There has been much reporting about the propaganda posing as news that is being broadcast to the Russian people about the invasion of Ukraine. Russian journalists can't use the word "war," and instead must call it a special military operation. The war crimes of Russian soldiers are both actually being committed by the Ukrainians and also are actors playing roles rather than dead bodies according to Russian broadcasts hosts. But there has not been as much reported about the Russian propaganda being broadcast on airwaves in the United States. Russian propaganda is a bit harder to find on U.S. television and radio since the war began, but it is still there. Tucker Carlson continues to parrot Russian talking points on his Fox News show. RT, the English-language news network based in Moscow and funded by the Kremlin, was dropped from YouTube and American cable franchises in early March as the war began. Most of the content from RT America seems to have been erased from the internet since the start of the invasion Feb. 24. But there are still five outlets of “Radio Sputnik” in the United States right now, airing content produced in Moscow and Washington under the Russian government’s supervision. One is WZHF (1390-AM), broadcasting near Washington D.C. The station is now forced to interrupt its programming of talk every hour to air a disclaimer: “This radio programming is distributed by RM Broadcasting on behalf of the Federal State Unitary Enterprise Rossiya Segodnya International Information Agency, Moscow, Russia. Additional information is available at the Department of Justice, Washington, D.C.” The disclaimer is because of a Federal Communications Commission rule that went into effect March 15. The rule was in the works long before the war, forcing U.S. broadcasters to disclose any programming provided by foreign governmental entities. Rossiya Segodnya means Russia Today, the same Kremlin-controlled media agency that directed RT and RT America. The European Union banned Radio Sputnik after Russia invaded Ukraine. KCXL in Liberty, Missouri is another station airing Radio Sputnik programming and Peter Schartel, who runs the station, says he and his wife are being accused of treason. He argues that he's promoting free speech by airing falsehoods about Russia's invasion in Ukraine. Schartel is paid $5,000 a month to air the propaganda near Kansas City. The National Association of Broadcasters on March 1 called on station owners to stop carrying Russian state-sponsored programming. “While the First Amendment protects freedom of speech ... it does not prevent private actors from exercising sound, moral judgment,” NAB chief executive Curtis LeGeyt said in a statement. “Our nation must stand fully united against misinformation and for freedom and democracy across the globe.”

WBEZ reports that a Chicago man who ran an AM pirate station while in high school in Milwaukee during the Vietnam War, now is running an FM pirate radio station in Chicago playing audio noir radio dramas from the 1940s. "Bill," last name only to avoid the wrath of the Federal Communications Commission, has a 50-watt transmitter in his upstairs apartment with an antenna on the roof. “People on the lakefront up in the high rises can hear it,” said Bill. “And they used to listen at Lane Tech somewhere on an upper floor. So it gets out a little ways, but not that far.” The clandestine DJ plays old audio dramas not because of his love for old-time radio, but because he suffers from insomnia, and the old radio plays help put him to sleep. In 2006 he started an internet station, audionoir.com, and now the former audio engineer simulcasts on 87.9-FM. “I already had equipment,” said Bill, 68. “And I thought, ‘Well, I’ve got nothing else to do with this stuff— I’ll transmit this.' I guess I do enjoy [being] the bad-boy nerd, broadcasting illegally." His high school AM station get a visit from Federal Communications Commission officials to his parents’ home. Later, in college in Wisconsin, "Bill" helped found WORT. That background has him currently broadcasting on a frequency that is not being used in that part of Chicago. "Bill" says he will stop his FM transmissions if the FCC shuts him down, but he would not mind more pirate broadcasters in Chicago. “I think it would be exciting….You would have a lot of different content, from religious to political to old time radio to music,” he said. Read more about this story at WBEZ.

Matthew Yglesias reports for Bloomberg that in September 2020, political scientists David Broockman of the University of California at Berkeley and Joshua Kalla of Yale paid viewers of Fox News to watch CNN for a month, and found the change altered their political views. The folks switching from Fox to CNN were then surveyed, and were found to be five percentage points more likely to believe that people suffer from long COVID-19 and six points more likely to believe that many foreign countries did a better job than America in controlling the virus. Those paid to watch CNN instead of Fox were seven points more likely to support voting by mail than the regular Fox-viewing control group. And those paid to watch CNN instead of Fox News were 13 points less likely to agree that if Biden were elected, “we’ll see many more police get shot by Black Lives Matter activists,” than the regular Fox News viewers. A seven-point increase in supporting voting by mail may seem like a lot, but only 24 percent of the CNN switchers in total said they supported voting by mail. Of course, the viewers only watched CNN for one month, so there could have been greater deviations if the channels stayed changed. Read more about this story at Bloomberg News.

