Several reports from radio engineers posting to the New York Radio Message Board say that "pirate" radio activity in New York City is busier than ever. In Brooklyn, for instance, there are reports of FM stations on 91.9, 94.3, 95.1, 95.9, 96.5, 96.7, 97.5, 99.1, 99.3, 99.7, 99.9, 100.7, 101.5, 102.3, 103.1, 103.9, 104.7, 105.5, 106.1, 106.3, 107.1, and 107.9.

WHUT, the hip hop station on 91.9-FM evenings between 10 p.m. and midnight, is as strong as ever. A Hasidic pirate is allegedly using the 91.9 frequency (heard as far away as Westchester County) much of the rest of the week, and also airing on 1710-AM. Reportedly a station called "Red Hot Radio" is on 102.3, and it and another station on 95.1 are microcasting from E. 35th St. and Avenue H in Brooklyn.

Across the Hudson River from NYC, in Newark, New Jersey, there are reportedly pirates on 96.5 and 99.9.
--Tom Roe

DEAI/setkání Association hereby opens a call for submissions for proposals of individual or collective artistic exhibition projects for Gallery Školská 28 during the year 2008–9 and a call for submissions for project proposals for artist's residencies at Open Studios Prague Dolní Počernice, an international residency program for artists and theoreticians for the year 2008–09. Deadline for submissions is October 1, 2007.

The kind of proposals sought for exhibitions and residencies is fairly open in terms of theme, medium, and the activities involved in proposed projects. However, the proposal must take into account the technical and functional limitations of the space, as well make sense within the space's historical exhibition record and sensibilities. This call is open to both Czech and foreign artists. For projects where long-term preparation and studio space are required, it is possible to combine a Gallery Školská 28 exhibition with an Open Studios artist's residency.

Projects will be evaluated by a five-member panel that will include: Prof. Pavel Baňka; Prof. Miloš Šejn, PhD.; the artist Krištof Kintera; Školská curator Dana Recmanová; and one other member yet to be determined. Selected projects will be furnished with physical space and technical and administrative support, according to the needs of the project and its creator(s). Selected projects will be entered into the Program Plan for 2008-09, whose realization is contingent on the financial resources of the year-long program. The panel's selections will be announced on the web page www.skolska28.cz on November 30, 2007.

Submissions must include a brief description of the proposed project, information on the artist's previous work, including images or any other relevant documentation. In the case of artist's residencies, the artist's preferred time period and length of time for the residency should be included. Submissions may be personally delivered Wed.–Fri. from 1 to 5 p.m. to Communication space Školská 28; or by post to this address: O.S. DEAI/setkání (KP Školská 28), Dlouhá 33, 110 00 Praha 1, Czech Republic. Please clearly mark your parcel with the designation "2008." We do not accept proposals by e-mail. Your portfolio will be returned to you following the selection of projects, not later than the end of November. Please direct any questions concerning this call or the programs mentioned in it to Dana Recmanová by e-mail or personally by appointment. skolska28@skolska28.cz, tel. (+420) 731 150 179.

From Boing Boing:

California's senate passed a bill last week that bans the forced RFID tagging of humans (think: prisoners, employees, pedos out on the street who've done their time). The state senator who sponsored the bill described that scenario as the "the ultimate invasion of privacy." The bill is on its way to Governor Schwarzenegger's desk now; if it is signed into law, California would become the third state with such a ban on the books (along with Wisconsin and North Dakota).

Snip from Ars Technica post on this story:
"Senate Bill 362 'would prohibit a person from requiring, coercing, or compelling any other individual to undergo the subcutaneous implanting of an identification device,' and a similar version has already passed the state Assembly. Joseph Simitian, who came up with the idea, laments the fact that the RFID industry does not appear to find his idea a good one.

'I think it's unfortunate and regrettable that the industry hasn't come out in support of SB 362,' he said in a statement after the bill passed the Senate. 'I understand why we're having a robust debate about the privacy concerns related to RFID, but at the very least, we should be able to agree that the forced implanting of under-the-skin technology into human beings is just plain wrong. I'm deeply concerned that this isn't a given for the industry.'

You need space in lower Manhattan. LMCC has it. Swing Space is the missing link between temporarily vacant real estate and the artists who need that space to develop, create and present their work. Find out how we can hook you up with so you can make art happen. The application deadline is September 28, 5 p.m. Information sessions September 6 at 7:30 p.m. and September 12 at 4 p.m. RSVP required.

