(Early prototype for Jeff Feddersen's "EarthSpeaker," pictured at left at Wave Farm.)

The Wave Farm Transmission Sculpture Garden provides a unique opportunity for artists to conceive of and realize a long-term outdoor transmission-based installation open to the public in a retreat-like rural setting. Artists are invited to submit proposals for sculptural works that incorporate the transmission spectrum in concept or practice. Artists are encouraged to consider recycled materials in their work and utilize renewable energy sources (if power is required). Works will be installed within the 15-acre evergreen forest, situated throughout already the established walking paths, at Wave Farm.

Coinciding with free103point9's tenth anniversary celebration, free103point9's Transmission Sculpture Garden will open summer 2007, with inaugural installations by Jeff Feddersen and Matt Bua.


Jeff Feddersen: EarthSpeaker
EarthSpeaker is an installation of multiple units of an outdoor sonic sculpture. Each unit is a large, solar-powered, electro-acoustic speaker, which absorbs sunlight during the day and emits low frequency sounds at dusk.


Matt Bua: Sing Sun - Room
Sing Sun - Room is a customized extension built onto an existing mobile home located on the Wave Farm property. This gazebo-like structure harnesses natural elements
(wind, water, and solar) to create a site-specific installation where live-sound is composed based on the surrounding environmental conditions.


CALL FOR SUBMISSIONS

Artists are invited to submit proposals for the free103point9 Wave Farm Transmission Sculpture Garden.

This is a two-part application process. Projects selected in Part I will be invited to submit a second comprehensive proposal that includes detailed installation schematics and an itemized budget. The review panel will be comprised of members of free103point9's staff and Advisory Board of distinguished artists, critics, and curators. The deadline for submissions is rolling.

Submission Guidelines (Part I):

Artists are encouraged to visit Wave Farm before submitting a proposal. Visit free103point9 Wave Farm (www.wavefarm.org) for dates and details about upcoming events.

Artist Name:

Artist Contact Information:

Artist Resume / CV:

Artist Statement:
Please describe your artistic practice in a brief statement not exceeding 300 words.

Preliminary Project Description:
Please describe your proposed project in a brief statement not exceeding 500 words. Proposals selected by the review panel will be invited to submit a comprehensive proposal in order to assess feasibility based on installation schematics
and program funding.

Past Project Work Samples:
Please include work samples relating to two or three past projects. Work samples should be submitted in electronic formats including jpegs, PDFs, QuickTime, MP3s, etc. Please do NOT submit slides.

Submission Address:
info@free103point9.org (subject: Transmission Sculpture Garden Proposal: Artist Name)
or
free103point9 Wave Farm
Transmission Sculpture Garden Proposals
5662 Route 23
Acra, NY 12405

The free103point9 Wave Farm Sculpture Garden is supported, in part, by The Andy Warhol Foundation for the Visual Arts, the Individual Artists and Electronic Media and Film Programs of the New York State Council on the Arts, a state agency; and the
Greene County Legislature through the County Initiative Program, administered in Greene County by the Greene County Council on the Arts.

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

From Daniel McSwain in Radio and Internet Newsletter:

The Copyright Royalty Board (CRB) has announced its decision on Internet radio royalty rates, rejecting all of the arguments made by Webcasters and instead adopting the "per play" rate proposal put forth by SoundExchange(a digital music fee collection body created by the RIAA). RAIN has learned the rates that the Board has decided on, effective retroactively through the beginning of 2006. They are as follows:
2006
$.0008 per performance
2007
$.0011 per performance
2008
$.0014 per performance
2009
$.0018 per performance
2010
$.0019 per performance

A "performance" is defined as the streaming of one song to one listener; thus a station that has an average audience of 500 listeners racks up 500 "performances" for each song it plays. The minimum fee is $500 per channel per year. There is no clear definition of what a 'channel' is for services that make up individualized playlists for listeners. For noncommercial webcasters, the fee will be $500 per channel, for up to 159,140 ATH (aggregate tuning hours) per month. They would pay the commercial rate for all transmissions above that number.

Participants are granted a 15 day period wherein they have the opportunity to ask the CRB for a re-hearing. Within 60 days of the final determination, the decision is supposed to be published in the Federal Register, along with any technical corrections that the Board may wish to make. Within 30 days of publication in the Federal Register, it can be appealed (but only by the participants) to the U.S. Court of Appeals of the District of Columbia.

Via the Danger Room blog of Wired, a company is creating a radio frequency device that disorients anyone it is aimed at, and apparently can cause vomiting.

"Invocon, Inc. proposes to investigate the use of beamed RF [radio frequency] energy to excite and interrupt the normal process of human hearing and equilibrium. The focus will be in two areas. (1) Interruption of the mechanical transduction process by which sound and position (relative to gravity) are converted to messages that are processed by the brain. (2) Interruption of the chemical engine which sustains the proper operation of the nerve cells that respond to the mechanical transduction mechanisms referenced in item (1). Interruption of either or both of these processes has been clinically shown to produce complete disorientation and confusion....

