Martin Vennard for the BBC World Service looks into the 90th anniversary of when inventor Leon Theremin first showed Russian leader Vladimir Lenin his new wireless, hand-free musical instrument. He writes:

"Leon Theremin had come to the Bolshevik leader's attention after inventing a revolutionary electronic musical instrument that was played without being touched. Theremin was nervous before meeting Lenin, but later said the demonstration of his invention, which became known as the Theremin, had gone well. 'Leon Theremin was very impressed by the meeting with Lenin in the Kremlin. He was a young Bolshevik at that time and he was very excited by the changes in the country and he respected Lenin a lot,' says his grand-niece Lydia Kavina. Lenin was so impressed he sent Theremin across Russia to show off his instrument.”

Best known in the United States for sci-fi and horror movie soundtrack sounds in the 1950s and on The Beach Boys' "Good Vibrations" in the 1960s, the theremin still is a revolutionary musical instrument and transmission art tool. The theremin produces electromagnetic field that hand movement affects, adjusting pitch and volume without touching the instrument, but by moving ones hands about the air. [caption id="" align="alignleft" width="220" caption="Leon Theremin, from Wikipedia."][/caption]His 15 minutes of fame in the United States came in early 1929, when he showed off the theremin to much acclaim with sold-out shows at Carnegie Hall. Just as RCA brought the still-expensive instrument into mass production, the stock market crashed, and RCA stopped making theremins, Vennard reports. Clearly, both governments hoped he could invent some fantastic weapon, and Albert Glinsky, author of the Theremin biography "Ether Music and Espionage" says Theremin was spying in the U.S., and others speculate he was kidnapped back to the Soviet Union when his disappeared from New York. In 1939, he was sent to the gulags in Russia. There have been reports that Theremin did later invent wireless easvesdropping devices for the Soviets, and he was allowed one trip to the U.S. in 1991 before he died in Moscow in 1993. Read the full story at the BBC World Service.

John Anderson at DIYMedia.net predicts the Federal Communications Commission won't do much to address the abuse of rules surrounding "translator" radio stations when the announce new LPFM rules March 21. He details the situation with stations that are supposed to relay existing signals to areas without radio coverage. "First there was Clark Parrish, the mastermind who swamped the FCC's license-application system during a 2003 filing window for new translators. He applied for thousands of stations under the guise of two shell corporations - Radio Assist Ministry and Edgewater Broadcasting - with the intent of selling them off to other broadcasters so that he could build his own full-power religious radio empire with the proceeds. The FCC, in response to outcry over such blatant sentimentalizing, froze a goodly portion of his translator applications in 2005. The entire mess remains unresolved today, though the FCC must untangle it before moving forward with an expansion of the LPFM radio service." Read the full story at DIYMedia.net.

Ragnar Daneskjold and his "PiratesWeek" radio show about shortwave pirate radio is returning to the airwaves. Except, it will now be monthly, starting April 1. In June 2011, Daneskjold pulled the longtime chronicle of airwaves off due to, "a bad case off tendinitis." Now his web site says, "Looking at restarting the show on a monthly basis. Look for new shows the first Sunday of each month. Starting April 1st (No Fool’n). I can use all the help I can get. Email me pirate news stories: piratesweek@gmail.com"

Jennifer Waits at Cupertino Patch reports that radio station KFJC 89.7 FM, of Foothill College, was named "Best Community College Radio Station" in the U.S. at the Intercollegiate Broadcasting System (IBS) Student Radio Awards in New York City on March 3. KFJC also won "Best Public Affairs Program," "Best Station/Promotional Event," and "Best Fundraising/Underwriting Campaign," and other awards. See the full story at Cupertino Patch.

Tomorrow, Tuesday, March 13, Chicago's Third Coast Festival, the ambitious annual radio documentary festival, hosts a "Listening Room" event called "The Sounds (and Stories) of Protest" with writer Anne Elizabeth Moore at The Hideout in Chicago. On April 2, they'll host another, this one in Portland, Maine at Space Gallery and co-presented by The Salt Institute for Documentary Studies. Third Coast directors Johanna Zorn and Julie Shapiro present "Lights Out + ShortDocs," with stories about metaphorical and literal darkness and an audio screening in the dark.