Bldgblog is looking for field recordings by phone. So if you're anywhere that seems sonically interesting over the next few weeks – a waterfall, a migratory bird preserve, a shuddering freight elevator, the Cornish coast, a screeching Red Line train, the International Space Station, a secret meeting between Bush and Ahmadinejad – feel free to give us a ring: +1 (206) 337-1474. You'll be connected to a voicemail account where you can simply hold your phone up high – and proud – and record whatever it is that you're listening to. Meanwhile, feel free either to leave a brief explanation of what it is we're hearing, or even call back and explain what sounds you've left for us to sort through. And then the best of the best will be played live on the radio in New York City – and podcast round the world – via DJ /rupture's weekly radio show on the incomparable WFMU, 91.1-FM.

The basic idea, if you're curious, is to open up the artistic possibilities of field recordings to anyone with a telephone – whether that's a mobile phone, a public phone, or even a phone attached to the wall in your kitchen. The results should prove that you can acoustically experience a landscape through the telephone. Tele-scapes. As it is, mobile phones in particular present us with an untapped microphonic resource; these roving recorders encounter different environmental soundscapes everyday – the insides of lobbies and elevators, cars stuck in traffic, windy beaches – yet we're so busy using them for conversation that we overlook (overhear?) their true sonic possibilities. The telephonic future of environmental sound art is thus all but limitless – and putting some of that on the radio is just fun.

This program is predominantly for groups with budgets of between 5K and 25K. Applications are rolling. The selection cycle for Fall of 2008 ends on October 1, 2007. The selection cycle for Winter/Spring 2009 ends on January 1 2008. 3-4 artists will be chosen per season. The 3/4 artists are selected one year in advance of their season and spend the year as a cohort meeting regularly to discuss both their artistic and business challenges and successes. Residents are required at some point in their residency to open their studio to the public.

Each resident group that comes in to 3LD is expected to pitch in financially to the continuance of the facility. All artists pay a licensing fee extrapolated from a sliding scale dependent on a two-year financial history. This is a collective approach to ensuring that space and equipment can continue to be available to artists who need it. Studio C artists will be given residencies between 4 and 6 weeks @ $700 per week. 3LD will not fundraise for resident artists, however 3LD will work with them to devise a schedule and strategy based on each groups particular history and goals that if followed should result in organizational and financial growth. Any income earned by the artists while they are in their studio, the artists keep. Each group will manage their own box office through our account at TheaterMania, and will retain all earnings from any public showings. At the time of signing the license artists must pay 2 weeks worth of the fee. The day of load-in artists must provide a security deposit in the amount of one weeks fee. Please send any inquires and applications to:
Ms. Morgan von Prelle Pecelli
Artistic and Development Director, Emerging Artists
3-Legged Dog Art and Media Center
http://www.3ldnyc.org
80 Greenwich Street, NYC
t. 212.645.0374
m. 917.723.9642

The Media Access Project (MAP) and the Public Interest Spectrum Coalition (PISC) filed ex parte comments with the Federal Communications Commission on Aug. 28, raising concerns about M2Z's application to provide free wireless service on a national basis. "Though MAP and PISC believe M2Z's application could provide significant benefits to the American people, the proposed license conditions do not adequately ensure that M2Z would operate under open device rules or network neutrality rules of sufficient stringency to confer the full benefits of innovation and free expression to the public," according to MAP. Read comments here.

Eyebeam is now accepting applications for Winter 2008 residencies. In addition to our preexistent residency program, this season we're very pleased to announce an additional opportunity for artist support: the inaugural Commission for Resident Artists, underwritten by Dewar's. Details about the commission, which will offer an additional subsidy to two residents a season, are detailed in a separate section below. The application deadline for the Winter 2008 residency season (which runs from January – June) is September 17, 2007. All applicants will be informed of their status by November 2007.

Eyebeam residencies support the creative research, production and presentation of initiatives that query art, technology and culture. The residency is a period of concentration and immersion in artistic investigation, daring research or experimental production of visionary expression, applications and projects. Past initiatives have ranged from moving image, sound and physical computing works to technical prototypes, installations and public interventions. The ideal resident will both contribute to and benefit from the collective environment at Eyebeam, and will embrace the spirit of openness shared across the organization: open source, open content and open distribution. Residents are encouraged to participate in public events including workshops, demonstrations of research in progress, panel discussions, and on-line releases, in addition to regularly scheduled open studio events. Therefore, we do ask that artists include in their proposal examples of how they might like to contribute to Eyebeam's public programming. The program term is from January to June with the potential for extension and/or re-application. Residents will be selected from an open call, based on the quality of the work or research being proposed, the availability of the necessary tools and skills to support the work, and in consideration of the overarching research themes and activities of the organization.

