From Infowars.com via RawFamily.com:

Vladimir Lagovski and Andrei Moiseynko from Komsomolskaya Pravda Newspaper in Moscow decided to learn first-hand how harmful cell phones are. There is no magic in cooking with your cell phone. The secret is in the radio waves that the cell phone radiates.

The journalists created a simple microwave structure as shown in the picture. They called from one cell phone to the other and left both phones on talking mode. They placed a tape recorder next to phones to imitate sounds of speaking so the phones would stay on.

After 15 minutes: The egg became slightly warm.

25 minutes: The egg became very warm.

40 minutes: The egg became very hot.

65 minutes: The egg was cooked. (As you can see.)

CALL for PROPOSALS - - - - - PETER STUYVESANT’S GHOST

IMPORTANT DATES:

July 21, 2006: 100 WORD TEXT ONLY description of your idea and contact info emailed to: twowhitecats24@hotmail.com
July 30, 2006: Notification of acceptance of idea
August 15, 2006: Bios and descriptive text for program (guide map) due
Sept. 15, 2006: Soundfile due
Nov. 15-19, 2006: Performance dates

Coordinators: Lise Brenner, Ryan Holsopple, Michelle Nagai

Contact for Questions: Lise Brenner - twowhitecats24@hotmail.com

Final Nature of Artistic Contribution: Digital sound files of up to 1 minute to be accessed during performance dates via pay or cell phone. They may also be available on a CD. We are looking for both ‘realistic’ and interpretive reactions to historical information. The terrain this project will cover (pictured above) is the footprint of Peter Stuyvesant’s original farm (Bouwerie), which included the area from 4th Ave. to the original East River shore, and from 4th Street to 22nd Street. Files will be archived and accessible on the internet after the performance dates.

Date of Event: November 15-19, 2006
Specific Event Description: A self-guided walk through the area of Peter Stuyvesant’s farm, using a printed map and utilizing cell or payphones to access a central open-source telephony server (Asterix). The printed material will indicate a route around the farm, with specific points indicated where participants are asked to stop and call into the server. A payphone will be available at all chosen points. After making the phone call, the participant will dial the message code indicated for that particular site, thereby accessing a short (no more than 1 minute) sound file made in response to historical/topographical information provided to the artist about the site, which could include information about Dutch cows and pigs, church bells, hymns, language; memories of shops, streets, sounds of Holland; local sounds of nature (wind, birds, water); local work sounds (blacksmiths, milking, carpentry, printing); or other information suggested by artists.

Overall Project Description: PSG is a civic art project, inspired by the rapid cultural and physical changes engendered in this area by the Dutch colonial period. PSG encourages a multi-leveled understanding of the place that the East Village is now. Using sound as the primary performance medium, tapping into the visceral, non-cognitive response that hearing, like smell, tends to generate, PSG explores the contemporary topography while making palpable the pre-urban terrain of Peter Stuyvesant’s 17th century farm. Through guided walks and discussion forums PSG will facilitate activities that connect past with current truths, and, perhaps, visions for the future, as alternative realities flicker briefly into life, and historical and environmental perceptions are deepened. The overall goal is a rich, many-layered experience of this terrain, literally moving audiences through it, primed for careful listening to what is currently here to be heard, while opening up imagination, and awareness of the past.

Specifically, PSG aims to: facilitate active participation on the part of a widely varied audience; consciously link art and performance making with history; invite contributions from artists that maintain this dual focus on historical relevance and an actively participating audience; bring together NYC- and Netherlands-based contributors; and explore the role of history in bringing the present into sharper focus.



From Tom Roe:

I have always joked that the current low-power FM bill approved by both Senate and House subcommittees, would only get to the floor if it was attached to some bill like the "death penalty for flag burners."

Well, I almost got my wish this week. Congress is voting on a Constitutional amendment against flag burning, and Senator John McCain has attached the "Local Community Radio Act" to the "Communications, Consumer’s Choice, and Broadband Deployment Act of 2006" (the Senate version of the anti-net neutrality bill), Mediageek reports.

"McCain’s amendment would restore the FCC’s original spacing requirements for the (LPFM) service, allowing LPFM stations to be closer than three adjacent frequencies to other stations," Mediageek reports.

LPFM got through Congress a few years back after focused challenges in the courts, intense lobbying, and thousands of Americans committing civil disobedience on the airwaves. The LPFM service, however, was weakened at the last moment largely due to a fake "interference" claim that has since been scientifically debunked.

Over a thousand new LPFMs would be allowed if this amendment were to be passed and signed. And the phone companies would rule the world/internet.