The benefits of such a weapon would be that in areas of extreme risk to Marine Corps personnel, hostiles could be controlled without loss of life. The weapon effect would be helpful in urban combat where rooms could be subjected to the EPIC stimulus and then subdued without further risk to friendlies or hostiles. Similar technology could be applied to law enforcement operations especially in hostage situations where all the people in a room could be incapacitated without damage and subsequently sorted out as to which are the bad guys and which are the good guys."

Call for Submissions
Subliminal Statements 2: the Interior World
The Newsletter of the Society for a Subliminal State

Due April 15, 2007

Submit your articles on the interior world to the second issue of Subliminal Statements. Details follow.

THEME

The earth is hollow! It's surface is riddled with paths to the inside! We want your articles on the interior world!

An interior world lies beneath the earth's crust. Centuries of industrial mining have etched labyrinthine shafts and caverns throughout the world. Beneath it are vast cave systems, replete with underground rivers, seas, and waterfalls, where unique plant and animal life thrive.

Still deeper, the earth is hollow. A differentiated body, its interior is molten: a permeable liquid mantle encircled by a comparatively thin solid husk. At the inner edge of the earth's solid shell, crystals sublimate, mingling with pockets of pressurized gas - heated and vibrant with the light of the molten interior.

For centuries, scientists, explorers, and writers have held that this fiery core is a small, inner sun, and that the inner edge of this shell of an earth is a balmy land with a surface area greater than that of the earth's outer surface. This land, inhabited by a varied plant and animal life features seas and continents. Its geography, anthropology, and physics are the subject of hundreds of books published since the late 17th century.

Other writers theorize concentric spheres within the earth, lit and heated by a luminous substance that adheres to the outer earth's inner surface. These spheres, also populated by abundant life are accessible through wide holes at the earth's poles, where the polar ice caps give way to temperate polar seas.

The second issue of Subliminal Statements will document this interior world.
We want your evidence.

FORMAT

Subliminal Statements is printed on one sheet of 11 by 17 inch paper (front and back). The newsletter is printed in a newspaper format. Accordingly we will accept articles and essays written in a style befitting a newspaper: written as though reported, brief editorials, etc. Due to the scientific nature of the issue's theme, we are also accepting submissions in the form of scientific papers, charts, or other data-heavy examinations of the theme.

Photos, drawings, illustrations, or other images should accompany text submissions only, and must be able to be printed in black and white.

SUBMISSION DETAILS

Text submissions should be a maximum of 1500 words, though we will accept excerpts of longer documents, and article to be published serially (please contact us if you are interested in writing a serial article for Subliminal Statements). There is no minimum length. In fact, the shorter, the better.

Submit your text as .rtf, .txt, or .doc files, your data as .xls, or .csv files, and your images as .png, .tiff, .jpeg, or .gif (8 MB max).

E-mail your submissions to subhist@subliminalstate.org with the subject line: Subliminal Statements 3 Submission.

Your submissions must be received by midnight on April 15, 2007.

If accepted, your submissions will be published in the second issue of the Society for a Subliminal State Newsletter, a newspaper-style compact format print publication, and on the Society's web site. The print version will be distributed for free to bookstores, art events, and historical centers in New York and Massachusetts. It may be downloaded and copied for wider distribution.

ABOUT THE SOCIETY

The Society for a Subliminal State is a fledgling organization started by Carrie Dashow and Jesse Pearlman Karlsberg. The Society for a Subliminal State agitates against the exclusive use of empirical evidence in the search for truth. It is an organization that believes there are many different types of digging that to be productively undertaken. The Society for a Subliminal State mirrors the form of a traditional historical society, contributing to the public discourse through a quarterly newsletter and a website. Subliminal Statements accepts articles on topics avoided by publications that advocate fact checking. The Society grounds itself in the belief that truth is deeper than proof, and holds that if you see it three times then that too may be the path to truth.