Brendan Holland at the Broadcast Law Blog reports that on Wed., March 7, the Federal Communications Commission issued fines totaling $52,000 against four Class A television stations for filing their FCC Form 398 Children’s Television Programming Reports late. "The stations, each of which had missed at least a couple of years’ worth of Children’s Reports, were also fined for failing to timely place the reports in their public inspection files.... The Commission had previously notified the licensees that their stations were missing Form 398 Reports and offered the “opportunity” for the station to avoid the issue by simply voluntarily reverting to a secondary LPTV (low-power) station. While this would have potentially avoided the issue of the missing Children’s Television Reports, it would have left the stations as secondary facilities and without the primary status protection afforded to Class A television stations and full-power TV stations."

[caption id="" align="alignleft" width="162" caption="From NOAA."][/caption]The NOAA Space Weather forecast says the coronal mass ejection (CME) associated with the R3 (strong) Radio Blackout event started 7:24 p.m. EST March 6 and arrived at earth at 5:45 a.m. EST March 8. "So far the orientation of the magnetic field has been opposite of what is needed to cause the strongest storming. As the event progresses, that field will continue to change. Based on overall strength, the predictions for periods reaching the G3 level look justified. Additionally, the Solar Radiation Storm levels remain above the S3 (strong) threshold at this time, with values rising momentarily with shock arrival. Region 1429 remains potent and subsequent activity is certainly possible."

[caption id="" align="alignright" width="220" caption="John Cage, from Wikipedia."][/caption]"John Cage 33 1/3 - Performed by Audience" at the Tampa Museum of Art is one of the many exhibits this year to celebrate what would have been the composer's 100th birthday. The show, which opened January 28 and is open until May 6, looks at one of the last century's major art figures, and certainly among the most influential radio artists ever. "Conceived in 1969 as an 'audience participation' work, John Cage’s original 'score' simply stipulated that the gallery be filled with about a dozen record players and two- to three-hundred vinyl records. Museum visitors were encouraged to act as DJs and create a musical mix by playing records freely and thus performing the work," according to the Tampa Museum description. Guest curator Jade Dellinger said, “when the work was first installed at the University of California in Davis, a local record store graciously volunteered the hundreds of necessary records. However, as Cage never discussed condition or specified titles, the store promptly sent over the most common and undesirable, damaged and utterly unsalable records in their inventory.” At this show, art stars such as Yoko Ono, Christian Marclay, and Kingston, New York's Pauline Oliveros, are joined by pop stars such as Jack White, David Byrne, and Jad Fair choosing the records for the show. See more about "John Cage 33 1/3 - Performed by Audience" at the Tampa Museum of Art website.

Marguerite Reardon at CNet reports that T-Mobile USA and Sprint Nextel want the Federal Communications Commission to suspend its review of Verizon Wireless's $3.6 billion purchase of wireless spectrum from cable operators. In December, Verizon Wireless bought the spectrum from Comcast, Time Warner Cable, Bright House Networks, and Cox Communications, 20MHz of unused AWS wireless spectrum that Verizon wants to supplement its new 4G LTE service. 4G LTE is a faster, more efficient platform for mobile smartphones, and there is hope to solve the overcrowding of 3G as consumers flock to 4G LTE. First though, the competing wireless operators, "want Verizon to disclose more information about the marketing deals it struck with [those] cable operators.... The companies say the FCC should suspend its 180-day review of the deal until that information is made public.... They ask Verizon Wireless to provide unredacted versions of its filings to the agency that detail its commercial agreements with the cable operators," Reardon wrote. Free Press is also organizing an online petition against the deal. Read the full story in CNet.

The National Association for Amateur Radio reports that on Tue., March 6 the Federal Communications Commission reduced the fine against Michael Perry of Cross City, Florida from $10,000 to $450 for illegally operating a CB radio. From the FCC's forfeiture order:

“Agents from the Tampa Office determined that Mr. Perry operated a non-certified CB transmitter and two linear amplifiers on CB channel 28 (on frequency 27.2850 MHz) on March 31, 2011. In view of the record evidence, the NAL proposed a $10,000 forfeiture against Mr Perry for violation of Section 301 of the Act and Sections 95.409 and 95.411 of the Rules. Mr Perry submitted a response to the NAL, denying that he operated the non-certified CB transmitter and amplifiers, and requesting cancellation or reduction of the forfeiture based on his inability to pay.”