I almost got my wish/nightmare, and it just gets worse. New Jersey Senator Frank Lautenberg inserted an exception in the LPFM bill for "significantly populated states," according to Inside Radio. The report is vague, but it may mean no low-power stations for New Jersey.

From Tom Roe:

The New York Radio Message Board is where New York City's radio enginners trade gossip, technical information, and reports of "pirate radio." The hipsters with ties to big media may not be running microradio stations anymore, but underserved minorities throughout Brooklyn sure are. Here is a survey of the stations posters on that board have heard:

*90.1-FM, Caribbean pirate.

*96.7-FM, "The Jewish pirate operates during the day, and can be heard as far east as Route 110 in Amityville." Carribean station at night.

*91.9-FM, Hasidic late night/early morning

*91.9-FM, hip-hop 10 p.m.-midnight.

*104.1-FM and 100.9-FM, East New York. Unknown content.

*96.7-FM, "as far east as Levittown."

*99.9-FM, Brooklyn.

*88.7-FM, free103point9 staff have heard this station from Brooklyn to the George Washington Bridge in the evening.

*94.1-FM, Contact FM" out of Queens Village, has, "been gone for a month now, as the restaurant they were broadcasting out of on Jamaica Avenue and 241st Street has closed. He reappeared for two weekends in Cambria Heights."

*101.5, reggae, heard throughout Queens, Bronx, into South Westchester.

*Stations at 90.9-FM, 95.9-FM, and 103.1-FM have all been visited or sent warning letters from the Federal Communications Commission in 2006. The FCC enforces broadcast regulations in the U.S., though lately is only giving out warnings.

This is a call for proposals for a workshop on user-centred interactions with the internet of things at Nordichi 2006, October 14 and 15, 2006 in Oslo, Norway. In this workshop we intend to build knowledge around the hands-on problems and opportunities of designing user-centred interactions with networked objects. Through a process of ˜making things" we will look closely at the kinds of interactions we may want to design with networked objects, and what roles the mobile phone may play in this. We will focus on the design of simple, effective and innovative interactions between mobile phones and physical objects, rather than focusing on technical or network issues. The workshop is open to participants from human factors, mobile technology, social science, interaction and industrial design. Practitioners and those with industrial experience are strongly encouraged. Prior research work on embodied interaction, social and tangible computing would be particularly relevant. Participants will be selected based on their relevance to the workshop, and the overall balance of the group. Space is limited to 25 participants. Application is by position paper no longer than two pages. The position paper can be visual or experimental in design and content. The themes should cover an issue that is relevant to the design of interactions with everyday objects. Deadline for papers is 1 August, selected participants will be notified on the 9 August. The workshop itself is October 14 and 15, 2006. Papers and any questions should be submitted to timo (at) elasticspace (dot) com before 1 August.

Moon bouncing--sending ham radio signals to the moon and back--is a big story for The Anchorage Daily News, based in an area far more attuned to atmospheric signals. The article quotes Allen Katz, 63, a professor of electronic engineering at The College of New Jersey, calling moon bouncing a "technology sport." "People do it for the challenge," Katz said. "Why do people climb Mount McKinley? Because it's difficult."

Announcing new free103point9 Online Radio shows and general announcements will be a major part of this blog. One new program that we are very excited about is coming this summer from Canadian radio artist Emmanuel Madan.

"A Series of Podcasts Addressing the Limitlessness of Time" is a radio project from Madan, and is also airing on CKUT (Canada) and Kunstradio (Austria). "'A Series of Podcasts Addressing the Limitlessness of Time' continues my investigation into the nature of radio as a communications medium, an exploration which I began over a decade ago as a community radio producer and continued in my recent audio art performance 'Freedom Highway,'" says Madan. This regularly occuring program will begin later this summer, and runs through early 2007.

Madan's "Freedom Highway" stopped at the free103point9 Project Space in Brooklyn in December, 2004, and he performed at "Tune (Out)))side" last summer at Wave Farm. "Freedom Highway" is "a project about mass media and American public discourse. Over a nearly two-year period, the project has been monitoring and intercepting talk radio programming from around the United States. This material is collected, catalogued, and then recombined into a series of new audio documents, each of which is a distilled and concentrated version of what is heard on America's talk radio airwaves," according to Madan's web site.

Forwarded from Stephen Dunifer

Rough translation: "The day of today 14 of June of 2006 has perpetrated in Mexico one of the more aberrant manifestations of the army of the can of whom is govern.