Visit the society's web site at http://www.subliminalstate.org/

free103point9 Online Radio
March 2007 Top 40

1. Parts & Labor, Escapers One (Broklyn Beats)
2. (), "Autecicadas/ocean_db_crash_nue" 7" (Parentheismusic.com)
3. Mouthus, For the Great Slave Lakes (Threelobed)
4. The Dust Dive Flash, Tens of Thousands (free103point9 Audio Dispatch 029)
5. Total Life, "A Thousand Lights/Peaks" 12" (Animal Disguise)
6. Jonas Braasch, Global Reflections (Deep Listening)
7. Meri von Kleinsmid, Ex Vivo (Mimeograph)
8. Gay Bomb/Ironing split LP (Hymn)
9. Drop the Lime, Sky City Rising (Broklyn Beats)
10. mirror/dash, "i can't be bought" (Threelobed)
11. Various artists, Less Self is More Self: A Benefit for Tarantula Hill (Ecstatic Peace)
Includes LoVid, Chris Corsano, Burning Star Core, Lee Renaldo, Talibam!, Maria Chavez, Mark Morgan, To Live and Shave in L.A., Mouthus, Nautical Almanac + Leslie Keffer, and others.
12. Ignaz Schick + Jorg Maria Zeger + Burkhard Beins with Keith Rowe and with Charlwmagne Palestine, Perlonex Tensions (Nexsound)
13. Andy Graydon, At Bay (Winds Measure)
14. Compiled by TJ Norris, triMIX: TribrydInstallation Soundtracks Deconstructed (Innova)
With Scanner, Beequeen, Humectant Interruption, M. Behrens, Asmus Tietchens, Nobukazu Takemura, Illusion of Safety, and others.
15. Pauline Oliveros, Lion's Eye/Lion's Tale (Deep Listening)
16. Phantom Limb & Tetuzi Akiyama, Hot Ginger (Archive)
Recorded June, 2006 at free103point9 Project Space in Brooklyn.
17. Mike Tamburo and His Orchestra, Ghosts of Marumbey (New American Folk Hero)
18. Kotra & Zavoloka, Wag the Swing (Kvitnu.com)
19. Eloe Omoe, marauders (Animal Disguise)
20. Wether, Skin Atonement (Hymn)
21. Tor Lundvall, Empty City (Strange Fortune)
22. Anna Friz, Vacant City Radio (self)
23. Edmund Mooney, Happy Trails (self)
24. Layne Garrett, The Lost Spaces Reconstructed (sockets)
25. Gratkowski + Fox + Menestres + Davis, ORM (Umbrella Recordings)
26. Sixes, Cursed Beast (enterruption)
27. Vertonen, Stations (CIP)
28. Eric Carbonara, Seven Pieces for Solo Guitar (Nada Sound Studio)
29. Dave Krejci, The Cleophone (New American Folk Hero)
30. Francois Houle, Aerials (Drip Audio)
31. Egghatcher, Accidents (New American Folk Hero)
32. Various artists, Ghos Busters III (Record Label Records)
Features Fluorescent Grey, Sote, Tomoroh Hidari, and others.
33. Robert Horton, Expotition (New American Folk Hero)
34. FFFFs, I Can Hear Summer Coming (Sockets)
35. Various artists, The Art of the Virtual Rhythmicon (Innova)
With Jeff Feddersen, Matthew Burtner, Janek Schaefer, Annie Gosfield, and others.
36. Jesse Zubot, Dimensia (Drip Audio)
37. Fond of Tigers, A Thing to Live With (Drip Audio)
38. The Caution Curves, a little hungry (Sockets)
39. Caustic Castle, Caustic Castle mini-CD (804noise)
40. carsick, carsick (Drip Audio)

From Media Network Weblog:

Trudy Stevenson, the Member of Parliament for Harare North, was ejected from Parliament yesterday for attempting to defend the freedom of the airwaves in Zimbabwe after she heckled a deputy minister in the 150-member House on the issue. Stevenson was responding to an answer given by information deputy minister, Bright Matonga, on why the Zimbabwe government is jamming independent radio stations such as SW Radio Africa, Studio 7 and Radio Voice of the People.

Matonga had been asked to clarify the government’s position on independent radio stations and why the government was using ruthless means to ensure listeners were deprived of news. The question was not on the order paper. Matonga gloated he was glad that the opposition MDC had noted his government had the power to jam broadcasts of “propaganda” against the State from outside the country and confirmed they indeed were jamming those broadcasts. He said he was also pleased that listeners, mainly those in the rural areas that do not even receive the local FM stations were no longer receiving the independent radio station broadcasts as their frequencies were being disturbed by government agents.

A desk within the Central Intelligence Organisation (CIO) has been set up to deal specifically with the jamming of the three radio stations’ frequencies. Matonga told Parliament the Zimbabwe government was right to block the radio stations from reaching people in Zimbabwe, adding the UK did not receive broadcasts from foreign countries.

“We cannot allow foreigners to invade our airwaves without our authority. We will continue to do it. We need to protect our sovereignty. If you go to England you will not receive any foreign radio station,” said Matonga. At this, Stevenson heckled Matonga saying loudly that his statement was incorrect. To the contrary, the UK received thousands of foreign stations broadcasting into the country everyday.

Many more heckles were exchanged across the floor, forcing acting Speaker, Kumbirai Kangai, to order Stevenson out of the chamber. (Source: Association of Zimbabwe Journalists)

Westminster Papers in Communication and Culture call for papers. The growing interest in community media research and practice in the last decade has been reflected by the increase in academic publications and in the number of broadcasting stations. Both scholars and practitioners have emphasized the role of community broadcasting as either an alternative or complementary sector to public and commercial stations and as a tool for enacting citizenship on a daily basis, ‘giving voice to the voiceless’, empowering marginalised groups and regenerating communities.

At the same time, technological changes in production processes, a wider availability of affordable digital technologies and a growing use of internet as a platform for broadcasting, have permitted an exponential increase in the numbers of web-based broadcasters, communicative tools for communities of interest and the exchange of content among radio stations across the world, often linking local issues to wider global social and political concerns.