Eyebeam's research themes bring together creative practitioners and expert external participants to develop new research leading to possible public outcomes including seminars, public discussion and exhibition. Research themes for 2008 include (though will not be limited to):
Energy, Technology and Sustainability
Urban research, urban interventions and media in public space
Artists and creative technologists interested in these research areas are particularly encouraged to apply for residencies.

Residencies include:
$5,000 honorarium
24/7 access to Eyebeam's Chelsea facility in New York City, including equipment and technical expertise from Eyebeam staff and Fellows. The potential for collaborative exchange with other residents and Eyebeam fellows, as well as support from interns Residents are encouraged to work onsite at Eyebeam for as much of their residency as possible, in order to both contribute to and gain from the collective, collaborative context of the labs. International applicants are welcome to apply, though Eyebeam will not cover additional travel or accommodation expenses. We are, however, happy to work with selected applicants, to help them to secure funds to cover these expenses. International residents are responsible for securing their own visas for the residency period. International applicants are encouraged to apply now for Summer 2008 residencies. Up to three residencies will be offered in Winter 2008.
http://eyebeam.org/production/production.php?page=aircall

Transom features this conversation from November 2006 at the Vera List Center for Art and Politics at New School for Social Research, between activists and artists about radio as a community tool in emerging countries. Panelists included Pete Tridish, founder, Prometheus Radio Project; William H. Siemering, President, Developing Radio Partners; Khin Phyu Htway, student, The New School and contributor to Voice of America, Burmese Service; Gregory Whitehead, writer and artist. There is also an mp3 of an opening Whitehead performance.

Transom describes the conversation this way:

Using radio to create community, creating community radio. Why expect radio to do this? It's malleable, anonymous, inexpensive to build, easy to transmit and receive, relatively speaking, even when the simple act of owning the box is punishable by an indefinite jail term. Radio is always possible. It is the link between local community and the global community. Radio creates a dimension in which various communities can meet, exchange, discuss and develop ideas, transforming the way we define notions of geography and public space. What political, cultural and humanitarian goals can be served by this medium exclusively? How does radio function as a tool for shared information? We started with a presentation from Gregory Whitehead called, "Here Comes Everybody" and then moved to a panel discussion. The panel, and audience of fifty, focused on different ways of using radio as a kind of glue for creating community both here and abroad.

From Broadcast Law Blog:

Yesterday, SoundExchange sent to many small webcasters an agreement that would allow many to continue to operate under the terms of the Small Webcaster Settlement Act as crafted back in 2002, with modifications that would limit the size of the audience that would be covered by the percentage of revenue royalties that a small webcaster would pay. A press release from SoundExchange about the offer can be found on their website by clicking on the "News" tab. This is a unilateral offer by SoundExchange, and does not reflect an agreement with the Small Commercial Webcasters (the “SCWs”) who participated in the Copyright Royalty Board proceeding to set the rates for 2006-2010 and who are currently appealing the CRB decision to the US Court of Appeals (see our notes on the appeal, here). The SoundExchange offer, while it may suffice for some small operators who do not expect their businesses to grow beyond the limits set out in the SWSA (and who only play music from SoundExchange artists - see the limitations described below), still does not address many of the major issues that the SCWs raised when SoundExchange first made a similar proposal in May, and should not be viewed by Congress or the public as a resolution of the controversy over the webcasting royalties set out by the CRB decision.

The proposal of SoundExchange simply turns their offer made in May, into a formal proposal. It does not address the criticisms leveled against the offer when first made in May, that the monetary limits on a small webcaster do not permit small webcasters to grow their businesses – artificially condemning them to be forever small, at best minimally profitable operations, in essence little more than hobbies. The provisions of the Small Webcasters Settlement Act were appropriate in 2002 when they were adopted to cover streaming for the period from 1998 through 2005, as the small webcasters were just beginning to grow their businesses in a period when streaming technologies were still new to the public and when these companies were still exploring ways to make money from their operations. Now that the public has begun to use streaming technologies on a regular basis, these companies are looking to grow their businesses into real businesses that can be competitive in the vastly expanding media marketplace. The rates and terms proposed by SoundExchange simply do not permit that to occur.

To receive investment necessary to grow, the SCWs cannot be limited to $1.25 million in revenue. No investor will invest in a business which, when it reaches an artificial revenue threshold, essentially is forced to go bankrupt – as all projections show that the CRB royalties would exceed total revenue of a SCW even if it makes more than $1.25 million in revenue.