Being the 3:40 hours (hour hand of the resistance) consummated an act more than repression against the social movement in Oaxaca, the early morning of today the |policiacos| body of this state left in a brutal way and violent to school mistresses and teachers that were found from the past May 22 in shoot in the of the capital socle of this city. Also it left to whom it finds |ininterumpidamente| |trasnmitiendo| the situation of our magisterial movement from the installations of radiate shoot 92.1 F.M. hitting to the companions and wasting the equipment with which operates upon this broadcasting that from making a year to played an important paper in the diffusion of the clear information and shows through on which happens in Oaxaca and in our country.

This act is an evidence more than the repression that the governing Ulises Ruiz Ortiz has orchestrated against whom do not coincide with a politics that violates the human fees of whom begins to speak to denounce the social injustice and the martial law in which warrens in Oaxaca.

For this reason, it puts in charge to the Oaxaca governor, Ulises Ruiz Ortiz, and to all thoses that it result responsible for any act that attempts a crime against against the social security of our companions and companions, as well as of whom beens supported this movement that is not single of the teaching, but of all and all those who does not think kneeling life below the fascist regime of Ruiz Ortiz and his officials."

Call for content
"The Residents of the United States of America present
One-Minute Commercials for Democracy"
Delivering Digital Democracy In 60 Seconds Or Less

Deadline Extended: July 4th, US Independence Day
Release Date: Labor Day 2006

Communications Of Tomorrow (CommTom) announces a call for content, urging submission of socially aware, politically motivated contributions from US-based audio artists who are attentive to contemporary political conditions. The compilation will be distributed free of charge to US radio stations and public access media outlets. Submissions must be 60 seconds in duration and be free of language which would violate FCC regulations for radio airplay.

In a follow-up project to the 2004 CommTom release, "Polyphonic Voices Of Digital Dissent", which appeared on Democracy Now, Air America, and numerous radio stations across the United States, CommTom will release this next compilation to 100 targeted broadcasters across the United States. The accepted submissions will also be available for free download from the CommTom website, but will not be sold in stores. Custom packaging, designed and letterpress printed by MATTER will round out the presentation. A single copy will also be offered as compensation to contributing artists whose works are accepted for the project. Additional copies will be available to participating artists at cost.

For more info- http://www.commtom.com/special_projects/CommDem/commdem.html
For PDF guidelines- http://www.commtom.com/special_projects/CommDem/commdem_call.pdf

Call for web works!
ElectroOnline showcases innovative net art, online subversions, peer 2 peer communities & collaborations, arts / culture blogs,wiki’s etc.

Please send URLS to electrofringe@electrofringe.net
with ‘ElectroOnline Submission’ in the Subject

Call for screen works!
The ElectroProjections screen program showcases boundary pushing film, video, animation and documentaries that engage with new technologies, reveal elusive sub-cultures, investigate audio/visual relationships, explode narrative possibilities,explore performance on screen & apply experimental techniques.

Please send submissions as DVD – PAL to
ElectroProjections
2-25 Golden Grove St
Darlington NSW
Australia 2008

Deadline: Friday, July 14, 2006

Wednesday, September 30-Saturday, September 23. At Sala Carlos Chavez, Centro Cultural Universitario, Mexico City, Mexico. The Second New Technologies International Music Festival invites sound artists to apply to participate, submissions are due June 30. Invited artists include Hans Tutschku and Pauline Oliveros among many others.

From Daily Wireless

WiMAX Telecom Group, a multinational operator of WiMax services in Europe, set a new record transmitting live video at ranges of up to 40 kilometres (24.8 miles) of the World Sailing Championships in Austria -- and from moving vessels.

The experience gained will be applied to its network in the coastal region of Croatia. From a yacht moving at 12 knots, pictures of the World Sailing Championships were streamed live – and over a distance of 40 kilometres, thus beating all previous forecasts about the range of WiMAX technology.

By Tom Roe

The Federal Communications Commission is contacting about the same number of microradio stations so far this year as last, but targeting each "pirate" more often.

Now landlords of station locations are also being sent warning letters, and multiple people from several stations getting warnings rather than just the station location receiving a letter. (See complete chart here.)

RadioActive SanDiego also received a letter from the FCC a few weeks ago claiming that the online radio station is also broadcasting on 106.9-FM. "FCC agents showed up at the station (my home) today demanding to be let in so they can 'inspect' the station. We told them to go away," explained a member of the collective on a listserv. "There is a local pirate station that rebroadcasts our shows, but it is totally unassociated with us and isn't located at my house. Our website even says very clearly that we only do internet streaming." In another case, the FCC also sent a letter to a Colorado pirate's parents. Clearly, the FCC hopes that harrassment will work quicker and easier then filling out forms and waiting for warrants.