Nevertheless, the influence of mainstream broadcasters on media policymaking and regulation, coupled with the organisational challenges often faced by community groups and their representative bodies, have often resulted in legislation that still limits the communicative potential of community radio and its contribution to social change, access, participation and representation in the media.

WPCC is looking for original, research-based papers that will contribute to broaden the theoretical and empirical perspectives in community radio from a range of disciplinary approaches. Approaches in Media, Communication and Cultural Studies, as well as in the wider fields of the humanities, social and applied sciences.

WPCC welcomes analyses of local, regional and national case studies, and international comparative research, as well as contributions on policy-making and regulation for community radio. Possible topics include, but are not limited to:

- Media Theory, Radio Theory and Community Radio;
- Community Radio as a tool for encouraging democratic participation and activism and access to local public spheres.
- Community Radio as a tool for development and social change; for promoting and preserving local identities and local cultures; giving voice to ethnic minorities, diasporic groups and refugees; and regenerating communities;
- International/ National Policy and Regulation of Community Radio;
- Community Radio organization, decisional processes and democratic structures;
- Audience and reception studies;
- Transnational networks, infrastructures and institutions developing community radio practices;
- Community radio and media literacy;
- University, College, School and Student Radio

Applicants may submit abstracts of no more than 200 words to the Issue’s Editor Salvatore Scifo at scifos@westminster. ac.uk The deadline for the submission of abstracts is Friday 1st June 2007. Submission of articles will be by Wednesday 31st October 2007.

Further information, as well as previous issues of WPCC, can be downloaded by visiting the journal’s website at:
http://www.wmin. ac.uk/mad/ page-880

From KPIX-TV San Francisco:

A small unlicensed radio station's challenge to the seizure of its equipment by federal officials in 2003 was rejected by a U.S. appeals court in San Francisco Wednesday.

San Francisco Liberation Radio was shut down when agents of the Federal Communications Commission raided its studio in a home in the city in October 2003 and seized its equipment without notice.

The unlicensed station had been operating on 100 watts of power for 11 years. Since then, the station has been broadcasting via streaming on the Internet. The group challenged the seizure, arguing that it had constitutional rights to notice and a hearing before its equipment was confiscated. Its appeal was based on the First Amendment right of free speech and the Fifth Amendment protection against unreasonable seizures.

But a three-judge panel of the 9th U.S. Circuit Court of Appeals said those rights didn't apply because the unlicensed broadcasting was illegal. The court said, "Neither broadcasters nor listeners have a First Amendment right to engage in or listen to unlicensed broadcasts." The court also said the U.S. Supreme Court has ruled that notice and hearings before a seizure are not needed if the action serves an important government interest and is carried out by government officials. The station's lawyer, Mark Vermeulen, of San Francisco, was not immediately available for comment.

From Associated Press via Seattle Post-Intelligencer:

For many suburbanites, life without garage door openers is unimaginable. But neighbors of the Marine base here have been reduced to just that after a strong radio signal coming from the facility began neutralizing remote-control openers.

Residents have had to spend hundreds of dollars on new systems. "I feel there should be some kind of compensation," said Queen Carroll, who is in her early 70s and was forced to buy a new receiver and remote. "I am a struggling widow, if you will, and I praise the Lord I'm still here, but I am on a budget. When things like this come up totally unexpected, it is very upsetting."

Repair shops started getting a flurry of calls when the base began using the frequency in late December. Last fall, residents around an Air Force facility in Colorado Springs saw their garage-door remotes stop working when the 21st Space Wing began testing a frequency for use during homeland security emergencies or threats. Two years ago, testing of a similar system in Fort Detrick in Maryland resulted in similar problems.

For decades, the military has held a portion of the radio spectrum, from 138 to 450 megahertz, in reserve. That part was borrowed by remote-control manufacturers, with the understanding that the signal be weak enough to be overridden by the military.

The reserve frequencies became active after the Sept. 11, 2001, attacks, when officials discovered that first responders could not communicate with one another because they were operating radios on different frequencies. The Defense Department is using the mothballed frequencies in a system that eventually will link military and civilian emergency responders. "Consumer wireless devices, such as garage door openers, operate on an unlicensed basis, meaning they are required to accept any interference from licensed spectrum users, including the Department of Defense," said Lt. Brian P. Donnelly, a spokesman for the Quantico base.

The guidelines and application for the 2007 ESS Artists Residency Program in Chicago are available online at http://www.exsost.org/essresidency.htm. Applications cannot be made online, they must be mailed to us with the complete proposal (please see guidelines).