Russia's brutal invasion of Ukraine is not just a war of people and weapons, but of radio waves. In early February Russia began by bombing TV towers and attacking internet services. Then a major story in the war was that Russian troops were using unencrypted signals to communicate. Here is an excerpt of a New York Times report on intercepting Russian war transmissions. Click here to download or play excerpt. On April 7 Der Spiegel magazine reported that German intelligence intercepted radio exchanges between Russian soldiers who discussed killing civilians outside Kyiv, possible further evidence of Russian war crimes. In one conversation recorded by the Germans, a Russian soldier claims he shot and killed a cyclist. In another, a Russian soldier can be heard saying that bystanders should initially be questioned, then shot. And the information war is also taking place outside of Ukraine. The British Broadcasting Corporation in early March restarted restarted broadcasts on two shortwave radio frequencies – 15735 kHz and 5875 kHz – with their World Service news in English that can be received clearly in Kyiv and parts of Russia. The BBC had stopped broadcasting to Europe on shortwave frequencies in 2008. Now, though, the BBC’s Russian language news website's weekly audience has more than tripled since the invasion began, with a record 10.7 million people in early March compared to a usual average of 3.1 million. Radio Miami International is also beaming all sorts of signals into the conflict, providing news that is not allowed to be heard otherwise in Russia, and may be difficult to receive otherwise with the infrastructure damage in Ukraine. WTWW in Lubbock, Texas is also beaming music and information into the area. “I got a friend in the Ukraine that I’ve been emailing back and forth with and corresponding with and he loves Creedence Clearwater Revival,” said Dan Collins from the station. “He loves it. I mean, he’s a big fan. It’s just kind of cool to be able to entertain the folks and also put some things in that they may not know. We have listeners in Russia. They don’t get the truth. They’ll never get the truth, but they can’t stop us. That’s the beauty of it.”

Free speech seems like an endangered concept these days. The right wants to stop teachers from talking about many subjects with students, and ban books they do not agree with. The left is trying to quash a growing trend of racist political speech. Neither side is happy, and radio hosts, who talk for a living, are being fired for what they say. There are two recent radio firings in the news. Last week a radio host in Kazakhstan was fired after she wrote on Facebook, "we will call in Uncle Vova if you talk too much." Uncle Vova is Russian leader Vladimir Putin, who has ordered an invasion of Ukraine complete with mounting cases of war crimes with horrific attacks against civilians. Kazakhstan shares a large border with Russia, and partners with the country on many economic issues. The Europa Plus Kazakhstan radio station fired host Lyubov Panova after the comment. With a large Russian population, and rumors that Russia could invade Kazakhstan, any talk about Putin there is bound to be controversial, and it is understandable why a host supporting Putin might cause a radio station to let them go. In the United States, that's not the case, as Tucker Carlson almost nightly says things in support of Putin on Fox News. But WMAL, near Washington D.C., fired a host last week for posting a photo of Vice-President Kamala Harris wearing the color brown in a Tweet that read, "Kamala looks like a UPS employee — what can brown do for you? Nothing good, apparently.” Right-wing commentators have decried the decision as against the First Amendment, which is silly, since the government did not fire the host, and businesses can fire people in this country for what they post on social media. Amber Athey, the host, said owners of the station Cumulus Media, told her the Tweet was racist when they let her go. But she might have been fired for more than just one Tweet. The New York Post reports that after the UPS Tweet Athey “spoke critically of protests in favor of ‘trans kids’ at the University of North Texas” — and, as she wrote, “a group of maniacal left-wing activists who want to chemically castrate children in the name of ‘gender affirmation’ came after me.” Cumulus Media officials have yet to talk about the issue in the media.