"Additionally, the FCC's enforcement this year is almost wholly confined to intimidation," the DIYmedia blog reports. "Less than one percent of its enforcement activities go beyond the visit or letter-writing stage. In fact, the FCC hasn't even fined anybody yet in 2006... This may be because the agency knows it doesn't have the time and resources to collect all of the fines it might issue."

Power 103.3 (Quad Cities, Iowa), Pirate Cat Radio (San Francisco) and Portland Radio Authority were among the most high-profile stations contacted during the last two months. The California College of Arts may be the first educational/art institution to receive a warning. Students there have created something called Art Interference Radio (which seems to play pop songs) on 87.9-FM (just below the 88, where the FM band starts on many radio receivers). The Silicon Valley-based college seems to be supporting the illegal station, and may be offering a "Pirate Radio/Radio Matrix" class.

DIYmedia also reports that New York FCC agents warned Moises and Juan Cabrera about operating a station at 89.7 in NYC several times this year without mentioning the $10,000 fine the agency issued the duo last year. "Not only do this year's enforcement actions fail to reference the earlier 'punishment,' the FCC has made no moves to turn its earlier threat of a fine into an actual forfeiture," DIYmedia reports. "It is almost as if the agents in New York are just going through the motions." Or that they think fines are a waste of time and have more success with harrassment.

SoundAsArt Conference
Aberdeen, Scotland
November 24th, 25th, and 26th

SoundAsArt: Blurring of the Boundaries
Call for papers

Over the past several years a growing fascination with the emerging art form Sound Art, has become prevalent within arts communities and academia. But what is it, how is it defined, and what is the impact on current practices of composers, artists, and those working in related fields (video, sculpture, architecture etc.)?

The SoundAsArt conference hopes to explore some of these boundaries, blurry though they may be, with the goal not of definition but of exploration. It is a peculiar characteristic of this art form to revel in the blurring of distinctions, the crossing of disciplinary boundaries, and the redefining of practices.

The conference will take place over a three day period and will feature papers/talks, installations, soundwalks, and performances. The entire content of the conference will be documented for release and made available online in pdf/mp3 format.

The conference is presented by the artist group urbanNovember in partnership with the University of Aberdeen , with generous support of the Aberdeen City Council.

Call For Papers (Abstracts)

We welcome papers on the topic of sound art that address questions of origin, exploration of boundaries between related practices, investigations of current practices, and speculation on the future development of sound art. Papers by individuals wishing to present their own work in relation to these issues are also welcome.

Proposals in the form of an abstract (500-1000 words) should be submitted via the conference website at http://soundasart.urbannovember.org (go to "Abstract Submission" and select "Refereed Abstract and Paper Submission" and "Submit a New Abstract or Paper" no later then July 21st. Please do submit early; you will be able to revisit and change your submission until that date.

All proposals will be peer reviewed and selections will be announced by August 15th. Finished papers will be due by November 1st, submitted in the same manner as the abstract. Papers should be of a length appropriate to a 20 minute presentation (approximately 3000 words). There will be a 10 minute question and answer session after each presentation. Please include a short bio (200 words) and any technical requirements you may have for your presentation. A small sound system, data projector, and docking bay for mac/pc laptops for powerpoint are available.

Please note that only papers that can be presented in person will be accepted. Unfortunately we are not able to provide any financial assistance, although the conference is free for all to attend.

Key Note Speakers include Professor Jonty Harrison and composer/performer Rajesh Mehta. Guest artist include performer Keith Rowe. Others to be confirmed.

The peer review panel includes:

Dr. John Levack Drever
Lecturer in Composition
Goldsmiths College, University of London

Jonty Harrison, BA DPhil (York),
Professor of Composition and Electroacoustic Music
University of Birmingham

Rahma Khazam, MA
Writer, Music journalist

Dr. Fiona Maclaren
Lecturer of Photography
Nottingham Trent University

Rajesh Mehta
Composer, Performer

Dr. Ken Neil
Head of the MFA in Critical Social Art Practice at
Gray's School of Art
The Robert Gordon University, Aberdeen

Dr. David Reid
Lecturer in Photography
Nottingham Trent University

Dr. Pete Stollery
Composer and Reader in Electroacoustic Music and
Composition
University of Aberdeen

Bill Thompson
Performer, Sound Artist


If you have any questions, please contact us at
soundasart@urbannovember.org


Thank you,

Bill Thompson,
Peter Troxler

SoundAsArt Conference
http://soundasart.urbannovember.org
urbanNovember http://www.urbannovember.org/
University of Aberdeen Music
http://www.abdn.ac.uk/music/
Aberdeen City Council http://www.aberdeencity.gov.uk/
soundasart list
http://groups.yahoo.com/group/soundasart/

Call for Performances, Workshops, Papers
Time, Sound, and Transcendence: Forging a New Vision for Improvised
Music Pedagogy and Practice

The inaugural conference of the International Society for Improvised Music.