Experimental Sound Studio (ESS) will offer four 30- to 40-hour residencies through the 2007 Artists Residency Program (ARP). These will be scheduled between June 1 and December 21, 2007. At least three of the residencies are for Chicago area artists, and, for the first time, one residency will be open to non-Chicago US artists. Each residency includes access to the ESS recording facilities with engineering assistance. The ESS recording facilities include: one 600-sq-ft live recording studio with 16-track ProTools system, baby grand piano, isolation booth; one soundtrack, mixing, and mastering studio with ProTools and MAX-MSP/Jitter; multi-channel playback and sync-to-image capabilities; various digital and analog processors and recorders.

The purpose of the ARP is to facilitate the production of finished works that will be presented to the public, so please propose only projects that can be completed within the allotted time frame. The ESS ARP residencies are for working artists with a demonstrable commitment to ongoing cultural practice. In addition to assisting artists with an established practice involving sound — composers, audio artists, musicians, sound designers, radio producers, etc. — one aim of the ARP is to help artists with limited experience in sound to locate and work with sonic artists. To this end, ESS will assist in locating an appropriate local artist to work with any selected “non-sonic” artist if they request it. Application deadline: April 2, 2007.

By Tom Roe

The New York Radio Guide is reporting the FCC has sent three Brooklyn "pirate" microcasters "Notices of Unlicensed Operation," the first step in the agency's slow enforcement process. "The broadcasters are James Narcisse of 625 Rugby Road in Flatbush, Joseph Maynard of 728 East New York Avenue in Crown Heights, and Vincent Alston of 308 Sterling Street in Crown Heights. The FCC`s efforts notwithstanding, the airwaves in Brooklyn continue to be saturated with the signals of dozens of pirate broadcasters," according to NYRG.

The New York Radio Message Board contains posts reporting dozens of other stations including, "88.1, 89.3, 90.1, 90.5, 90.9 and 94.5...94.3, 95.1, 95.9, 96.7, 97.5, 99.9, 100.7, 101.5, 102.3, 103.1, 103.9, 104.7, 105.5, 106.3, 107.1, and 107.9." The 94.3-FM station is supposedly called "My Radio Live," WHUT 91.9 is the long-runnning powerful hip hop station on evenings, and a Jewish pirate in Canarsie is on 104.9-FM, according to NYRMB posts. Also, Haitian pirates often use 87.9-FM.

From Pink Tentacle:

RFID keeps getting smaller. On February 13, Hitachi unveiled a tiny, new “powder” type RFID chip measuring 0.05 x 0.05 mm — the smallest yet — which they aim to begin marketing in 2 to 3 years. By relying on semiconductor miniaturization technology and using electron beams to write data on the chip substrates, Hitachi was able to create RFID chips 64 times smaller than their currently available 0.4 x 0.4 mm mu-chips. Like mu-chips, which have been used as an anti-counterfeit measure in admission tickets, the new chips have a 128-bit ROM for storing a unique 38-digit ID number. The new chips are also 9 times smaller than the prototype chips Hitachi unveiled last year, which measure 0.15 x 0.15 mm. At 5 microns thick, the RFID chips can more easily be embedded in sheets of paper, meaning they can be used in paper currency, gift certificates and identification. But since existing tags are already small enough to embed in paper, it leads one to wonder what new applications the developers have in mind.

From San Francisco Liberation Radio:

Finally after three years of waiting SFLR will have it's day in the Ninth Circuit. This is where we could actually do some change. Everyone who can should come on down to see the deftness of our fantastic legal team.

SFLR vs. FCC: Head to head, oral arguments!
February 14, 2007, 9:30 a.m. PST (-8 GMT), Booth Auditorium at UC Berkeley School of Law (Boalt Hall, located on Bancroft Way at College Ave. /
http://www.berkeley.edu/map/maps/DE67.html )

The Ninth Circuit Court of Appeals will hear oral argument from lawyers representing long time media activist San Francisco Liberation Radio. SFLR was raided in October, 2003 when federal marshals, SFPD and FCC agents stormed into the home where the station was located, with guns drawn, and seized SFLR's broadcasting equipment in order to prevent SFLR from broadcasting.SFLR will argue (through its counsel, Mark Vermeulen, and other pro bono lawyers from the National Lawyers Guild) that the federal government violated the station's and its listeners' First Amendment rights when it obtained the warrant for the raid and the seizure of the equipment through a back-door, ex parte procedure. In civil seizure cases (as opposed to criminal cases), fair notice and a hearing before a judge typically must take place before any raid can go forward. This is especially true where First Amendment free speech rights are involved. However, here, the US Government here utilized a maritime law to conduct the raid without giving advance notice to the station, arguing that a radio station is like a ship that may sail away in the night.

The station, with a volunteer staff of nearly 60 people, was located in a house firmly rooted upon land and posed no danger of trying to escape, nor was it interfering with any other station's broadcasts. It had been broadcasting at 100 watts in San Francisco for 11 years and had been in consistent contact with the FCC regarding licensing matters. The Court will decide whether the government has the right to obtain from the District Court an ex parte order to raid a radio station, and seize the equipment even where as in our case, our lawyer had explicitly requested notice if such action was contemplated. This hearing is the next step in three years of legal proceedings in this case, and may well effect how the rights of others challenging FCC regulations are observed (or not) in the future.