The fine seems high, as the FCC's order does not mention a back story of repeated piracy. Perry's plea was successful, and he has until April 5 to pay the $450 fine. The ARRL prints the full order.

The Federal Communications Comission issued an Enforcement Advisory on Tue. March 6, making clear that cell jammers, GPS jammers, and other jamming devices are illegal, and monetary penalties can exceed $100,000 per violation.

The National Association for Amateur Radio reports that effective Mon., March 5, U.S. amateurs get new privileges on the 60 meter band. In addition to an increase in effective radiated power from 50 to 100 W, hams can now transmit CW and PSK31 on the following channel-center frequencies:
• Channel 1: 5332.0 kHz
• Channel 2: 5348.0 kHz
• Channel 3: 5358.5 kHz
• Channel 4: 5373.0 kHz
• Channel 5: 5405.0 kHz
Amateurs can also transmit Upper Sideband voice and PACTOR III on the following suppressed carrier frequencies (the frequencies typically shown on transceiver displays):
• Channel 1: 5330.5 kHz
• Channel 2: 5346.5 kHz
• Channel 3: 5357.0 kHz
• Channel 4: 5371.5 kHz
• Channel 5: 5403.5 kHz
In upstate New York, the Rip Van Winkle Amateur Radio Society is the source for ham radio news, and they are giving ham classes April 21 and April 28, 2012 at the NOECKER66 car showroom in Hudson.

LPFM application window this fall
Paul Riismandel in Radio Survivor reports LPFM and translator stations are on the Federal Communications Commission's March 21 meeting agenda. The agency is expected to open a window for new applications for low-power stations around the country and in the Hudson Valley later this year. The agency is trying to first resolve the translator issue, as those stations have been gobbling up possible LPFM frequencies. The advocacy group Austin Airwaves expects up to 10,000 applications for low-power stations in the U.S., when a five-day window to apply is opened in September or October. Contact Prometheus Radio Project for more information about starting a low-power station in your neighborhood.

Dave Rabbit, famous pirate broadcaster, dies
Dave Rabbit, the GI disc jockey who headed Radio First Termer, a pirate radio station for troops in the Vietnam War, died Mon. Jan. 27. Listen to Dave Rabbit's air checks at http://radiofirsttermerrestoration.com/

Israelis shut down legal Palestinian broadcasts
Democracy Now! reports the Israeli military raided two Palestinian television stations in the occupied West Bank this week. "Employees of Watan TV and another station affiliated with Al-Quds University say Israeli troops seized broadcast equipment and computers in overnight raids. Israel says the stations were interfering with air traffic control frequencies, but Palestinians say Israel is committing blatant censorship," the story said. The Israeli's claim that the legal Palestinian broadcasts are going to crash airplanes. “Civil aviation waves, according to international parameters, start at 120 megahertz, while TV frequencies start at above 500 megahertz,” Suleiman Zuheiri, undersecretary of the Palestinian ministry of telecommunication in Ramallah, explained in a Maan News Agency story. This is often said about pirate radio broadcasters in the United States, and is false. There has never been a case of an airplane crashing because of a radio broadcast.

Massive farms of tiny antennas may bring television signals
Timothy B. Lee in Ars Technica reports that a coalition of major broadcasters are suing Aereo, a startup business that wants to offer New York residents television broadcasts streamed over the Internet. "Rather than capturing content with a single antenna, Aereo plans to have enough tiny physical antennas in its server room that each active user can be assigned his own personal antenna. Aereo claims it is effectively letting each customer use a 'remote TV' whose antenna just happens to be located far away from its screen," Lee writes, and the established broadcasters are challenging that business model. "Ars Technica asked Jimes Grimmelmann, a copyright scholar at New York Law School, to evaluate the case. While Grimmelmann thinks Aereo's convoluted business model wouldn't be necessary in a sane copyright system, he believes that the company has a good chance of winning in court," Lee writes. In 2008 a federal appeals court ruled that Cablevision did not infringe copyright when it created a "remote DVR" system where customers in their homes access Cablevision's DVR servers in a similar manner to Aereo's plan. "The court agreed, and its reasoning depended on the fact that Cablevision stored a separate physical copy of a program for each user who requested it, rather than storing a single copy and streaming that copy to every user," Lee writes.

