Saturday May 27th
@ Ryerson University Student Campus Centre

8:30 am - coffee
9:00 am - Whose radio art is it anyway? Magz Hall
short coffee break
10:30 am - free103point9 with Matt Mikas and Tianna Kennedy
noon - 1:00 pm - lunch (provided)
1:00 - 2:00 pm - Listening sessions (limited spaces available must register) + Earspace Workshop - Exercises in Listening by Andra McCartney
2:15 pm - Trevor Wishart
short coffee break
3:45 pm - The Wire
break for dinner (not provided)
7:30 pm - doors open Radio Theatre 2 (show starts at 8pm) + The Kitchen of the Future by Evolution Control Committee

Sunday May 28th
@ Ryerson University Student Campus Centre

8:30 am - coffee
9:00 am - Radio, networks, ether with Joe Milutis
short coffee break
10:30 am - Deep Wireless panel
noon - 1:00 pm - lunch (provided)
1:00 - 2:00 pm - Listening sessions (limited spaces available must register) + Earspace Workshop - Exercises in Listening by Andra McCartney
2:15 pm - Wireless Imagination with Tetsuo Kogowa & Kathy Kennedy
short coffee break
3:45 pm - Radio of the Future panel with Magz Hall + Neil Sandell, Charlotte Scott and Tetsuo Kogawa
5:00 - 6:00 pm - Wine & Cheese Reception - a chance to network etc
6:00 - 7:00 pm All request redirect (with John Oswald, Mark Gunderson + Toronto celebrities)

Unfortunately, there are entry fees...

Third Coast Festival / Richard H. Driehaus Foundation Competition
For audio documentary and feature work...
Deadline: July 21 2006

The Third Coast Festival / Richard H. Driehaus Foundation Competition honours the best audio documentary and feature work produced around the world (in English). They seek stories that document a place, time, person, event, phenomenon or issue. These include but are not limited to investigative reports, narrative stories, personal essays and audio portraits. Entries must be 2-60 minutes in length, and must have been presented publicly on the radio, the internet, or in a gallery/museum setting between July 1 2004 and July 21 2006. Winners receive monetary prizes of up to US$6,000 and their programmes will air nationally in the fall as part of the 2006 Third Coast Festival Broadcast.

Prizes are awarded for:
Best Documentary:
Gold: US$6,000
Silver: US$5,000
Bronze: US$4,000
Director's Choice: US$1,500
Honourable mentions (up to two: US$1,500)
Best New Artist: US$2,000 - This award will be given to a producer who has been working in the audio field for less than two years.
Radio Impact: US$2,000 - This award will be given to a programme that has had a significant impact on an individual, group or community.

Audio Luminary Award (Formerly known as the Lifetime Achievement Award)
This award is presented to a person who has not only left a profound mark on the audio field, but continues to be a source of new ideas and inspiration. As in previous years, a committee of producers/leaders in the field will join the Third Coast Festival staff in selecting the winner from a slate of nominations submitted by radio fans, producers and other radio professionals worldwide.

Entries are accepted on CD only. CDs should not contain extraneous audio other than entry material, and should be labeled with producer’s name, programme title and the length of entry. Submissions must include: completed entry form for each entry; two copies of each entry on separate CDs, labeled with producer, title and length; brief programme synopsis for each entry; brief producer bio on a separate sheet; and entry fee.

Entry Fees
US$45 for entries postmarked on or before June 30th
US$25 for student entries postmarked on or before June 30th (must include photocopy of current school ID)
US$65 for all entries postmarked July 1st through July 21st

Contact:
Third Coast International Audio Festival
Chicago Public Radio
Navy Pier
848 E. Grand Ave.
Chicago, IL 60611
United States
Tel: 312 948 4682
Fax: 312 948 4867
info@thirdcoastfestival.org
http://www.thirdcoastfestival.org/annual_competitions.asp

from saveaccess.org
May 24, 2006 : 12:30 p.m - 1:30 p.m.
National Day of Out(r)age! protest
at Verizon World Headquarters, 140 West Street at Vesey Street, Manhattan
Organized by the saveaccess.org coalition with Fairness and Accuracy In Reporting (FAIR), the NYC Grassroots Media Coalition, Paper Tiger Television and more!
Join thousands of people in cities across the country to protest AT&T, Bell South, Qwest and Verizon. These companies are spending $1 million a week to buy votes in Congress for their deregulatory legislation COPE HR.5252 and S.2686. Local cities have expressed their opposition to this legislation—now it’s time for the public to stop this phone company backed legislation—and demand accountability to local communities and the public interest.