Unbelievably, Sen. Harry Reid of Nevada has somehow turned a pirate radio station into a legal low-power FM station, even though the Federal Communications Commission is not currently entertaining any applications for new LPFMs.

From the Pahrump Valley Times:

GOLDFIELD -- Chalk one up for the little guy in a battle against the federal bureaucracy. Rod Moses, owner of Radio Goldfield Broadcast Inc., was given special temporary authority to go back on the air with his low-power radio station in a Jan. 29 letter from the Federal Communications Commission.

Moses said it may be a couple of weeks yet before he hoists the 90-foot radio tower which will permit him to broadcast at 100 watts, enough to penetrate parts of Tonopah and maybe as far south as Lida Junction. The frequency this time, however, will be 106.3 FM instead of the former 100.3 FM. Moses credited Sen. Harry Reid, D-Nev., with pressuring the FCC.

FCC enforcement agents came to Moses' trailer, which also houses his radio station, June 9, 2006, and shut him down for operating without a license. They based the action on a complaint filed with the agency. Moses had been running Radio Goldfield since March 2005, broadcasting community news as well as oldies from an MP3 player. However, he was informed by the FCC that the period to apply for a low-wattage FM radio station license had expired. "In support of the request, RGB states that the station provides current road conditions, information on local law enforcement and public safety," states the letter from James Bradshaw, FCC deputy chief of the Audio Division Media Bureau.

The letter cites Section 309(f) of the Communications Act of 1934, which authorizes the commission to grant the temporary allowance in cases of "extraordinary circumstances requiring temporary authorizations in the public interest." A letter from Sen. Reid dated Sept. 1, 2006, to FCC chairman Kevin Martin states that Radio Goldfield made significant public interest contributions to the Goldfield community. "Radio Goldfield programming brought regular weather reports to this high-desert area of Nevada, where conditions can abruptly change in often times dramatic ways," Reid's letter states.

Reid added, "Radio Goldfield programming also included timely and reliable information on law enforcement, public safety and school activities that helped the residents of Goldfield stay informed and engaged in their community. Moreover the station broadcasted Sunday religious services that were listened to faithfully by those living too far from a place of worship or those simply too feeble to make a weekly journey there practicable." Moses said letters protesting the shutdown were sent to all the members of the Nevada congressional delegation, but all of them, except Reid, declined to take action after receiving a letter from the FCC stating that Moses was operating illegally. The FCC threatened a $10,000 fine.

Moses, a radio broadcaster for 40 years originally from Fresno, Calif., also circulated a petition around Goldfield that compiled 180 signatures requesting the station be kept open. But Moses said his compliance with the FCC agents helped him when it came time to restart the station. "We shut down immediately and that was the key to the whole licensing issue, is that when the FCC comes out you have 24 hours to shut down or you'll never get one (license)," Moses said. He told the agents, "It'll be off (the air) by the time you get to your car."

Reid, himself coming from another small town, Searchlight, sympathized with him, Moses said. Moses also credited Esmeralda County Commissioner R.J. Gillum and local Goldfield activist Virginia Ridgeway with helping his cause. Moses said a friend who used to run a 50,000-watt radio station in California informed him that because of his protest, other hopeful radio station operators are bringing up a resolution to ask the FCC to offer low-power FM licenses again. "What they do is, they paint it with a broad brush because of the metro areas," Moses said. "We'll probably operate under an STA until they reopen the filing period for low-power FM. There's thousands of stations and thousands of towns in the country that are like Goldfield. They have little or no stations around them. They (the FCC) finally discovered through us they messed up." Another low-power radio station operates out of Tonopah at 92.7 FM with no commercial interruptions, not even station identification, but a limited music selection.