Current Calls for Submissions



Trans-X Symposium (2012)
May 25 to 27, 2012Call for Papers

New Adventures in Sound Art (NAISA) is pleased to announce the Trans-X Symposium May 25-27, 2012.
We are now inviting proposals for papers (deadline: 15 March 2012).

Rooted in the earliest experiments with radio, Transmission Art has continued to flourish with experiments with wireless communications technology over the past 100 years. The 21st Century is not excluded from this experimentation as artists have ventured into exploring a variety of mobile-based platforms and more lesser known forms of transmission such as VLF to name but a couple of recent examples. The terrain of transmission art is dynamic and fluid, always open to redefinition. With NAISA being a sound art organization, we ask the question, what new sound experiences are possible in the transmission and mobile media platforms? We would like the new artists of today to answer our challenge.

The 2012 symposium takes place at the end of May during the closing weekend of NAISA's Deep Wireless Festival of Radio & Transmission Art. The Trans-X symposium will focus on transmission art, with particular interest in paper contributions that summarize, examine or reframe traditions and histories of transmission art practices, technology, education and pedagogy. Additionally, we are very interested in paper presentations that go beyond the local and contingent to give a sense of what new technologies of international transmission activity might sound like

The symposium will take place in Toronto at New Adventures in Sound Art’s facilities at the Artscape Wychwood Barns from May 25 to 27, 2012. As in preceding years as in the Radio Without Boundaries conference (this symposium's predecessor), the symposium will include workshops, panel discussions and performances during the final weekend of the annual Deep Wireless Festival of Radio & Transmission Art. The 2012 edition of Deep Wireless will explore emerging trends alongside established traditions in radio and transmission art. At the heart of the symposium will be a keynote lecture by Galen Joseph-Hunter (New York, USA), author of Transmission Arts: Artists and Airwaves and Executive Director of free103point9.

All symposium contributions will be webcast live, and text proceedings will be published on-line on the NAISA web-site. Please see below for specific guidelines on paper submissions. We look forward to seeing you, your colleagues, collaborators and students in Toronto in May!

Important Information
Deadline for reception of proposals: Friday March 15, 2012 @ 11:59 PM EST
Notification of acceptance: Monday April 2, 2012
Symposium opening reception: Friday May 25, 2012 @ 18:00
Symposium sessions: Saturday May 26 to Sunday May 27, 2012
Deep Wireless Festival performances: May 25 and 26, 2012 @ 20:00
Symposium registration fees (General): $70 (includes admission to all concerts)
Symposium registration fees (Student): $35 (includes admission to all concerts)
Questions and requests for further information should be directed to: naisa@naisa.ca

Papers are to be presented in 20 minutes, followed by 10 minutes of questions and discussion. Proposals related to any aspect of transmission art practice are welcome. Please specify any and all technical requirements at the time of submission. Submit a 500-1000 word abstract, and a biography of 250 words or less, to the symposium’s Review Committee at:http://naisa.ca/transx-submit-piece.php

Review Committee:
Galen Joseph-Hunter, author of Transmission Arts: Artists and Airwaves
Anna Friz, post-doctoral fellow, School of the Art Institute of Chicago
Gregory Whitehead, radio artist / co-editor of Wireless Imagination
Jonathon Guberman, Site 3 coLaboratory
Geoffrey Shea, OCAD University
Tetsuo Kogawa, Tokyo Keizai University

About NAISA and the Deep Wireless Festival
New Adventures in Sound Art (NAISA) is a non-profit organization that presents performances and installations spanning the entire spectrum of electroacoustic and experimental sound art. Included in its Toronto productions are: Deep Wireless, Sound Travels, Art's Birthday and SOUNDplay. NAISA has been producing the Deep Wireless Festival of Radio & Transmission Art since 2002. NAISA is please to launch the first Trans-X Symposium, a new symposium on Transmission Art that furthers the explorations of its predecessor the Radio Without Boundaries conference (produced by NAISA 2003-2011) and focuses on the changing nature of Broadcast and Transmission in the 21st Century. The 2012 edition of the Trans-X Symposium has been made possible with funds from the Canada Council for the Arts.