Inside Radio reports that it is five months since President Joe Biden nominated Gigi Sohn for the fifth commissioners seat on the Federal Communications Commission. Republicans have blocked the nomination so far, with a Senate Commerce Committee vote last month tied 14-14. That leaves the FCC commissioners in a 2-2 deadlock, meaning little can be done in the radio regulator's office. Democrats need a motion to discharge from the Senate Majority Leader in order have a vote scheduled in the full body. Then all 50 Democrats would have to be present to get a 50-50 vote, which Vice-President Kamala Harris could break. But Democrats are more concerned about Supreme Court nominee Ketanji Brown Jackson then Sohn. Republicans oppose Sohn's position on broadband net neutrality (Sohn favors making sure Amazon and Google get the same bandwidth as someone's personal website, an even playing field for all). They also say her past work for the now-closed television streaming service Locast should disqualify her from becoming an FCC commissioner. Sohn has said she would recuse herself from matters involving retransmission consent or television broadcast copyright for the first three years of her term. “Why on Earth should we choose a commissioner who would have to recuse herself from participating in substantial parts of the FCC's work? How does it serve Americans to have an FCC Commissioner who can't fully do her job,” said Republican South Dakota Senator John Thune. “Surely, there are other qualified nominees who don't have Ms. Sohn's conflict of interest.” The Media and Democracy Project, a progressive lobbying group, says, “She represents a tie-breaking fifth vote at an FCC that must create a more just, equitable and diverse media system,” claiming media companies of “trying to undermine” her nomination to avoid regulation. Read more about this story at Inside Radio.

Tom Vernon reports for Radio World that AM or FM radio stations are still the number one sounds in cars. The Infinite Dial 2022‘s survey of in-car media listening found 73 percent of people listen to the radio in their cars, while 53 percent listen to their own digital music or sounds, 35 percent use a CD player, 32 percent listen to online audio or subscribable audio, and 22 percent listen to satellite radio. The AM/FM listening numbers fell sharply during the pandemic, from 81 percent in 2020 to 75 percent in 2021. At home, though, 39 percent of those surveyed say they do not have a radio. And that grows to 57 percent for those age 12-34. Edison Research conducted the national telephone survey of 1502 people aged 12 and older, using random digit dialing techniques to both cell phones and landlines in January 2022. Read more about this story for Radio World.

Margaret Hartmann reports at New York Magazine that 66 people sent complaints to the Federal Communication Commission regarding ABC's telecast of the Oscars which included a physical and verbal attack by actor Will Smith on comedian Chris Rock. Those complaining said they were “traumatized,” “offended,” “triggered,” and “shaken” by the attack. “I haven’t been able to sleep as a result. My child was also scared. I had to take medicine to calm me down,” one anonymous viewer wrote to the FCC. “I thought your agency was supposed to keep this type of violence and cursing off television. I hope you can bring sense and reason back to the public airways,” another wrote. ABC did keep Smith's profanity off the airwaves, cutting to silence while viewers in Japan and Australia heard the entire encounter. After the 2004 Super Bowl, where Janet Jackson's nipple was exposed at halftime, the FCC received 540,000 complaints. Read more about this story at New York Magazine.

Matt Schudel reports in the Washington Post that Bill Fries, an advertising executive with a unique history in one form of radio, died from cancer at the age of 93 on April 1. Under his stage name C.W. McCall, Fries hit number one on the pop charts in 1976 with the song "Convoy," the most famous musical ode to citizens band radio. Fries first created the character C.W. McCall as a truck driver in a series of commercials for a Midwestern bread company. Then he had top 20 country hits with “Old Home Filler-Up an’ Keep On-a-Truckin’ Cafe” and “Wolf Creek Pass,” both songs about truck driving. Then his song “Convoy,” an odd ode to breaking the law on the nation's highways told through CB radio, knocked the Bay City Rollers’ “Saturday Night” off the top of the Billboard pop chart in January 1976. The song was a CB radio conversation between Rubber Duck and Pig Pen, the CB radio handles of two truckers, and filled with the lingo and code words of citizens band radio of the era. “It was timely,” Fries told the Associated Press in 1990. “Back in 1975-76, that craze was sweeping the country. The jargon was colorful, and the American public liked that, too. It was laced with humor, but it had a rebellious feeling about it and people responded to it.” “Convoy” sold about seven million copies and inspired Sam Peckinpah’s 1978 film of the same name, starring Kris Kristoffersen. “Well, mercy sakes, good buddy, we gonna back on outta here,” C.W. McCall says at the end of “Convoy,” with a slight alteration of a trucker’s farewell: “Keep the bugs off your glass and the bears off your … tail.” Read more about this story in the Washington Post.