from Tom Roe


Newsday broke this story May 18, reporting that someone temporarily "hijacked" Long Island's WBAB (102.3, 95.3-FM) signal, interrupting Pink Floyd's "Hey You" with a racist song by Rebel Jonny.

"I'd like to find out who did it," program director John Olsen told Newsday's Bart Jones. "I'm not happy about it."

Olsen says a similar incident occurred with WBAB's sister station WBLI about two weeks ago with the same song, he said. The stations share a studio on Sunrise Highway in Babylon on Long Island, New York.

Olsen told Newsday that the station's technicians were unable to block the pirate transmission. After the Jonny Rebel song ended, several seconds of empty air space followed until regular broadcasting resumed with the end of the Pink Floyd song. The song "Nigger Hating Me" reportedly advocating killing African-Americans. It could be a racist statement, or an attempt to make the dumb humor of the station's morning show look even dumber. (The shows hosts are already in trouble for a "Wetback Steakhouse" fake commercial they recently aired.)

How could someone hijack a signal like this?

Well, not how you think. Just using a transmitter and broadcasting on the same frequency would only work in a small area just around the "pirate" transmitter. The "pirate" would have to have a more powerful transmitter (highly unlikely) and a higher antenna (virtually impossible) then the station it was attempting to override. (In this case, the "pirate" was heard throughout WBAB's signal area of Long Island and eastern New York City.)

Olsen guessed to Newsday that someone over-rode the STL (studio to link) high-frequency microwave signal from its studio in Babylon to its transmitting tower about six miles away in Dix Hills near the Long Island Expressway.

"Somebody using an illegal transmitter and small antenna we believe overtook our signal between the studio and the transmitter and that's how they got in," he told Newsday. He added that the "pirate" would have to be near the signal but not necessarily at the transmission tower.

"You have to be technologically pretty proficient in order to know how to do it," he said. "The equipment is probably readily available and if you know how to put the equipment together ... then it's something that's possible."

Speculation also popped up on the New York Radio Message Board, where radio station engineers and aficionados in the New York-area chat about technical things.

Posters there reported that WBAB powered down their transmitter, "and the song continued, the only thing that stopped the transmission was when the pirate shut his equipment off. (Probably to avoid being traced as it only lasted 1 minute)."

Word on the NY radio board was that the pirate probably was a radio engineer. "Obviously, the STL was hacked by someone who has the knowledge and the equipment to override the STL point-to-point link between WBAB's studios and transmitter. The STL frequencies are of public record," someone posted. "But, it would have to be someone who is close by and with enough power to capture the signal path. No doubt, someone had to have the knowledge and ability (and equipment) to do this."

"Indeed, whoever is responsible for this would have to have the necessary equipment not only to produce a signal at those frequencies, most likely at very high power, but also the equipment to align their antenna to the receiving dish at the TX site," another poster wrote. "STL patterns carry a very, very narrow beamwidth and it would require proper alignment to hit the STL receiver. Especially in order to override the existing STL signal."

For those interested: An STL is a studio to transmitter link, a mini-microwave complete with fixed dish antennas and transmitting very narrow beams.

An RPU is a remote pickup unit, which is used for remotes. The RPUs are basically police radios at 450 MHz (some at 26 Mhz too) that use dedicated channels, and provide better audio than utility radio. Licensed stations can move them around anywhere in their coverage area without prior FCC approval. With the new synthesized radios, they are very easy to hack into, according to posters on the radio board.

From Media Network Weblog
http://medianetwork.blogspot.com/

The US government is interested in extending the capability of the EC-130J Airborne Psychological Operations (PSYOPS) aircraft to support the broadcast of digital TV signals in addition to, or instead of, the existing 10 kW analogue broadcasts. The US Naval Air Systems Command, Aircraft Division, is seeking vendors to provide options for achieving this.

from Media Network weblog
http://medianetwork.blogspot.com/

Dave Kernick writes: The main radio service of the Iraqi Media Network (IMN), Republic of Iraq Radio, is now available on a live audio stream from the organization's website at www.iraqimedianet.net.