The Distribution Grant for New York State Artists, a regrant program for the New York State Council on the Arts, Electronic Media and Film, provides support for the distribution of new works in film, video, sound, new-media, and media-installation. Grant awards assist artists in making recently completed works available to public audiences and may include, but are not limited to distribution and exhibition expenses such as: duplication of preview, screening, and exhibition copies; promotional materials including documentation and schematics of media-installation and new-media works. Successful grantees are awarded the opportunity to work with a project mentor who will offer guidance as grantees execute their distribution and exhibition plans. The following eight projects were selected during a competitive panel review process:

2012 Grantees:
(alphabetical by artist)

David Dixon, David Dixon is dead.

David Dixon is dead. is a documentary of past events and of events that have yet to come. It is fiction, but a fiction built solidly on the real-life public declaration by its maker, David Dixon, which states that after his death, his head should be removed from his body and cleaned to the skull, the skull then included in an art piece. Distribution funds will support the packaging of David Dixon is dead. including supporting materials, and a tour with the live commentary performance.

Meredith Drum, Louisiana Re-storied

Louisiana Re-storied is an interactive, documentary installation focused on environmental justice issues in small communities along the stretch of Mississippi River between Baton Rouge and New Orleans – communities uncomfortably sandwiched between large petrochemical plants and oil refineries. The piece demonstrates how, in recent years, community groups have collaborated with scientist activists and won seminal legal battles and out-of-court settlements, initiatives to protect their health from toxic emissions; and it prompts consideration on the role and potential impact of social documentary by placing these current stories in dialogue with, and in contrast to, Robert Flaherty’s 1948 Louisiana Story. Distribution funds will support re-staging the installation in order to reach additional public audiences.

ecoarttech (Cary Peppermint and Leila Nadir), Indeterminate Hikes

Indeterminate Hikes (IH) is an Android app that transforms everyday landscapes into sites of bio-cultural diversity and wild happenings. Generally devices of rapid communication and consumerism, smartphones are re-appropriated by IH as tools of environmental imagination and meditative wonder, renewing awareness of intertwining biological, cultural, and media ecologies and slowing us down at the same time. Distribution funds will support expanded platforms for IH (iPhone, etc.) as well as the production of promotional materials.

Sabisha Friedberg, The Starry Garter: A Certain Point Within a Sphere

The Starry Garter: A Certain Point Within a Sphere is a sonic poem for radio that combines elements of sound art, radio theater, film, and music to examine themes of transmutation and redemption. The work is based upon a text written in the 19th Century by an anonymous author and chronicles the journey of a fallen initiate of a unnamed secret society. Starry Garter updates traditional radio theater by emphasizing an experimental sound score of atomized dialogue, electro-acoustic composition, and interludes of abstracted cello, piano, and chorus in a multi-channel spatialized format combined with minimalist cinematographic scenography. The Starry Garter is conceived for both live audience and radio broadcast. Funding will support the distribution of the work via radio broadcast, the web, and an adjunct live recording with cast and instrumentation.

Michael Galinsky, Battle for Brooklyn

The documentary film, Battle for Brooklyn, follows the story of reluctant activist Daniel Goldstein as he struggles to save his home and community from being demolished to make way for an arena and real estate development. Over the course of seven years, Daniel spearheads the movement against the development plan as he and the community fight tenaciously in the courts, the streets, and the media to stop the abuse of eminent domain and reveal the corruption at the heart of the plan. Distribution funds will support a series of community, school, and college screenings as well as for public relations efforts on behalf of the film.

Jacqueline Goss, The Observers

In Goss’s film, The Observers, the land and sky of Mt. Washington, New Hampshire form a varying frame for two climatologists as they go about the solitary and steadfast work of measuring and recording the weather. Based in part on the Nathaniel Hawthorne story "The Great Carbuncle," the film features the extreme and surprising beauty of the windiest mountain in the world. Distribution funds will support the production of a home-use release of the film on DVD.