The University of Michigan Ann Arbor, Michigan
Dec 1-3, 2006

Featured Artists/Speakers: Steve Coleman, Janne Murto, Stephen
Nachmanovitch, Pauline Oliveros

The increasingly eclectic nature of the musical landscape yields
fertile ground for new approaches to improvised music performance and
pedagogy. The term transcendence may help us navigate our way through
this maze of possibilities: transcendence of boundaries between genres
and ethnicities within an emergent trans-stylistic expanse;
transcendence of old pedagogical patterns, where improvisation has been
marginalized or excluded in musical study; transcendence of
distinctions between "high" and "low" art in a more inclusive aesthetic
sensibility; and transcendence as in the heightened states of
consciousness that improvisers have long claimed to be central to their
work. In short, improvisation possesses rich unitive and
transformational qualities that can be harnessed in new musical and
educational models that reflect the creative needs and potential of our
times.

In this inclusive spirit, the International Society for Improvised
Music is happy to announce its first inaugural conference and invite
proposals for performances, workshops, and papers from individuals
involved in all kinds of improvised music. Submissions are welcome
from artists/educators working in tradition-specific realms—e.g. Jazz,
traditional Hindustani, European baroque, Arabic maqam—as well as in
trans-stylistic approaches. Given the dearth of trans-stylistic
approaches to improvisation pedagogy, proposals are welcome for
hands-on workshops that present strategies in this regard.

Deadline for submissions: August 15, 2006
Response from ISIM: September 15, 2006

Prospective presenters must be ISIM members for their proposals to be
considered. To download a proposal form online and to join ISIM visit
www.isimprov.org. To request a proposal form or for more information
contact Teri Adams, ISIM Conference Administrator, teri@isimprov.org 734-277-2690

forwarded by Ben Owen




If you've never heard of software-defined radio, that may be because some might liken it to outlaw pirate-radio; it's a wild-west wireless device which will, in theory, receive or transmit radio data on any frequency (or all frequencies simultaneously) by way of software-based controls. Not exactly the device the FCC's been hoping and praying for since, well, it kind of undermines the whole concept of segmented spectrum and delineated radio devices and services. But that's all the more reason why Wired's profile of one Eric Blossom and one Matt Ettus, is rather astounding. As creators of the Universal Software Radio Peripheral, they've managed to fit a modular SDR system into a $550 USB device, capable in theory of doing anything from receiving (and transmitting) HDTV, to GPS, to EV-DO, to AM radio on their specified frequencies, or others. Nothing new or unusual in and of itself, but the cost of the part, and its built-in integration with run of the mill desktop computers is what's unprecedented. Which is why if you think we'll ever see SDR in America, you're crazy; the government, which makes tens of billions of dollars from spectrum sales, has precisely zero interest in allowing software defined radio to run free. Funny, because as the cost of SDR goes down, it could actually end all our wireless transmission problems once and for all. Imagine an SDR-based cellphone that with one chip does GSM, CDMA, EV-DO, HSDPA, DMB, FLO, DVB-T, Bluetooth, WiFi, WiMax, etc. It's not impossible, you know. In fact, according to Blosson and Ettus, it's apparently quite easy.

From Tom Roe

Seton Hall University calls their legal station "Pirate Radio," though it is not, just a metal-loving college radio station. The station's faculty director may have been the only one "pirating" anything at WSOU, The New Jersey Star-Ledger reports.

WSOU (89.5-FM) faculty director Michael Collazo was charged last Thursday with money laundering and theft by deception by the Essex County Prosecutor's Office. In all, he took $550,000 in advertising fees, and sub-carrier rights, Jonathan Casiano's story reports.

Collazo allegedly set up a corporation, Warren Sound Options Unlimited, so that when advertisers wrote checks to WSOU he could cash them. More shockingly, he leased Seton Hall's subfrequencies to Radio Verité, a station serving the Haitian community, and EIES of NJ, which provides radio programming for the blind, and pocketed the money.