free103point9 Online Radio
February 2007 Top 40

1. The Dust Dive Flash, Tens of Thousands (free103point9 Audio Dispatch 029)
2. Parts & Labor, Escapers One (Broklyn Beats)
3. (), "Autecicadas/ocean_db_crash_nue" 7" (Parentheismusic.com)
4. Ignaz Schick + Jorg Maria Zeger + Burkhard Beins with Keith Rowe and with Charlwmagne Palestine, Perlonex Tensions (Nexsound)
5. Eloe Omoe, marauders (Animal Disguise)
6. Mouthus, For the Great Slave Lakes (Threelobed)
7. Sixes, Cursed Beast (enterruption)
8. Jonas Braasch, Global Reflections (Deep Listening)
9. Phantom Limb & Tetuzi Akiyama, Hot Ginger (Archive)
Recorded June, 2006 at free103point9 Project Space in Brooklyn.
10. Pauline Oliveros, Lion's Eye/Lion's Tale (Deep Listening)
11. mirror/dash, "i can't be bought" (Threelobed)
12. FFFFs, I Can Hear Summer Coming (Sockets)
13. Gratkowski + Fox + Menestres + Davis, ORM (Umbrella Recordings)
14. Compiled by TJ Norris, triMIX: TribrydInstallation Soundtracks Deconstructed (Innova)
With Scanner, Beequeen, Humectant Interruption, M. Behrens, Asmus Tietchens, Nobukazu Takemura, Illusion of Safety, and others.
15. Vertonen, Stations (CIP)
16. Drop the Lime, Sky City Rising (Broklyn Beats)
17. Kotra & Zavoloka, Wag the Swing (Kvitnu.com)
18. Various artists, Less Self is More Self: A Benefit for Tarantula Hill (Ecstatic Peace)
Includes LoVid, Chris Corsano, Burning Star Core, Lee Renaldo, Talibam!, Maria Chavez, Mark Morgan, To Live and Shave in L.A., Mouthus, Nautical Almanac + Leslie Keffer, and others.
19. Viki, compilation (Animal Disguise)
20. Edmund Mooney, Happy Trails (self)
21. Caustic Castle, Caustic Castle mini-CD (804noise)
22. The Caution Curves, a little hungry (Sockets)
23. North Guinea Hills, North Guinea Hills et. al. (self)
With Patrick McCarthy, Michael Garafalo, Laura Harrison, Sean Smith, and others.
24. Meri von Kleinsmid, Ex Vivo (Mimeograph)
25. Others, What About My Baby Kitty? (set projects)
26. Anna Friz, Vacant City Radio (self)
27. Jesse Zubot, Dimensia (Drip Audio)
28. Various artists, The Art of the Virtual Rhythmicon (Innova)
With Jeff Feddersen, Matthew Burtner, Janek Schaefer, Annie Gosfield, and others.
29. Tor Lundvall, Empty City (Strange Fortune)
30. Layne Garrett, The Lost Spaces Reconstructed (sockets)
31. Francois Houle, Aerials (Drip Audio)
32. carsick, carsick (Drip Audio)
33. Fond of Tigers, A Thing to Live With (Drip Audio)
34. ZZ Pot & Dr. Ninja, ZZ Pot & Dr. Ninja (retardriot.com)
35. Todd Merrell, Neptune (Dreamland Recordings)
36. Giancarlo Bracchi, Universal Soul Adaptor (self)
37. DJ Slip, She's a Time Traveller (Broklyn Beats)
38. ben owen, radio in (Winds Measure Recordings)
39. Leafy Green, songs (Lattajjaa)
40. Dave Burrell, Momentum (High Two)

The Experimental Television Center is pleased to announce Finishing Funds 2007.

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

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

Postmark Deadline: March 15, 2007

Guidelines and applications are available on the web at http://www.experimentaltvcenter.org/ in the ETC News Section and the Grants area or by mail or email.

Open Call for Project Proposals
Deadline: March 1, 2007, 11:59 p.m. ET

Art in General commissions challenging new work to visual artists. With a yearly open call and a simple online application process, Art in General invites artists in the New York City area to propose projects in any medium or form—from painting to sculpture to performance to video to other, perhaps undefined, type of art or interdisciplinary work. This open call is for artists with studio or post-studio practice. It has no thematic or spatial parameters. Artists can choose to present a project proposal based on long-standing or emerging interests. To read the open call guidelines and send a proposal, go to: http://commissions.artingeneral.org, and to learn about Art in General and the newly commissioned art projects, visit the gallery or go to: www.artingeneral.org.
Mark your calendar:
Getting it Online
Saturday, February 17, 12- 6pm
Art in General provides computers and slide scanners, as well as technical support for those filling out Art in General’s online application for the new commissions program.