The new restriction added in this offer by SoundExchange, one that requires a small webcaster to pay at the CRB rate for all listening that exceeds 5,000,000 aggregate monthly tuning hours, would already have some SCWs paying substantial sums in addition to the percentage of revenue royalty. And, at the growth rates projected for some SCWs, the amount necessary to pay such overages could exceed the $1.25 million revenue threshold – exceeding the amount of revenue that a small webcaster is allowed to earn under the SWSA provisions.

Even more importantly, it must be noted that the offer by SoundExchange does not allow a webcaster to play all music for their 10-12% of revenue as did the Small Webcaster Settlement Act – it only allows them to play music of SoundExchange members. For all music from artists who are not SoundExchange members, the full CRB-determined royalty would have to be paid. Thus, a webcaster will have to assess its music choices, and play only the songs released by SoundExchange members (principally the major labels and some independent labels) rather than the diversity of music from small labels and independent artists, the kinds of music that the statutory royalty was supposed to make easier to play through the “one-stop shop” that a statutory license provides to an Internet radio service.

SoundExchange has informally indicated that it will continue discussions as to the concerns of the SCWs. The only way to resolve these issues is through meaningful negotiations, or through legislation like that proposed in the Internet Radio Equality Act. Unilateral proposals simply don’t address all the issues that have caused so much outrage over the CRB decision. In order for these independent companies to build profitable businesses that will promote music and be able to pay reasonable royalties, something more than what SoundExchange has offered must be available.

The goal of this work is to explore how we can use technology to augment our understanding of bird populations in order to allow these populations to speak to us about their habitat. In particular, in this collaboration between the MIT Media Laboratory and Maine Audubon , we use cellular technology to augment the process by which a group of volunteers collects information for an owl census in Maine.
The methodology was developed in a pilot census of Connecticut's owlpopulation, conducted in the summer of 2006. In this study, we demonstrated that the audio quality of cell phones was sufficient for the discovery and interaction with owls. In this project, the cell phone is used to make the owl call and to record the response. The success of the pilot suggests that this small, portable technology can replace the conventional high-quality audio survey broadcasting and recording equipment.

In our work in Maine we will deploy more cell nodes for calling owls and recording their response. We anticipate that each deployed node will result in several hours of recording per night per phone.

With this project, we hope to gain insight into the social networking processes of collaborative interpretation and annotation of a shared database; knowledge representation for the bird-census domain; and the design issues involved in creating and maintaining a website for community scientific collaboration.

The cellular survey may also provide data which suggest insights into questions about the hearing range of owls, duplication of vocalizing individual responses in adjacent experiment sites, the response rate of owls due to current weather or human presence, and comparison between trigger-based and naturally occurring responses in surveys. In addition, specific signal processing and communication technologies will be field-tested.

From WFUV:

A generous grant from the New York State Music Fund kicks off our next project: An indie music channel for younger fans.

We're very excited to announce that WFUV has been awarded a $500,000 grant from The New York State Music Fund to support the development of a second full-time music radio service. Building on WFUV's award-winning programming, the station will feature established and emerging indie rock, electronica, world, dance and other new sounds, presented in a style that will appeal to music fans in their 20s and 30s. This non-commercial service will be available via Internet and mobile streaming audio and, in the New York area, as an HD Radio channel at 90.7 FM. Scheduled to debut in Fall 2008, it will complement WFUV's existing service, which will continue in its present format. You'll still be able to hear all the programs you enjoy at WFUV.

"This is an excellent opportunity for us to broaden our service and widen our musical offerings as we celebrate our 60th anniversary," said Ralph Jennings, WFUV's General Manager. "We're deeply grateful to The New York State Music Fund for its leadership support of this $1.2 million project and for its investment in the future of New York's independent artists and audiences," Jennings added.

The award was one the largest made by the Fund - which has given nearly 400 grants totaling more than $35 million - and is on par with those made to other leading New York performing arts institutions.

"We're most excited about showcasing what New York has to offer. Our city boasts one of the greatest, and most multicultural, local music scenes in the world," added WFUV Program Director Chuck Singleton, who, along with WFUV Music Director Rita Houston, will oversee the project. "Acts like Antibalas, Forro In The Dark and The Hold Steady have no problem selling out venues all over town, yet they presently don't have a home on the radio in New York City. A second stream enables us to play deserving local acts in the same set as Bjork, M.I.A. or Arcade Fire and, at the same time, better serve New York's musically-adventurous listening audiences by introducing them to something different."