David Horvitz, Public Access

Public Access, originally exhibited at SF Camerawork in San Francisco, California, was a project in which Horvitz drove up the entire California coast and made photographs for the Wikipedia pages of various California beaches. In each photograph, Horvitz's body was subtly (and sometimes obviously) placed in the landscape. As the photographs went online, many Wikipedia editors caught on, and began to debate the legitimacy of the images' usage on the articles. The exhibition documented the project in all aspects: the trip, the photographs, and the commotion caused by the photographs as they entered the web 2.0 sphere. Funds will support the distribution of this new media project vis-à-vis a physical printing of the Public Access images and documentation of the project’s narrative.

Marina Rosenfeld, roygbiv&b

Created for the Museum of Modern Art in New York as part of a series exploring the legacy of Fluxus, roygbiv&b is a musical performance, within a mutli-channel sound installation, exploring the intersection of forms implied by the iconic idea of the rainbow. The work aimed to produce a spectral field vertically within the museum's large central atrium space, locating bass players and subwoofers on the ground level and strata of choirs, loudspeakers and instruments rising to the top balcony, and to graphically evoke the iconic curve of the rainbow within this field by virtually spraying arcs of song fragments and other sound over the site's nominally "blank" fourth wall, which is cantilevered out over the atrium's central cavity. Distribution support will be used to capture the three-dimensionality of the sound field the work created in ambisonic and binaural versions for gallery display and archival purposes, as well as to create a web-based documentation of the project.

 

2012 Review Panelists:

Brian Dewan, Artist (Catskill, NY)
Justin Luke, Founder, Audio Visual Arts (AVA) (New York, NY)
Nellie Killian, Co-Director, Migrating Forms (New York, NY)

The 2012 Distribution Grant for New York State Artists is a regrant program made possible with public funds from the Electronic Media and Film Program of the New York State Council on the Arts, a state agency.

More Information Contact:
Galen Joseph-Hunter
Executive Director
free103point9
gjh@free103point9.org

Broadcast Art, Sound & Independent Culture - Call for Participation

http://basic.fm/radio/

Call for Submissions -
http://www.thepixelpalace.org/opportunities/basicfm-call-for-submissions
-

About basic.fm
---------------
basic.fm is a new radio station that forms part of Pixel Palace, an
exciting programme of digital arts and new media at Tyneside Cinema. It
hosts Broadcast Art, Sound & Independent Culture, aspiring to be a space
that can be inhabited by artists, curators, thinkers and interesting
people with something to share and will be gradually be populated with
work, projects, shows and archived events.

Since launching in November 2011, basic.fm has commissioned an exciting
number of leading artists, including Mark Vernon, The Noize Choir, Ed
Carter, Sarah Boothroyd and People Like Us.

-Call for Participation
Pixel Palace are seeking new or existing works to host on basic.fm.
Selected works will form part of a series of curated programmes (one-off
and regular shows) that will appear on basic.fm from April 2012. Work
can include sound art, spoken word, field recordings and artist
interviews within the context of Broadcast Art, Sound & Independent
Culture.

This is an unpaid opportunity but all selected contributions will be
fully credited and linked appropriately to relevant websites and/ or
sources. This call is open to all artists, musicians, field recordists
and sonic artists regardless of nationality, age, or career stage.

-Submissions must include:
*    Title and description of new or existing work(s) for basic.fm
(100 words maximum)
*    Examples of past work (please provide links to work as large
email large media files cannot be accepted)
*    CV and contact information

-About Pixel Palace
Pixel Palace is the exciting programme of digital arts and new media at
Tyneside Cinema. This programme takes the form of arts residencies,
commissions, live events and exhibitions.  We experiment with new ways
of sharing creative work, ideas and stories as we move towards the
future of cinema.

-How to apply
Please email submissions to Dominic Smith, Digital Arts Manager at the
Tyneside Cinema: info@thepixelpalace.org with the subject heading:
basic.fm
The deadline for submissions is Monday 20 February 2012 at 5pm.
Artists will be notified via email regarding the outcome of their
submitted work(s).

Joining the worldwide celebration of the centennial of John Cage, Norte Maar will collaborate with E.A.T. to present Cage Transmitted: Celebrating + Playing John Cage. The twelve evenings of performances of music, poetry, theater, visual art, and dance, occurring once each month, will span the calendar year of 2012.  Most of the performances will take place in the front room of Norte Maar’s apartment gallery, and will be broadcast onto the street and live streamed on the web.