The website is available in Arabic, English and Kurdish. The audio stream is accessed via a large pink button on the Arabic and English home pages - these pages and the Kurdish home page also have "Online Streaming" links to two IMN radio and three IMN television audio/video streams, but these links are currently inactive.

The Iraqi Media Network is a public broadcaster set up by the Coalition authorities in the wake of the 2003 Iraq war. Operating nationwide, it runs two radio networks (Republic of Iraq Radio, Holy Koran Radio), three national TV channels (Al-Iraqiyah 1, Al-Iraqiyah 2, Al-Iraqiyah Sports), and the "Al-Sabaah" newspaper.

from We Make Money Not Art
http://www.we-make-money-not-art.com/archives/008494.php

Radio Map, by Michael Hohl and Stephan Huber, is an immersive telematic environment that enables participants to walk about a projected photorealistic image of the Earth and listen to live internet radio programs that are located at the corresponding locations all over the world.

Once a person walks about the map, a graphic element is placed into the direction of movement. Called the PoI (Point of Interest), it is used to select radio stations. Should more participants enter the space, all their lines connect to this single element, creating a shared PoI, which is placed in the calculated middle of all participants. The individuals have to collaborate to navigate the PoI. This encourages complete strangers to act as a group while exploring the map for radio stations.

As the PoI approaches the location of a radio station its volume increases giving the impression of "tuning in" to it. If the PoI is located between two or more stations that are close together their signals would mix. This creates potential for surprising "mixing" of the sound. Yet participants are always able to accurately “tune into†a station avoiding disturbing effects.

Experiencing the content and local colour of the actual radio programs invokes surprise. Participants become aware of different time zones, weather conditions, Summer and Winter, and the fact that we are living on a globe that is rotating around the Sun.

Call for submissions from New York Society for Acoustic Ecology project. What kinds of sounds can you find in New York City? With Soundseeker, you can zoom, pan and search for sounds with interactive satellite photos or detailed maps. Click on hot spots to listen to the recorded sounds of a location pin-pointed by GPS. To submit sounds: 1) record your favorite NY soundscape (you may edit the file). Accepted formats: MP3, WAV, or AIFF, maximum file size: 20MB; 2) mark down the date and address or GPS location; 3) send it to us with your name via our online form.

Deadline: none given. You may see locations, hear sounds and submit your own sounds via the web.

http://www.nysoundmap.org/

Call for Open Contribution
92.5 Mhz FM Berlin, June+July 2006, radioeinszueins.de

Produce a show for an imaginary radio, a snapshot of a channel which
doesn't exist, at least not in Berlin yet. We are looking for radio shows
with something extra, taking a theme and topic that reinterprete formats
that get sent over the airwaves: reports, retrospectives, interviews,
soundscapes, features, radioplays, lectures, label presentations
and event recordings.

We're looking for a preproduced radio show with a distinguishable concept and theme. Not merely a DJ-Mix, but an acoustic window into an own existing world, like a mixtape which precisely characterizes a special genre. (French House 1996, Italo-Western Movie Soundtracks, music concrete made by construction machines in front of your window, etc.)

Assured: You reach an unsual audience during the World Cup via
FM in Berlin and through the web netwide. The transmission is offered to
the program exchange network of radia.fm with radioswap.org,
freie-radios.net and prx.org. (Syndication yes/no in the id3 tag for copyright)

Repetitions of already transmitted material is welcome as well as direct
links. We recommend to put the show under a creative commons license.