WFUV plans to develop the new service over 2007-2008, working with artists, labels, music writers, web sites, bloggers and venues across the city. The station will also tap an emerging generation of radio talent for its new air staff, young New Yorkers with a passion for hearing, sharing and discussing music. In part, the music selection will be listener-driven.

The Lower Manhattan Cultural Council has two grants available.

The Fund for Creative Communities provides grants of up to $5,000 to nonprofit organizations presenting high quality arts projects in Manhattan communities.
For more information: http://www.lmcc.net/grants/boroughwide/fundcreativecomm/index.html .

Manhattan Community Arts Fund, for individual artists and small nonprofit organizations, provides grants of up to $2,000 for your arts project.
For more information: http://www.lmcc.net/grants/boroughwide/manncommartfund/index.html .

Application deadline: September 18, 2007.

Building Bridges: Improvisation as a Unifying Agent in Education, Arts, and Society

Featured Artists and Presenters: Jane Ira Bloom, Mark Dresser, Mazen Kerbaj, Oliver Lake, Bennett Reimer, Michael Zerang, Association for the Advancement of Creative Music.

Creating connections is one of the most prominent themes in today's world. Whether forging treaties between hostile nations, creating ties between diverse cultures in today's global society, melding ideas and artistic influences, or negotiating the intricacies of human relationship; the capacity to integrate disparate perspectives and constituencies into a coherent whole—to build bridges—is central to meaning and progress in most every area of life.

Recognizing improvisation as a powerful tool for achieving this integration, the International Society for Improvised Music invites proposals for performances, workshops, and papers based on this theme for its second international conference.

The theme may be construed broadly: Improvisation may be considered as a powerful way in which to engage with music as an individual or with others; as a pedagogical tool that bridges diverse areas of musical training such as performance, theory, and composition; a vehicle for creativity across fields as diverse as business, science, and sport; a means for integrating one's own creative awareness through peak or transcendent states; a lens for interdisciplinary investigation into areas such as complex systems, cognition, consciousness, and sociology; or a catalyst for dissolving ethnic, gender, and other boundaries. These are just a few examples of
possible angles; proposals that pursue other approaches are welcome. ISIM encourages proposals from as diverse a cross-section of performers, pedagogues, and scholars as possible.

Deadline for proposals: Sept 1, 2007. Notification date: Sept 20, 2007

Proposal Form is available on the ISIM website www.isimprov.org.

For more information please contact: Sarah Weaver, ISIM Conference Director, sarah@isimprov.org 734-277-2690.

Sent: 2007-08-14 10:45:30 (PST)
To: weekly@free103point9.org
Subject: Radio Lab and Radio 4x4 Sunday at Guggenheim Museum, 2-5 p.m.

free103point9: transmission arts
http://www.free103point9.org

Tune in or turn out this week:

TUESDAY: DJ Rhizome guest turntablist, 7-9 p.m. on "Triangulation"
with Radio Ruido

SUNDAY: Radio Lab with Tom Roe and Radio 4x4 with
Tianna Kennedy, Todd Merrell, Michelle Nagai, ben owen
at Guggenheim Museum, 2-5 p.m.

TUESDAY: The World Wide Tuning Meditation with
Pauline Oliveros from Lincoln Center, 7 p.m.


((((( Radio Lab and Radio 4x4 )))))

Radio Lab and Radio 4x4 for Untitled 2002 (he promised)
August 19, 2007 : 2pm - 5pm

with Tianna Kennedy, Todd Merrell, Michelle Nagai, ben owen, Tom Roe

at Solomon R. Guggenheim Museum, 1071 5th Ave., Manhattan.

free103point9 is pleased to present an afternoon of programming for Rirkrit Tiravanija's "Untitled 2002 (he promised)" installation currently on view in the Guggenheim's summer exhibition "The Shapes of Space." All ages welcome.

Radio Lab 2 p.m.
Lead by artist free103point9 Program Director Tom Roe

free103point9 Radio Labs provide students with technical skills and contextual background to consider and utilize the transmission spectrum for creative expression. Workshops are broken down into three main sections: the history of broadcasting; how transmitters work: and transmission arts as a creative medium

Radio 4x4 4 p.m.
With artists Tianna Kennedy, Todd Merrell, Michelle Nagai, and ben owen.

Radio 4x4 is a 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.