Cage Transmitted: Evening 1

JANUARY 24, 7pm

Note: This event can be experienced street side.

Watch the live stream beginning at 6:45 pm EST at livestream.com/nortemaar

Launching the first of twelve transmitted projects will be a broadcast of John Cage delivering a lecture to students at Harpur College, Binghamton, NY on January 24, 1967. This event marks the first time the lecture has been heard since it was delivered exactly 45 years ago. A select group of choreographers and dancers will perform in the space as Cage speaks and will include dancers Andrew Nemr, TAKE Dance , Lynn Parkerson Artistic Director of Brooklyn Ballet, Rachel Cohen of Racoco, Benn Rasmussen + Megan Madorin + Edward Rice of Ardent August, Morgan McEwen of Gleich Dances , among others. Special thanks to DiJiFi for their assistant in digitizing Cage's lecture.

TRANSCEIVER

An Exhibition of Works That Are Transmitted, Not Transported

Part One: Bemis Center for Contemporary Art   |   January 13 - February 11, 2012
Opening Reception: Friday, January 13 - 6:00-9:00pm

Part Two: Drift Station   |   February 3-27, 2012
Opening Reception: Friday, February 3 - 7:00-10:00pm

PARTICIPATING ARTISTS INCLUDE
Possible Press (Trevor and Rachel Reese), Sophia Brueckner, Alex Myers, Damien Catera, Collection Enlargement, Gregory Chatonsky, Constant Dullaart, Eilis McDonald, Evan Roth, Dave Beattie, Matt Kenyon, Marius Watz, Maximillian Goldfarb, Michelle Nagai, and Aram Barthol

TRANSCEIVER is an exhibition of works are sent entirely by non-traditional means. Artists from across the US and abroad have been asked to send work via chat, Skype, email, FTP, streaming audio, radio, Twitter, telegram, and Bluetooth. These works, many of which integrate their means of transmission into their structure and content, suggest a non-geographically-centered model. Instead, they suggest the potential for curators and institutions operating within modest budgets and regional locations to mount expansive international shows that challenge traditional structures of what an exhibition and gallery can be.

Transceiver marks the first installment in an open series of exhibitions in the Bemis Underground that highlight regional artist-run spaces and curatorial projects. Sitting at the forefront of creative placemaking, artist-run spaces and initiatives have played a large hand in re-purposing countless spaces and neighborhoods around the world.

Transceiver will continue at Drift Station, featuring a low-power FM radio station that will operate through the month of February, as well as live projections from webcams around the world.

For more information on the first part of the exhibition, please visit the Bemis Center for Contemporary Art's website.

Recordings wanted for the third edition of the Power/field
compilation.  This series is dedicated to recordings made "in the
field" with processing on-site - ie pedals, laptops, or strange
acoustic phenomena in the intersection of power and environment. No
post-processing besides basic trim edits and gain

Traditional field recording captures ambient sound in various
locations via microphone without any effects. Power/field recordings
are field recordings made with effects processing units used on-site.
The intent is to take experimental music practices outside of their
traditional operating venues (composing studios and performance
venues) and into the “field” (anywhere you don’t normally
compose/record/perform music).

Aesthetically speaking, anything goes - drone, microsound, synth,
ambient, harsh noise. The recordings can come from a wide variety of
musical practices, and can be made with electronic, electrical,
mechanical, and acoustic means.  Harnessing the existing sound in a
space is preferred over generating sound within a space - but the
latter can work when the results align within the perspective of the
series. It is suggested for all to listen to the first edition (link
below) for examples of successful submissions.

Typical scenarios for successful works: microphone feeding into a
pedal; contact mic fed into a laptop; sounds played in an environment
and recorded via mics; lathe records, cassettes, and circuit boards
left outside all winter long, then recorded in their deteriorated
condition outside, a microphone rubbed against subway walls, a
microphone set inside the whirlwind funneling into an air conditioner.

Typical unsuccessful scenarios: recorded freak folk / alt rock /
post-war classical jams in someone's living room or an underground
chamber. Please listen to the tracks from the first edition to get a
sense of the aesthetic intent behind the project.