FAQ:
http://radioeinszueins.de/pdf/

TecSpecs
- Dataformat: 256kbits/mp3 if possible
- Please fill out the ID3v2 Tag and the description-field
- your emailadress under url, and a copyright info regarding
syndication (yes/no)

Please use http://f-forge.com or http://www.mooload.com/ for file transfer
and post url to radioeinszueins.shows@gmail.com
- duration: ca 55min
- Intros and Moderation welcome, mastered at 0db
- Please do not send us Audio CDs

We recommend to use audacity for audio editing and mp3 encoding:
http://audacity.sourceforge.net/download/
http://audacity.sourceforge.net/help/faq?s=install&item=lame-mp3

Deadline: 23.Mai 2006

radioeinszueins.de presents a new kind of cultural radio in summer 2006
on 92.5 FM in Berlin and on the Web. As a continuation of reboot.fm
and klubradio.de an automated Dokuradio is developed based on
recordings of concerts, parties, lecgtures, readings and discussions.
With the participation of the listeners an acoustic space opens up
for the broad spectrum of the actual cultural production in Berlin.

radioeinszueins.shows@gmail.com
http://radioeinszueins.de
radioeinszueins is supported by the Hauptstadtkulturfonds

Please send transmission works for airplay on free103point9 Online Radio to:

free103point9 Wave Farm
5662 Route 23
Acra, NY 12405


We also air noise, free jazz, generative sound, field recordings, dub, avant folk, turntablism, and other fringe styles.

from DIY Media
http://www.diymedia.net/archive/0506.htm#050806

(Radio Free Brattleboro is a Vermont microradio station, currently in a legal wrangle with the FCC.)

The 12-page ruling that came down earlier this spring, forbidding the station from taking to the air ever again, was only written after U.S. District Judge J. Garvan Murtha extended rfb and the FCC a chance to negotiate some sort of amicable settlement. rfb proposed powering down in exchange for the FCC giving Vermont Earthworks expedited consideration of its LPFM application. The FCC refused (though the organization was awarded the right to build WVEW-LP anyway) and went to another federal court for a warrant to raid the station.

With a settlement thus impossible, Murtha had to make a ruling. So he did, and it pretty much tracked with my initial suspicions. He noted that rfb was statutorily barred from receiving an LPFM license; he employed the "jurisdictional wiggle"* to sidestep and otherwise ignore rfb's constitutional challenges to the FCC licensing regime. He also denied rfb's call for sanctions against the FCC for double-dipping the legal system in order to take the station off the air. The station had been fairly warned that a raid might be in the cards, and there's no rule that limits the number of enforcement tools the FCC can employ at any given time. In these respects the decision falls on the unremarkable pile.

What is most interesting is what's left unsaid. Murtha remarks in one place that the station had asserted, in prior correspondence with the FCC, a "license of support from a substantial majority of the people of Brattleboro, referring to a town referendum vote," (internal quotation marks omitted), but does not address this plank of its defense at all in his discussion on matters of law.

This is interesting because one of rfb's main rationales for defying the FCC was that it had mustered an alternate authority to broadcast from its local community, to make up for the shortcomings of the federal licensing system. The whole radical notion was a even subject of some discussion at the case's main hearing.

Since Judge Murtha declined to make precedent on rfb's most unique defense, other stations remain free to test their luck with it. That had to be a conscious omission, and was probably the best thing Murtha could do to demonstrate support for rfb under the circumstances.

* - A number of decisions have been made in the area of microradio case law which hold that constitutional challenges and other direct attacks on FCC statutory authority can only be heard in federal Courts of Appeal; some have gone so far as to reserve such disputes exclusively to the D.C. Circuit. It's by no means a unanimous judicial sentiment, but it's convenient for jurists who would rather duck the fundamental issues.

04.17.06
From newsservice@ucdavis.edu

A UC Davis scholar plans to use the freedom afforded by a Guggenheim Fellowship to explore how the line is blurred between nature and technology when people listen to sounds from the cosmos.

Douglas Kahn, who directs the 4-year-old Technocultural Studies Program and is a scholar of the cultural history of sound and technology in the arts, is among 187 artists, scholars and scientists in United States and Canada recognized with Guggenheim Fellowships this spring.

Fellows are appointed by recommendations from expert advisers on the basis of distinguished past achievement and the promise of future accomplishment. Awards this year total $7.5 million; fellowships are expected to average about $40,000 per fellow.

Rather than use the funds to travel abroad for research, Kahn will use the material he has been gathering for the past several years to stay at UC Davis during the 2006-07 school year and write a book titled "Radio Was Discovered Before It Was Invented." He will also be working on the project as a fellow at the Davis Humanities Institute during the same period.