ABOUT THE ARTISTS

Tianna Kennedy
Tianna Kennedy is a Brooklyn, New York-based cellist, sound and transmission artist, consultant, curator, events coordinator, and writer. Though projects vary greatly, they are all underscored by her commitment to egalitarian and participatory practices and can be viewed as performative experiments in gift economies and social sculpture.
http://www.free103point9.org/artist.php?artistID=10

Todd Merrell
Since 1978 Todd Merrell has been fascinated with the imperceptible environment of electromagnetic radiation that shortwave radio and processing can capture, and transform into an immersive, musical environment. He has since developed these techniques and incorporated them into a larger, more visually and sonically evocative world, with an emphasis on live performance, and the thrilling contingency and danger that such site- and time- specifically dependent work produces.
http://www.free103point9.org/artist.php?artistID=149

Michelle Nagai
Brooklyn-based composer Michelle Nagai utilizes sound, physicality and concept to create site-specific performances, installations, radio broadcasts, dances, walks and other interactions that address the human state in relationship to its setting. These works and activities explore the exchange of perception between performer and audience/viewer.
http://www.free103point9.org/artist.php?artistID=26

ben owen
ben owen is based in brooklyn NY and works with sound, transmission, light, and print. Owen's current work includes sound and light installation, weekly internet radio, experimental composition, improvised performance, and score based performance.
http://www.free103point9.org/artist.php?artistID=13

Tom Roe
Tom Roe is a sound transmission artist sometimes known as DJ Dizzy. He co-founded microradio stations 87X in Tampa, Florida and free103point9 in Brooklyn, New York. Roe performs with transmitters and receivers using multiple bands (FM, CB, walkie-talkie), as well as prepared CDs, vinyl records, and various electronics. He creates radio soundscapes using locally available frequencies, often to the beat of manipulated pop song samples.
http://www.free103point9.org/artist.php?artistID=2

For more information about the Solomon R. Guggenheim Museum and the exhibition Shapes of Space visit http://www.guggenheim.org/exhibitions/shapes/events.html

For more information see:
http://www.free103point9.org/event.php?eventID=1613



((((( CCRT AIRtime Performance/Presentation )))))

August 17, 2007 : 9pm -

with LoVid and Douglas Repetto

on free103point9 Online Radio live from Wave Farm.

Live video and audio stream from CCRT AIRtime residency at Wave Farm. Cross Current Resonance Transducer is LoVid: Tali Hinkis & Kyle Lapidus and Douglas Repetto. During their AIRtime residency, CCRT will focus on two projects: 1) Data Collection Devices An analysis of signals on the electromagnetic spectrum and telluric currents (signals in the earth) will inform CCRT's development of measurement device sculptures. These devices exist both as aesthetic objects and as functional monitoring mechanisms, which will enable data recordings used in future projects. 2) Bonding Energy A web-based project commissioned by turbulence.org, "Bonding Energy" is a model system for distributed microenergy generation. The system suggests new ways of thinking about renewable resources and to address global warming and climate change.

For more information see:
http://www.free103point9.org/event.php?eventID=1564


((((( The World Wide Tuning Meditation (2007) )))))

August 21, 2007 : 7pm - 9pm

The World Wide Tuning Meditation (2007)

at Damrosch Park at Lincoln Center, Manhattan

What sound turns you on? Blending performer and public, noted composer Pauline Oliveros will lead a World Wide Tuning Meditation, an interactive "sound-a-long" in which the audience becomes an instrument and those in attendance and in other parts of the world through free103point9's online radio transmission have their chance to make beautiful music together. Exhilarating and delightful, The Tuning Meditation is a unique sonic event for simultaneous voices participating worldwide and at Lincoln Center. Oliveros supplies the score, you supply your tone. For friends and family who participate in this event, you can visit the Deep Listening website to get a score and register in advance. Audiences members will also be treated to the EHRES (Extreme High Risk Entertainment System) featuring Oliveros in a quartet of performers -- Ione (spoken word/electronics), John D. S. Adams (modular electronics), Norman Adams (cello/electronics) and Oliveros (accordion/electronics) -- employing a groundbreaking system of acoustic and electronic interconnections for live performance. EHRES creates multilayered networks of connections allowing all sounds to be shared, processed and distributed to a multi-channel sound system.

free103point9 will coordinate eight radio signals from around the world beaming in their performances to be part of the show at Lincoln Center.

Radio stations/groups contributing include Lemurie TAZ (Czech Republic) reboot.fm (Berlin, Germany), Radio Corax (Halle, Germany), Neighborhood Public Radio (San Francisco, United States), sounDart (United Kingdom), and performers in Minneapolis, Montreal, north of Montreal.