Subsidiary Communications Authorization or SCA radio are frequencies attached to FM signals which cannot be heard without special receivers. They are common for reading services for the blind and Muzak, but lately former Haitian microcasters in Brooklyn have been leasing signals after getting busted by the FCC for using traditional FM signals without a license.

Shocking as the theft at the Jersey station may be, it is just a trickle compared to some of the overt payola recently uncovered throughout the radio industry.

Call for Submissions

Foldback Sound Festival August 2006


Curators: Matt Lewis, Tom Richards, Sebastian Lexer
3rd July deadline for all submissions

Foldback will be a three day festival held at Reception Space (Cremer St, Shoreditch. www.receptionspace.org receptionspace@gmail.com) from the 3rd to the 5th of August 2006 with an affiliated sound show to be held at Meals and SUVs Gallery in Dalston. www.mealsandsuvs .co.uk

The main objectives are to bring together a diverse cross section of sound practitioners to meet, compare notes and present new and existing work in a loosely categorised framework. The event will provide a platform for education, new collaborations, and a celebration of many types of sound based creativity.

The Event will be split in to five sections as follows:

Thurs 3rd August- Soundtrack First
An evening focusing on the relationship between sound/music and moving image. To include performances and screenings that investigate the dynamic between what we see and what we hear in film and video, looking at soundtracks, foley, music video, broadcasts and more.
Submissions are welcome from musicians, sound artists, visual artists and film makers working in any genre. Proposals might be for works using found material, improvised soundtracks, remixed or re-scored films or films where the soundtrack provides the starting point for the visual content.

Fri 4th August- New Retro Sound Machines
A day of presentations on new musical instruments, with a special focus on instruments in the acoustic or analogue realm. In the age of laptop musicians and Max Patches- there are still inventors and musicians coming up with fresh sounds with no computers necessary. This will be a chance for them to explain and demonstrate their audio wares, and compare notes on this under-represented world of musical invention. Submissions welcome.



Sat 5th August- Interface.
A day of seminars, demonstrations, and discussion on the theme of audio interfacing. We are looking for new ways of communicating with musical and audio hardware/software. As computers become ever more useful and powerful in the audio world are the means of real time control keeping up? Also where does the human input stop and the machine become creator? We want people creating new ways of talking to computers in order to create sound.

Sat 5th August- Odd Meter
Submissions invited for contemporary music that is not in common 4/4 time. Either submit your own work or suggestions for other composers/producers This event will be the closing party and contributions will be collated and mixed by DJ Yuri Suzuki http://www.affectedmusic.co.uk/ http://www.yurisuzuki.com

Satellite Projects for the duration of the event.
We would be interested in any stand alone audio work to be affiliated with the festival. This could be installation work, audio walks, web based work or anything else you might deem relevant, impress us! These projects will be promoted as part of the festival.


Submission Guidelines


Please state clearly which part of the festival you are interested in.

Audio CD/DVD/weblink Max 15 minutes and or written proposal max 500 words. Plus CV and brief outline of technical requirements.

Post to: Foldback
FAO Tom Richards
1st Floor
295 –297 Haggerston Road
Dalston
London
E8 4EN


Email to: receptionspace@gmail.com

Deadline: 3rd July 2006

AIRtime is the free103point9 artist residency program, located at Wave Farm, in upstate New York. The following projects were chosen for the 2006 AIRtime residency program, by a panel of Galen Joseph-Hunter, Tom Roe, and Gregory Whitehead.



31 Down, METRONOMA (Brooklyn, New York)

31 Down members, Ryan Holsopple, Mirit Tal, Shauna Kelly, Jonathan Valuckas and Shannon Sindelar, will create the video elements for their upcoming project METRONOMA. The work is based on the writings and relationships of H.P Lovecraft and Robert Bloch. The theme of nature is a focus within the piece. 31 Down will use the Airtime residency to venture into the utopian environment of Wave Farm to capture images of this landscape for use in our production.


Stephanie Rothenberg, Zero Hour (Buffalo, New York)

Zero Hour is a radio program and participatory performance that examines how radio and electromagnetic radio waves have been used to disseminate propaganda and implement other forms of “mind control.” The piece, performed by three artists transmitting simultaneously, makes specific reference to communication strategies used for psychological warfare during World War II. Audiences will be provided with customized headgear (a variation of the infamous tinfoil hat) with which to receive the transmissions.