Acra, NY—Wave Farm announced today fifteen artist grantees for the 2021 Media Arts Assistance Fund (MAAF), a regrant partnership with the New York State Council on the Arts. MAAF Grantees: Lily Baldwin, Johann Diedrick, Jonathan González, Lemon Guo & Mengtai Zhang, Valérie Hallier, Jaamil Olawale Kosoko, Little Manila Queens Bayanihan Arts, Mev Luna, Ricardo Miranda Zúñiga, Laura Nova, Suneil Sanzgiri, Karina Aguilera Skvirsky, SOBBETH, Yeseul Song, and Eric Souther.

The Media Arts Assistance Fund (MAAF) supports electronic media and film organizations, as well as individual artists, in all regions of New York State. For individual artists, MAAF provides support for the completion and/or public presentation of new works in all genres of sound and moving image art, including emergent technology. Grant awards assist artists in completing new work, reaching public audiences, and advance artistic exploration and public engagement in the media arts.

NYSCA Electronic Media & Film Program Director, Karen Helmerson, said "Now more than ever, this investment of public funds strengthens the advancement of a diverse creative culture through new technology and emerging fields, bringing new opportunity for artists and audiences alike." Wave Farm Executive Director Galen Joseph-Hunter said, “The 2021 application pool was one of the most competitive to date, and Wave Farm is delighted to be able to support these fifteen outstanding projects that represent the media arts landscape across New York State.” The deadline for the 2022 Media Arts Assistance Fund for Artists will be announced this fall. Grantees are selected through a competitive panel process. Detailed information about the 2021 MAAF projects is available below.

The New York State Council on the Arts is dedicated to preserving and expanding the rich and diverse cultural resources that are and will become the heritage of New York’s citizens. The Council believes in artistic excellence and the creative freedom of artists without censure, and the rights of all New Yorkers to access and experience the power of the arts and culture, and the vital contribution the arts make to the quality of life in New York communities. http://arts.ny.gov

Wave Farm is a non-profit arts organization driven by experimentation with broadcast media and the airwaves. A pioneer of the Transmission Arts genre, Wave Farm programs provide access to transmission technologies and support artists and organizations that engage with media as an art form. Major activities include the Wave Farm Artist Residency Program and Archive; a Transmission Art Installation Park; Wave Farm Radio, including WGXC 90.7-FM: Radio for Open Ears, a creative community radio station based in New York’s Upper Hudson Valley; a Fiscal Sponsorship program; and the Media Arts Assistance Fund in partnership with NYSCA Electronic Media/Film. https://wavefarm.org

GRANTEES AND PROJECT DESCRIPTIONS

Lily Baldwin—Quick Slice (New York County)

Quick Slice is a short film and installation about an unsuspecting intimacy between strangers, inspired by choreographer Netta Yerushalmy’s PARAMODERNITIES project. The film's narrative follows nine lonely New Yorkers who converge over a quick slice inside a casual, non-committal community hub— the pizza shop. When a “contaigent” enters, dance turns inconsequential moments into idiosyncratic gestures, toggling between task and choreography, disrupting expectations around physical expression. A subtle, disorientating use of editing techniques and photographic devices manipulating time craft a visceral and sonically rich dreamscape. As an installation, Quick Slice will scale to respective environments, utilizing available architecture and unsuspecting surfaces. MAAF funds will be used to support the final edit, and additional post-production needs like color correction and a final sound mix.

Johann Diedrick—Prelude to Wake (Kings County)

Johann Diedrick's Prelude to Wake is an urgent, mournful, and world-building sonic performance that centers the loss of ourselves and environments due to climate change. The work is performed by a fictional character named “The Sound Collector” who collects buried vibrations and releases them from material through an ancient technological device. Combining field recordings, original composition, and generative audio techniques, Prelude to Wake stages an encounter between the audience, a past that we are losing due to catastrophe, and what may exist in the future. MAAF funding will support producing a professionally recorded version of Prelude to Wake, to be released as a record and zine that contains an original speculative sci-fi story that accompanies the recording.