For more information see:
http://www.free103point9.org/event.php?eventID=1538


((((( Animals )))))

August 25, 2007 : 2pm - 8pm

Animals

with Latitude/Longitude, Evolution Revolution, Dan Saxton Bunny, S.M.O. (Slink Moss Orchestra), Guitar Trips, Flaming Fire, Animental, Melanie Moser, Owl, Cabinet of Natural Curiosities, Horse Spirit Penetrates

at Wave Farm, 5622 Route 23
Acra, New York 12405

Artists performing works on the theme of "Animals." Curated by Slink Moss.
A portion of the proceeds goes to Animal Kind.
Audio and video streamed live on free103point9 Online Radio.

Performers confirmed so far:
Evolution Revolution: From Albany Times Union: "Led by the one and only reel-to-reel tape manipulator Jason Martin, the band not only sings Martin's quirky fauna-friendly anthems, but the floating membership of musicians also regularly performs in animal costumes, too."

Dan Saxton Bunny From Justin Stewart review in The Wire of Bunny Brains set at "Campfire Sounds 2006" at Wave Farm: "Beefheart disciples...feral freak-act...head-scratching mindfuck circus show."

Latitude/Longitude: Brooklyn-based free103point9 Transmission Artists Michael Garofalo and Patrick McCarthy began performing as Latitude/Longitude in 2004. Teasing melodies out of prepared and alternately tuned guitars while electronics murmur in a nest of instrument cables at their feet, the duo weave electro-acoustic dream songs from cross-circuit chaos.

S.M.O. (Slink Moss Orchestra) From Mark Guarino, Daily Herald: "Moss is an enigma, with a persona more in line with voodoo wildman Screamin' Jay Hawkins and T. Rex.... Vocally, Moss is Buddy Holly without the hiccups."

Guitar Trips: From Mike Wood in foxy digitalis: "Guitar Trips is New Yorker Doug Anson, who makes a joyful solo noise on his axe, creating bluesy, trippy sound loops with plenty of sonic paths to follow. The lo-fi, recorded in a bedroom feel adds to the richness, as if this is a series of improvs done quietly, out of sight and only for self-satisfaction."

Flaming Fire: �Well, at least some of the kooks have stuck it out in New York City and they are in Flaming Fire, an awesomely kooky, theatrical band singing songs of biblical plagues and Egyptian sexual practices. Picture the Butthole Surfers, the Residents, the Manson Family, and the B-52s all running amok in a Kenneth Anger film.� -Meg Sneed, Vice.

Animental: Animental is an outlet for expression in its purest form, drawing inspiration from animals. Animental explores the ideas of innate reactions and behavior of animals vs. the programmed or acceptable actions of the human animal. It hopes to empower the individual who is performing as well as transport the audience to another realm of reality. Inspiration, freedom, hope, creativity, individuality, power, and feminism are things Animental hopes to transpire. We use sound, costumes, movement, storytelling, props, lights and what ever else the participants and performers bring.

Melanie Moser: "Adult contemporary psych."

Owl

Cabinet of Natural Curiosities

Horse Spirit Penetrates

This show is part of free103point9's Tenth Anniversary Celebration March-Oct., 2007.

For more information see:
http://www.free103point9.org/event.php?eventID=1181


((((( Canal Street Station )))))

in Canal Street subway station.

31 Down's interactive telephone mystery "Canal Street Station"
runs from now through Oct. 31, and has recently been featured on
BBC Radio and in "We Make Money Not Art," Time Out New York,
the New York Post, and several other journals.

"Canal Street Station" is a free public media art installation set
in the Canal Street Subway Station in New York City. Participants
are invited to make a toll-free call from any public payphone in the
Canal Street station (inside of the turnstyles). Participants will
then be guided on a pay phone mystery. The game takes
approximately 45 minutes to complete.

Tajna Tanovic stars in this public pay phone who-dunnit setin
the maze of tiles that make up the Canal Street subway station.
This is an interactive piece that challenges participants to test
their skills at listening and following directions. Players are put
in the shoes of Mike Sharpie, private investigator, as he searches
the depths of Canal Street Station for a young French woman that
may have committed a murder, or may be a figment of Mike's
wandering imagination.

To play, call this toll-free number from a pay phone inside the station:
1-877-OR-WHAT-31
(1-877-679-4283)

"Canal Street Station" is co-produced by 31 Down radio theater
and free103point9 and presented by free103point9 as part
of the transmission arts non-profit's Tenth Anniversary celebration.
Created by: Ryan Holsopple, Shannon Sindelar, Mirit Tal,
and Tanja Tanovic.

Note: This mystery takes place on the N, Q, R, W, 6,
and J, M, Z platforms, not the A, C, E, station.