There is an honor system on the basic rules: the recording must be
made outside of the studio or the stage; no overdubs except on-site;
no re-processing; no edits besides cutting off the beginning or end.
The submission can be an excerpt of a longer take, and basic
normalizing of the levels is fine. Track length 3-15 min preferred,
multiple short tracks are fine to submit. Previously released tracks
will not be considered, and tracks created specifically for this
project are preferred.

The final project will be released March 2012 in an edition of 200.
The first 2 editions each had 2x CDrs, as there were a ton of great
submissions. Traditionally the discs are housed in screen-printed
cardboard sleeves.  A digital edition will be created in addition to
the physical one.

The entire contents of the previous editions can be found here:

vol 1:
http://anarchymoon.com/sounds/powerfield
(p.s. the first track of Disc 1 is titled "\\\" but the slashes don't
come out right in an online directory)

vol 2:
http://anarchymoon.com/sounds/powerfield2

Please submit everything online by Jan 1 2012.  To prevent wasted
CDrs, please upload your recordings (mp3s in the first round) to your
own website, to a file sharing service such as yousendit, or
soundcloud.  I can also provide an FTP address if you aren’t able to
upload it yourself.  Once the final choices are made, I’ll need full
resolution files (WAV / AIFF) uploaded by Jan 31 2012.

Send track(s), title(s), site location(s), equipment list(s), pictures
of your setup environment, and any other info about yourself to:
bob_AT_halfnormal_DOT_com (please put "power/field submission" in the
subject)

More info:
http://halfnormal.com/powerfield.html

--
halfnormal.com

DEADLINE FOR PRODUCER PROPOSALS AND STATION RUNWAY SUBMISSIONS:
THURSDAY, NOVEMBER 10, 2011

It’s heating up. More stations are coming onto the Localore Station Runway this week and next…WLRN/Miami and WRVO/upstate New York are the latest to date.  Producers, get busy watching them all and reaching out as you finesse your proposals to be one of the 10 selected to lead our station-based initiatives—designed to expand local innovation capacity. See which local outlet is right for you. We provide a contact link for you to be in touch with them on the station profile page.

Stations, keep your options open! Open the door to talent and see what comes in. You can name up to three potential producers. The sooner you get your media up, the more eyeballs you'll attract.

Guidelines are here (pdf). Take time to read them if you haven’t yet.

November 10: Deadline for proposals. If you'd like to be one of our lead Localore producers, that's when you must submit proposals for project ideas at Localore.net. By that same deadline, stations hoping to serve as Localore incubators must get media uploaded to our Station Runway.

December 2: Finalists notified. Up to 30 lead producers and incubator stations will be invited to submit a second-round proposal. Final teams will be announced by late January, and projects will begin launching in March.

Want to learn more?

• Read our FAQ:
http://airmediaworks.org/sites/default/files/imce/pdf/LocaloreFAQ.pdf

• Study the Guidelines:
http://airmediaworks.org/sites/default/files/imce/pdf/Localore-guidelines.pdf

• Watch the project's 6-minute launch video:
http://vimeo.com/29561666

• Check out the article on the whys and whats of Localore in Current:
http://www.current.org/indies/indies1118localore-schardt.html

Interested in helping us spread the word? Learn more here.

Questions? Contact Executive Editor Noland Walker at noland@airmedia.org.

Produced by the Association of Independents in Radio with support from CPB, the MacArthur Foundation, the Wyncote Foundation, and the NEA, Localore will charge producers with inventing new, multiplatform models for fresh, locally-sourced, high quality journalism. Selected producers will lead a 9-12 month station-based project designed to expand the station's innovation capacity.

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www.airmediaworks.org

Funding for AIR comes from our members and the generous support of the Corporation for Public Broadcasting (CPB), the John D. and Catherine T. MacArthur Foundation, the New York State Council on the Arts (NYSCA), the Wyncote Foundation, Recovery.gov, and the National Endowment for the Arts (NEA), which believes that a great nation deserves great art.
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P.O. Box 220400
Boston, MA 02122
Phone: 617-825-4400
www.airmedia.org

Association of Independents in Radio
PO Box 220400
Boston, Massachusetts 02122

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