The National Journal Magazine released its annual 'Vote Ratings' issue and named Democratic Congressman Scott Murphy (NY-20) one of the most centrist members of Congress. In a press release, Congressman Murphy’s staff touted him "as a strong supporter of the 2nd Amendment and his votes to cut more than $24 billion in spending have stood out as key departures from many of his Democratic colleagues." The Times-Union blog Capitol Confidential breaks down the magazine's ratings this way: "Freshman Scott Murphy lands plumb in the center. His liberal composite score is 49.0; his conservative score is 51.0. By comparison, Rep. Paul Tonko’s liberal score was 83.7 and his conservative score was 16.3. Sens. Gillibrand and Schumer are also more liberal with scores of 84.3 and 83.8, respectively."

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

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

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

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

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

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

Grant Guidelines

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

Postmark Deadline: March 15, 2010
For application and guidelines: http://www.experimentaltvcenter.org
See Grants>Finishing Funds

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


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

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

Special consideration will be given to:

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

Proposal types:

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

A few other things to keep in mind:

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

If your proposal is accepted, you get:

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

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

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

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

Eligibility:

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

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

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

Download the application here

Questions can be directed to Hans Tammen at 212.431.1130 ext. 2 or by email at hanst@harvestworks.org

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

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

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

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

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

More Information: http://www.vlany.org/education/

COLLABORATIONS IN CONSERVING TIME-BASED ART

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

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

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

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

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

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

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

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

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

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

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

The evening talks are free and open to the public.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Directions: www.icp.org

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

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

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

allaccess.com

Seesmic Acquires Ping.fm

mashable

Pandora Partners With Pioneer On Internet Radio For Cars

paidcontent.org

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

Reuters

Hypebot's Only Prediction For 2010

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

audio4cast

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

hypebot

10,000 Sonicbids Members Get $4 Million From SoundExchange

hypebot

Real-Time Search For Online Radio

radio2020

Formula can ID music industry payola

buffalo.edu

Top Ten Wireless Stories of the Decade

dailywireless

Free Wi-Fi at McDonalds

dailywireless

Comcast rolls out Web TV service nationally

reuters

2009 Competitive Media Usage Overview Update

bridgeratings.com

Green Day launch Rock Band video game

bbc

Pandora Is Coming to Your Car

GigaOM

Why Apple Really Bought Lala

hypebot

4 Ways One Big Database Would Help Music Fans, Industry

wired

Vinyl Records and Turntables Are Gaining Sales

nytimes

Qisda-sourced 'multimedia router' hits the FCC

viigo

MySpace buys imeem music site for under $1 mln

AP

FCC considers TV spectrum for broadband use

broadcastengineering.com

G.E. Makes It Official: NBC Will Go to Comcast

(read comcast buys hulu) nytimes

Apple acquires music service Lala

reuters

Vinyl frontier: Why records sales are soaring again

the gaurdian

From Radio Magazine:

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

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

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

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