He is focusing on events that began in 1876 when Thomas Watson, the engineer who fashioned the first telephone for Alexander Graham Bell, accidentally heard electromagnetic signals coming from the Earth's ionosphere and magnetosphere.

"At nighttime Watson would sit listening for hours on end to a telephone earpiece hooked up to an iron test line that ran over the rooftops of Boston," Kahn says. "The first telephone line had become an unwitting antenna through which he heard strange and beautiful sounds."

Those sounds are now commonly known as atmospheric or natural radio, auroral chorus and VLF ("very low frequency" phenomena).

The sounds range from fragile glissandi called whistlers to noise that have been described as the sounds of "electronic bacon frying," Kahn says. They are generated by lightning, solar winds and auroral activity, among other sources.

Natural radio sounds became better known during the 1990s when avid amateur Stephen McGreevy issued CDs of his field recordings, Kahn said.

Kahn, who wrote "Noise, Water, Meat: A History of Sound in the Arts" (1999), plans to start with the Watson story and follow it through the next 130 years, including the scientific investigation of natural radio beginning after World War I and the advent of composers and artists using these very low frequency sounds from the atmosphere to make music and sound art in the second-half of the 20th century.

Experimental music composer Alvin Lucier, one of the pioneers of natural music, was a mentor to Kahn when he pursued a master's degree in music composition at Wesleyan University in Middleton, Conn.

Perhaps the most intriguing part of the Guggenheim project will come when Kahn tries to answer bigger questions regarding sound, music, philosophy and cosmology that the history of natural radio raises. He plans to challenge conventional wisdom that technology is separate from nature.

"That is, no one wants to listen to 'noise,' " Kahn says. "I also plan to ask what happens in the history of Western culture once the cosmos is understood to be electromagnetic.

"The radio is a sign of modern technology, and has been studied as a 'communication device,' but here we encounter an entirely different notion of radio, as sounds coming from the heavens, a veritable soundtrack of astronomy," Kahn says.

From Alexis Bhagat

GUIDELINES:
Alexis Bhagat is seeking submissions of recent and historical sound art works from New York (including the greater Metropolitan area and Hudson Valley) for broadcast. Works will be presented as part of the Listening Lounge at Sarai in New Delhi in 2006, and for a subsequent radio broadcast. (More information below. See 'About') Audio Works and Documentation are welcome. Submissions for works produced anytime are welcome, but the emphasis of the Sarai Listening Lounge will be placed on works produced since 1995. The emphasis for documentation will be placed on critical public art practices involving sound. Live performance audio is welcome, but please send an email to inquire before sendi ng any video documentation of live performances.

Submissions should be sent to
free103point9
302 Bedford Avenue #261
Brooklyn, NY 11211
ATTN: LEX

BE SURE TO CLEARLY MARK YOUR ENVELOPE 'ATTN: LEX' OTHERWISE YOUR CD MAY BE MISPLACED.

AUDIO SUBMISSIONS:
Stereo files only, as Audio CD or uncompressed data. No limit on duration, but for works longer than 20 minutes, please select a 2-7 minute excerpt as well as the complete track.

Submissions must be accompanied by a letter including: Artist name Title Duration Distribution category Production date Exhibition / Broadcast / Performance date Exhibition / Broadcast / Performance history
Any supplemental material is welcome.

DOCUMENTATION:
Documentation should be sent as text, hypertext or media files on CD. NO DVDs. Video files should be in mpeg format with sound. All video files over 10 minutes s hould be accompanied by a 2 minute excerpt. Print materials may accompany CDs.

Returns:
Audio CDs will not be returned. Please provide a SASE if you require your documentation returned. Returns will be mailed in July 2006.

DEADLINE:
Works to be considered for the Listening Lounges must ARRIVE by January 16th, 2005. Works arriving later will be held for use in a series of radio shows on the theme, to be produced next summer. Final Deadline: July 15th, 2006.