Jonathan González—The Smallest Unit Is Each Other (New York County)

The Smallest Unit Is Each Other struggles for otherwise narratives regarding our interspecies planetary horizons ahead. Otherwise as in undergirded by Sylvia Wynter’s “Third Event”, wherein a third human evolution can mobilize our storytelling capacities out of familiar colonial paradigms of catastrophe, and Kamau Brathwaite’s request for poetry that breaks with this pentameter. Otherwise visualities, auralities, and stories that affirm life are presented against the backdrop of transnational calls to course correct our existence in this six-part film of animation, archival materials, interviews, speculative geographies and original screen performances, organized by “SIDE” in the form of a cassette tape. With MAAF support the film will be expanded upon to compose an interactive installation at BRIC Arts for an exhibition series on 'Landscape.'

Lemon Guo & Mengtai Zhang—Diagnosia (Rensselaer County)

Exploring the potential of VR (Virtual Reality) as a tool for transplanting secondhand memories, Diagnosia aims to connect the audience to social issues via a sensorial immersion and embodiment in the memories of people who experienced it first hand. Diagnosia portrays Mengtai’s memories of being incarcerated in a military-operated Internet addiction camp in Beijing in 2007, where internet addiction and other youth issues were treated as a severe mental disorder with sometimes violent means. By tracing the lineage of “Internet addiction” in China’s cultural context, the work discusses how societies can create or manifest pathologies as a tool for social control. MAAF funds will support the final postproduction of this work.

Valérie Hallier—PPPP: Public Portrait & Primal Power (New York County)

PPPP is composed of a screaming booth and a phone application with Augmented and Virtual Reality components. Inspired by the French Medieval “crieur public”—a socio-political interface between the king and “his” people—PPPP connects individuals with their own power. Also inspired by popular photo booths, it allows visitors to perform privately in a public setting. The artwork takes a fundamental yet repressed human expression to generate visuals seen inside and outside of the booth, or on one’s smartphone. In addition to self-empowerment, PPPP promotes mental health by offering catharsis. It reclaims each individual’s power by manifesting, during the time of a scream, a visual impact in both the virtual and the physical world, thus inspiring us to activate our untapped resources. MAAF funding will support the completion of PPPP enabling outdoor installation.

Jaamil Olawale Kosoko—Chameleon (Kings County)

Chameleon is an experimental visual album grown from the radical queer feminist genre of the biomythography originated by Audre Lorde. This film is an investigation of the fractal process of queer archival story telling and practice. Initially as a project of documenting movement research for performance, the film became a project of its own that intervenes into the psychic hold of the protagonist’s past. Broken into five distinct confessional/autobiographical poems: Linoleum, Stank, Entertainer, Wake, and Effigy (all written by Kosoko), each poem acts as a chapter depicting and rewriting the specific moments of the performer’s life. The short will tour film festivals starting in 2021 then continue screening in community-based events and through online distribution supported by MAAF. Forthcoming screenings include New York Live Arts, The MAD Museum, Toronto Indie Film Festival among others.

Little Manila Queens Bayanihan Arts—We Are They (Kings County)

We Are They is an experimental documentary video that combines interviews with Filipino health care workers reflecting on their battles with the Covid-19 crisis in the Little Manila neighborhood of Elmhurst Queens, with music and dance informed by traditions from the Philippines. The Filipino heroine “Tandang Sora,” a Florence Nightingale-like figure, calls attention to the lineage of care labor and sacrifice that so often defines the Philippine diaspora. Collaborators in this project include: filmmaker Diana Diroy, composer Will Simbol, and choreographer Joyelle Cabato. MAAF funding will support both online screenings as well as public screenings situated at important sites in the community the film honors: the Filipino community of New York City.

Mev Luna—Far from the distance we see (Kings County)

This medium length video essay touches on the formation of the Texas prison system, its complex relationship with México and agriculture, and how these carceral facilities served as a model for the U.S., through the experiences of one individual– the filmmaker’s late father. Building on a five year body of work that spans performance, writing, and installation, this experimental piece weaves together audio interviews with family members, archival images, exteriors of several Texas prison units captured on dashcam, and landscapes that morph and become 3D simulations. MAAF funding will support project completion, including 3D modeling and sound design.

Ricardo Miranda Zúñiga—FinTech for the Precariat (Kings County)

FinTech for the Precariat is a wandering world application set in a fantastic cityscape populated by Greed, Lust, Gluttony, Envy, gig workers and 12 voices from New York City's financial spectrum. The user wanders about the environment to encounter the creatures that live in it and the financial perspectives and realities of individuals - from financial brokers to recent college grads to computer programmers and cultural workers. It has been projected that the 2020s will be the decade of the FinTech Revolution. This Marketing hyperbole is on the heels of many such revolutions that are sold on the promises of democratization and wealth. FinTech for the Precariat, questions who ultimately will these technologies serve? MAAF funding will support the completion and public interactive presentation.