Sophea Lerner (Helsinki, Finland)

During her AIRtime residency, Lerner will refine and develop experimental participatory platforms for distributed hybrid radio production and integration of broadcasts into public space. These developments will be in preparation for a workshop in an Australia-wide live participatory performance scheduled for the Electrofringe Festival in Newcastle NSW taking place September/October 2006. Research conducted during AIRtime will include:

• Refining the design and documentation of very low cost and rugged mic/preamp/transmitter units for outdoor use in relaying a variety of signal types (surface contact, directional, hertzian etc) via micro fm

• Researching and specifiying a number of alternatives for live and asynchronous program contribution via various telephony systems to existing participatory programming database.

• Documetation of flexible modular broadcast platform of ääniradio These activities constitute practical infrastructure for food radio as a model for media participation based on the ideas in a text written for Radio Territories (ed B.Labelle forthcoming)


Karin Bolender, Signal-to-Pink Transmissions (Weyers Cave, Virginia)

Signal-to-Pink Transmissions will be a live performance/installation as part of free103point9’s Radio Festival August 5th. The project will assemble recordings made during Bolendar’s "Can We Sleep in Your Barn Tonight?" MYSTERY TOUR,” an assemblage of artists, musicians, poets, and farm animals gathering in June for a journey in and around the Shenandoah Valley of Virginia for an investigation into what's hidden and endangered in the present Appalachian landscapes. At Radio Festival, Pink, the MYSTERY TOUR's pygmy goat, will roam and graze around the Wave Farm over the course of the event, taking in the sights, sounds, and smells of the place as she broadcasts the recordings and some live-mixed material from a small transmission-wagon. Bolender will use her AIRtime residence for research, preparations, and testing.


Scanner, 24/48 (London, England)

24 Hours of recordings in 48 minutes.

Writes Scanner, “As life accelerates around us all the time, this work will explore an idea of time compression. In auditory interfaces, cassettes, mp3 players, etc. speeding up playback can improve the rate of listening, without significant distortion of the audio. Yet in our lives it seems ever clearer that slowing down can achieve more. In the nineteenth century, rest and relaxation were accepted pleasures. Today, we struggle to allow ourselves the sheer restorative joy of letting go.

In compressing an entire day into a single performance, it’s a playfully suggestive idea of what we miss whilst sleeping, yet drawing attention to the minutiae of every moment.”


Jeff Fedderson, EarthSpeaker (Brooklyn, New York)

EarthSpeaker will be a permanent outdoor sonic installation at free103point9’s Wave. Six or more solar-powered sounding elements, similar to speakers, will be distributed across the grounds, built into the earth. They will use the cavities in the earth as resonating chambers. Drawing inspiration from dusk-active creatures like crickets, bullfrogs and fireflies, the units will absorb and store solar energy during the day, perhaps emitting sparse, intermittent, sounds, just enough to give visitors the sense that something is there. At dusk, the nodes will come alive, emitting a brief, distributed chorus of sound as the sun sets that will continue until the energy each of the nodes has gathered during the day is consumed. Each node will consist of one or more solar panels, an energy storage device, one or more speakers, amplification electronics, and sonic behavior electronics. They will be visually integrated with the landscape and eventually overgrown with vegetation.


Joe Milutis, Radiophonic Paterson (Providence, Rhode Island)

Radiophonic Paterson is an homage to William Carlos Williams’ Paterson. The premise takes the poem not as an artwork, but as a map for the city and new experience, mediated through sound. The poem is notable for its interface between the materiality of the signifier and the intractable materiality of a city: how can the materiality of radio and sound extend William’s meditation into an exploration of Paterson today? Prior to his AIRtime residency, Milutis will complete preliminary research, interviews, and “field recordings.” AIRtime will provide Milutis with focused time and technical resources to mobilze Radiophonic Paterson.


FarmerBart, SOUNDseeds (Troy, New York)

SOUNDseeds is a “green” powered system for gathering sound and data from the environment in order to be harvested and processed through digital sound synthesis. After a designated duration (2-3 weeks) the SOUNDseeds will be collected. Their sounds will be transferred into a software application designed to analyze and re-synthesize the collected data.


LoVid, Cross Current Resonance Transducer (New York, New York)

In 1967, while working on a radio telescope in Cambridge, Jocelyn Bell Burnell detected unusual pulses recorded on the telescope's output tape. Burnell and her colleagues found it difficult to believe that these strange pulses were naturally occurring signals, and began referring to them as LGMs (Little Green Men), suggesting that the signals were indicative of extraterrestrial intelligence. In time it was discovered that the source of the pulses was a rapidly spinning neutron star that sends out regular bursts of radio waves and other electromagnetic radiation. Such stars are now called pulsars. LoVid’s Cross Current Resonance Transducer addresses the processes of interpretation and evaluation that are inherent in human attempts to understand natural phenomena. Inspired by the story of the pulsar's discovery, LoVid is building a system for monitoring, manipulating, and interpreting natural signals including electromagnetic radiation, wind patterns, ambient temperature gradients, and barometric pressure modulations. The project will involve three primary areas of exploration: collecting data, processing and manipulating collected data, and designing and outputting processed data. Cross Current Resonance Transducer is supported, in part, by a NYSCA Individual Artist Grant. Lo
Vid will use thier AIRtime residency to research and experiment with the transmission related components of the project.