Open Call Deadline
Thursday, March 1, 2007, 11:59 p.m. ET

The CDMC and Radio Clásica (RNE) are undertaking a collaboration to encourage the production of radio creations in order to promote this type of works. Within this line, a contest of ideas is called subject to the following
RULES
1
The works will necessarily be pieces of radiophonic creation, that is to say, whose most suitable means of production and diffusion is the radio. The works will not have been previously awarded nor emitted.
2
Words, noises, music, electronic or radiophonic editings and other similar elements may be the base of the work.
3
The project may be in Spanish only or in several languages but in this case Spanish should be the main language. The use of language or voice may also be omitted.
4
To enter the contest it will not be possible to send accomplished works, but mere projects: a written description of the work and of the elements that it will require, some excerpts as a model in cassette, CD or DAT, scores or fragments of these, acoustical materials, etc. Any form or presentation will be admitted, provided that it makes possible to the Jury to appreciate the interest of the projected idea.
5
There is no age nor citizenship limit.
6
The deliveries should be made on before April 15th, 2007 by any of the procedures allowed by the Administrative Procedure Act; such as registered mail, (postmark date will probe meeting the deadline), personal delivery, etc; and they should be addressed to:
"XIV Concurso de Obras de Creación Radiofónica"
Centro para la Difusión de la Música Contemporánea
c/ Santa Isabel 52, 5ª planta
28012 -Madrid (Spain).
7
There is no limit to the number of projects to be sent by each author.
8
The projects should arrive anonymously with an assumed name that will be reproduced on an enclosed closed envelope containing a photocopy of the DNI or passport and personal details of the author or authors. In the case of using texts by another author, his opportune permit must be accredited.
9
A Jury appointed by the CDMC and Radio Clásica will choose on the project considered the most suitable. The decisions of the Jury are without appeal.
10
The selected project will be the object of a commission by the CDMC, endowed with 6.000 euros gross. This Commission will be considered as the Prize of the Contest and it is independent of the production costs, which will be assumed by Radio Clásica.
11
Radio Clásica will produce the work with the means that the radio itself will determine. For that purpose, in addition to the human and technical means of the Radio, the facilities of the Laboratorio de Informática y Electrónica Musical del CDMC (LIEM-CDMC) can also be used. The radio broadcasting will take place during the last quarter of 2007, and we will try to give the work première at the Festival de Música de Alicante (end of September 2007). The project should be developed with enough time so that it may be produced and emitted on time.
12
By the simple act of participating, the competitors accept the terms of these Rules and the decision of the Jury.
13
The non-awarded projects will be available to their authors who can fetch them personally at the CDMC, previous identification of the assumed name, within the period of three months after the awarding is made public.
14
Once this period is over, the non-collected projects will be destroyed in order to preserve the anonymity of the Contest.

By Tom Roe

The "pirate" radio stations picking up Howard Stern's satellite radio show and remicrocasting it on free airwaves, are back in the news again. Both The New York Times and Los Angeles Times are reporting Stern FM transmissions in those cities.

The New York Times Jacques Steinberg reports hearing Stern near 239th Street in the Bronx on 88.1-FM on a car radio. He quotes Russell Skadl, the faculty adviser of a Long Island radio station, WXBA, that operates on very low power on 88.1 out of a high school in Suffolk County, hearing Stern on that frequency on Long Island, quite a distance from the Bronx. The Daily News reported pirates in Brooklyn and New Jersey broadcasting Stern's signal last January, just as his show switched from FM to satellite.

In Los Angeles, the Times there has one person hearing Stern on 88.1 FM where jazz station KKJZ should be, and another on 88.3-FM. They say a local TV station is blaming "Pirate Cat Radio," which has always used 87.9-FM, not those higher frequencies. More likely, it is someone with less of an agenda then the Pirate Cat folk, and more likely some Stern fan with an electronic equipment fetish.

While some pirates pick up satellite feeds now, others have broken over top television feeds. Recently someone YouTubed the infamous November 22, 1987, interruption of Chicago's WGN-TV local newscast. WGN-TV's on-site technicians neutralized the "pirate" transmission of a Max Headroom-like figure spouting dada gibberish by switching to an alternate transmitter, but two hours later the Chicago PBS affiliate WTTW's "Doctor Who" transmission got a similar Headroom visit. Below is the clip from the WGN hijacking. Below that is the CBS News national reporton the incident, also YouTubed.

[youtube=http://www.youtube.com/watch?v=OnDYssFcNxc]

Jack Shafer in Slate has a list persuasive reasons the U.S. should eliminate the Federal Communications Commission here.

Suppose Congress had established in the early 19th century a Federal Publications Commission to regulate the newspaper, magazine, and newsletter businesses. The supporters of the FPC would have argued that such regulation was necessary because paper-pulp-grade timber is a scarce resource, and this scarcity made it incumbent upon the government to determine not only who could enter the publications business but where. Hence, the FPC would issue publication licenses to the "best" applicants and deny the rest. Whenever an aspiring publisher pointed out that timber wasn't scarce, that huge groves of trees in Canada and the western territories made it plentiful, and that he wanted to start a new publication based on this abundance, an FPC commissioner would talk him down. He'd explain that just because somebody had discovered additional timber didn't mean that the scarcity problem was over, it only meant that timber was relatively less scarce than before. He'd go on to say that the FPC needed to study how best to exploit this new timber before issuing new licenses. Based on the notion of scarcity, the FPC would have evolved a power to prohibit licensees from using their paper for anything but publishing the kind of print product the FPC had authorized—no using that licensed paper to print party invitations or menus or handbills or facial tissue, the FPC would mandate. And so on.

The absurd regulatory agency that I imagine here is only slightly more absurd than the Federal Communications Commission, which has exercised even greater control over the radio spectrum. Until the mid-1980s, broadcasters had to obey the "fairness doctrine," which required them to air opposing views whenever they aired a viewpoint on a controversial issue. Rather than tempt an FCC inquiry, most broadcasters simply avoided airing any controversial views. Aside from bottling up debate, what the FCC really excelled at was postponing the creation of new technologies. It stalled the emergence of such feasible technologies as FM radio, pay TV, cell phones, satellite radio, and satellite TV, just to name a few. As Declan McCullagh wrote in 2004, if the FCC had been in charge of the Web, we'd still be waiting for its standards engineers to approve of the first Web browser.