Laura Nova—Delicious Memories (New York County)

Delicious Memories is a media art installation informed by an intergenerational storytelling workshop/ performance that brings together older and younger New Yorkers to tell and connect stories utilizing craft and interactive technology. The installation stitches delicious stories together into a sonic multisensory communal tablecloth embroidered with cotton and conductive thread. When touched, the tablecloth amplifies recorded audio stories. Led by artists Laura Nova and Kristen Diekman, the participants who worked together virtually spring 2021 will gather around the table and share their stories in-person in Seward Park, the oldest municipal park in the U.S. and the "living room" of the Lower East Side. MAAF funds will support the completion of Delicious Memories and its presentation to the public.

Suneil Sanzgiri—Golden Jubilee (Kings County)

Golden Jubilee takes as its starting point scenes of the filmmaker’s father navigating a virtual rendering of their ancestral house in Goa, India, created using the same technologies of surveillance that mining companies use to map locations for iron ore in the region. A tool for extraction and exploitation becomes a method for preservation. The film will be presented as a multi-channel, mixed media installation at Pioneer Works, bringing together questions of home, belonging, disappearance and memory as materialized, with MAAF support, in the fragmented 3D printed re-creations of relics from the artist’s ancestral house in India, ceramic sculptures created from those 3D prints, and the videos that accompany the sculptures.

Karina Aguilera Skvirsky—How to build a wall and other ruins (New York County)

How to build a wall and other ruins—which gets its impetus from the debates around the engineering feats of Inkan architecture at Ingapirca—reimagines labor and its documentation through a multi-channel video installation which includes interviews with engineers, anthropologists, historians and YouTube "experts" about their theories of how Inkans built Ingapirca’s walls. Outlandish theories that are scientistic in nature are exposed for what they are: misinformation campaigns that seek to intellectually re-colonize the descendants of Inkans whose structures and technology are worthy of deep study and respect. The interviews are juxtaposed with a video-performance, in which a brigade of Ecuadorian women build a wall in Cañar, Ecuador using recycled materials. The work does not pretend to be factual; it is a proposal. It asks, lucidly: What can Inka technology teach us today? MAAF funding will support the installation’s completion including post-production editing and sound engineering.

SOBBETH—Our Place In The Sun (Columbia County)

Our Place in the Sun is a once-in-a-lifetime documentary of real-time gender transition, psychic transformation and climate collapse, shot on location in the ruins of Florida’s post-war mythology. A hybrid take on the “Tropical Entropic,” the work is an experimental landscape film which takes a nonlinear turn into speculative fiction. Suggesting improvisation as one antidote to a world controlled by algorithm, the film’s central themes are intentionally echoed in its rich experimental score. MAAF funding will support composers fees, a 5.1 mix, and other post-production costs.

Yeseul Song—Listening to Sunken Forest (New York County)

Listening to Sunken Forest is a large-scale interactive spatial installation and auditory archive of the unique ecosystem of the Sunken Forest Preserve, a small, rare and slowly-disappearing ecological system on the Fire Island in NY. The project records, archives, and recreates the forest through auditory senses with a mission of sharing the environmental urgency through an artistic and immersive interactive experience. The installation is also accessible to low-vision and blind visitors. MAAF funding will enable the completion of the project that involves audio field recording, sound design assistance, and iterative installation prototyping.

Eric Souther—Frequencies of Deep Time (Allegany County)

Frequencies From Deep Time explores changes of geological time in Western New York, change that forms strata in the rock formations of gorges like Watkins Glen and Letchworth State Parks. Souther is interested in the stories the formations can tell of the co-evolution of life and minerals, of humans and non-humans, and their entanglement with one another and the land. He developed custom software that uses sound waves to augment three-dimensional forms animating the geological landscapes. Oscillations work as an audio-visual metaphor for change across deep time and provide a way to perform across an incomprehensible length of time. MAAF funding will support the completion of sound design and distribution initiatives including festival applications.

For more information about the The New York State Council on the Arts in Partnership with Wave Farm: Media Arts Assistance Fund (MAAF) visit https://wavefarm.org/grants/maaf-artists.