For more information see:
http://www.free103point9.org/event.php?eventID=1188
http://www.free103point9.org/artist.php?artistID=9



((((( Tune in weekly shows on
free103point9 Online Radio )))))


Tune in to free103point9 Online Radio every day
around the clock:


TUESDAY:
"New Noise," Noon-5 p.m.
"Triangulation" with Radio Ruido, 7 p.m.-9 p.m.
With DJ Rhizome tonight.
"Radio Home Listen," 9-11 p.m. from ben owen.

WEDNESDAY:
"Morning Drive Time" with Joshua Fried, 9-9:30 a.m.
Live remixing of New York City morning radio.
"Brooklyn," 10 a.m.-2 p.m. Artists from Kings County.
"Avant Folk," 2-7 p.m.

THURSDAY:
"Mash-Up Hour," 10-11 a.m.
"Radia," 2-2:30 p.m. Network of European radio art stations.
"Radio Squidco," 3-5 p.m., live from Manhattan.
"Dizziness," 5-6 p.m., Tom Roe live from Wave Farm.

FRIDAY:
"Free Jazz Fridays," 10 a.m.-5 p.m.
"Friday Night Turntablism," 8-10 p.m.

SATURDAY:
"Avant Rock," 5 p.m.-midnight

SUNDAY:
"Field Recordings," 10-11 a.m.
"After the Polka," 3-5 p.m., from Jenny Juristo Morrison
"Giant Ear)))," 7-9 p.m., from New York Society
for Acoustic Ecology.

MONDAY:
"The Somnambutone," 2-3 a.m.
"Radio Theater," 10-11 a.m.
"Some Assembly Required," with Jon Nelson, 11 a.m.-noon
"Battlefield Earth," 1-3 p.m., with Dan Seward (Bunnybrains)
live from John Doe Books and Records, Hudson, NY.
"free103point9 Transmission Artists," 5-8 p.m.
"free103point9 Live," 8 p.m.-midnight


For more information see:
http://www.free103point9.org/onlineradio.php
http://www.free103point9.org/playlist.php



((((( SERVICES FOR ARTISTS )))))


free103point9 provides a number of services for artists.
Please take advantage of these opportunities:

SCHEDULE.
List your events on the free103point9 Schedule. One of the largest
resources for experimental sound art and transmission-oriented events
in New York, and internationally.
Add your event today:
http://www.free103point9.org/schedule.php

AIRPLAY:
Send CD, LPs for airplay on free103point9 Online Radio to:
free103point9 Wave Farm, 5662 Route 23 Acra, NY 12405

ARTIST RESIDENCY:
AIRtime workspace residency program provides media artists with
valuable space, physical and intellectual, to concentrate on new
transmission works and conduct important research about the genre using
free103point9's resource library and equipment holdings at Wave Farm in
upstate New York. Deadline: April 1, 2007.
http://www.free103point9.org/airtime.php

FISCAL SPONSORSHIP:
free103point9 offers fiscal sponsorship to free103point9 Transmission
Artists and collaborators on a case-by-case basis.
http://www.free103point9.org/sponsorship.php


((((( )))))


About free103point9
http://www.free103point9.org

free103point9 is a non-profit arts organization focused on
establishing and cultivating Transmission Arts. This genre includes
experimental practices in radio art, video art, light sculpture, and
installation and performance utilizing the electromagnetic spectrum.
With locations in Upstate and Brooklyn, New York, free103point9
activities support and promote artists exploring transmission
frequencies for creative expression. free103point9 programs include
public performances and exhibitions, an experimental music series, an
online radio station and distribution label, an education initiative,
and an artist residency program and study center.

Founded in 1997 as a microcasting artist collective in Brooklyn, NY,
free103point9's mobile operations made airtime available to community
voices, local bands, and most significantly to a group of under-served
artists shaping conceptual works specifically for radio transmission.

free103point9 defines "Transmission Arts" as a conceptual umbrella
that unites a community of artists and audiences interested in
transmission ideas and tools. Transmission practices harness, occupy
and/or respond to the airwaves that surround us. There is an inherent
"liveness" to this work. In a performance-based setting, audience
members are newly engaged, becoming participants rather than passive
viewers and listeners. Installation or sculptural transmission works
are often dependant on the present, reacting to whatever occupies the
surrounding frequencies in a single instance, or changing that
information by adding new signals to the spectral environment.

free103point9 Online Radio
Tune in around the clock.
www.free103point9.org

Transmission arts, creative radio, and more.
Packages: 5662 Route 23, Acra, NY 12405