Jesse Pearlman Karlsberg, Azariah (Troy, New York)

The Azariah narrative explores prophecy and the power of singing. The story follows a young man named Azariah, who after the “Great Disappointment” (the failure of a prophecy predicting the return of Jesus in 1844), begins to have visions in which he meets strange prophets who speak to him through song. The narrative follows Azariah as he seeks the prophets during increasingly lengthy forest walks. For his MFA Thesis, Karlesberg presented the Azariah story as participatory singing event, molded after a shape note singing convention. Shape note conventions are daylong events featuring impassioned, often raucous, non-stop singing. With no audience, singers face each other in rows of seats arranged in an inward-facing hollow square.

Karlsberg will use his AIRtime residency to concretize his approach to transmission in an Azariah installation by using Wave Farm’s forest setting, transmission equipment, and library holdings to further develop the practical and conceptual details of the project. Writes Karlesberg, “Radio waves, like the prophets' songs that fill the air in Azariah, are all around us, but invisible and inaudible. Like Azariah, a radio receiver can capture those hidden signals and render them audible. I want to exploit this thematic intersection between radio and prophecy by working with radio to create an installation of the Azariah story.”


Matthew Ostrowski (Brooklyn, New York)

During his AIRtime residency, Ostrowski will develop a text-based music-theater work designed specifically for radio broadcast. The content will be non-narrative and utilize computer-generated voices to explore:

• Language that describes objects
• Language that describes scenes or activities
• Language that describes mental states

The use of computer-generated voices will exploit the tension and ambiguity around the idea of “a character,” and the idea of words and images generated by a “speaker” with a motive for using those words.

from Tom Roe:

Iowa microcaster "Power Hits 103.3-FM" continues its brazen, in-your-face challenge to the Federal Communication Commission's authority, arguing that Federal law allows emergency broadcasts in "times of war."

Rita Pearson in Quad Cities Online (see link, above), interviews the micro station's founders, Matthew Britcher, 28, and Jason Duncan, 26, who have already received a warning letter from the FCC, and are photographed in this latest story. They are running an open, mid-'90s-style campaign largely fueled by positive public opinion.

They are basing their time-of-war argument on title 47 part 73 section 3542 of the Code of Federal Regulations that says: "Authority may be granted, on a temporary basis, in extraordinary circumstances requiring emergency operation to serve the public interest. such situations include: emergencies involving danger to life and property; a national emergency proclaimed by the President or the Congress of the U.S.A and; the continuance of any war in which the United States is engaged, and where such action is necessary for the national defense or security or otherwise in furtherance of the war effort."

Britcher and Duncan are also making First Amendment arguments to stay on the air, and have hired an attorney, Arshia Javaherian of Rock Island. He describes the station's legal situation as "somewhat touch and go" as the duo await a response from the FCC. "They claim there is room on the public spectrum for broadcasting of their station, and that the denial of more broadcasting stations in the Illinois/Iowa Quad-Cities area is an infringement of their First Amendment rights," Mr. Javaherian wrote to the FCC.

The time-of-war or disaster argument has been made before (recently in New Orleans), but has never played out in court, which is where Britcher and Duncan would like to see it head. Preferably with a jury. The FCC won't let that happen, not after Stephen Dunifer spawned several thousand stations when a judge restrained the government from taking action against Free Radio Berkeley for 18 months. A judge will probably end up deciding this one too, and the Quad Cities are not Berkeley. So good luck there, fellas.

In the meantime, overt acts such as this "Power Hits" station may inspire a dozen or so others to take similar stands, and help show the need to pass the improved LPFM bill that is now stuck in Congress. Both the House and Senate Commerce Committees have passed measures to allow several hundred more LPFM stations around the country (after the National Association of Broadcasters interference complaints were debunked as blatantly false). If these bills do not create more community radio stations throughout this country, then there surely will be more civil disobedience on the airwaves.

Unfortunately, that's usually followed by a police state-style crackdown.

Read the full, not very well-written, story about the Iowa microcasters here:
http://qconline.com/archives/qco/sections.cgi?prcss=display&id=290082