ABOUT:
'Sound Art in New York' will discuss precisely that. Ignoring post-war 'Electronic Music', the discussion will pick up with John Cage's composition class at New School and briefly pursue some historical threads in sonic art, including Fluxus, Intermedia, Mail Art/Cassette Networks, Acoustic Ecology, Punk Rock, Public Art, Deep Listening, Web-audio, and recent art-world exhbitions. Historical arguments will be supported by audio works. 'Sound Art in New York' will be presented as a pair of three-hour 'Listening Lounges' at the Media Lounge of Sarai in New Delhi in February 2006.
'Sound Art in New York' is part of Sophea Lerner's RadioLab at Sarai, beginning in January 2006. Sophea's RadioLab will include a number of workshops and Listening Lounges on HybridRadio and experimental audio.
The discussion in Delhi will be recorded and will be incorporated into a series of radio shows on the topic, to be produced next summer. NOTE: I will be stopping over in Paris on my return from Delhi in May 2006 and if an opportunity should present itself, I may present 'Sound Art in New York' I may present 'Sound Art in New York' in Europe as well.

Links:
Alexis Bhagat
http://www.free103point9.org/artist.php?artistID=8
Sarai
www.sarai.net

804noise Richmond Experimental [ http://804noise.org ] is planning our 4th Annual 804noise Southeastern Experimental & Noise Festival [ http://804noise.org/fest/ ] to be held on Saturday & Sunday, October 14th & 15th, 2006 in Richmond, Virginia. Please read the following information and consider sending your submission(s) to 804noise for a possible opportunity to participate in this years festivities.

The 804noise Fest is a two day experimental, noise & multi-media festival held each year in Richmond, Virginia showcasing experimental & noise artists mainly from Virginia along side a handful of special out of town guests. All artists perform for the sake of exposure and community growth and proceeds go back into the 804noise community to help fund future events and the 804noise community record label.

The ambition of the 804noise Festival has grown each year, and this year is no exception. Along side the regular festivities, such as the workshop series, label expo, a pre-fest event, and of course the main event, we also plan to present a non-804noise related record label showcase.

Please read and consider the following calls for submissions:
::::Main Event [Sunday October 15th, 2006] [12pm - 11pm]
We are looking for submissions from "out-of-town" experimental and noise artists who would like to be considered for a possible opportunity to perform at this years festival. The "Main Event" is from 12noon to 11pm and will feature close to twenty different artists along side Virginia's finest. Also we would like to stress that we are also inviting submissions from visual artists as well! The deadline for submissions is Saturday July 29th, 2006.

::::Record Label Showcase [Saturday October 14th, 2006]
::::Record Label Expo [Sunday October 15th, 2006]
Attention all experimental and noise record labels, if you are interested in participating in this years label expo, email fest2006@804noise.org and reserve your table now! On a seperate note: If you are interested in having your record label considered for the label showcase, send material for each individual artist who would be participating. The showcase will feature a maximum of 6 artists. The "Label Showcase" will be held on Saturday, October 14th & the "Label Expo" will be held on Sunday October 15th during the "Main Event" from 12 noon to 11pm. The deadline for submissions is Saturday July 29th, 2006. We would also like to extend a hand out to local and national radical groups and publications to participate in this years 804noise Festival as part of the label expo. If your group would like to table please contact fest2006@804noise.org

804noise Fest Workshop Series [Saturday October 14th, 2006]
Every year the 804noise Fest has played host to a series of workshops touching on subjects of circuit bending, open source software for noise, community vs. scene discussions, a waveforms & interference patterns demonstration, & a "how to" on programming your own VST Plug-ins. If you have an idea and would like to host a workshop, please submit a short and long description to fest2006@804noise.org. Each workshop will have one full hour, if your idea needs more time please be sure to mention that. The deadline for submissions is Saturday July 29, 2006.

Please send all submissions to:
804noise Fest 2006
PO BOX 4296
Richmond, VA 23220
[contact] 804.317.1938
[e-mail] info804@804noise.org
[site] http://804noise.org
For more information on previous 804noise Festivals and update on this years festival please visit:
http://804noise.org/fest/

Over the past two decades, readers of the works of Gilles Deleuze have had several opportunities to participate in international conferences held at Trent University and organized by Constantin V. Boundas. In that tradition, we announce the organization of a conference to take place on the campus of the University of South Carolina (Columbia, SC, USA), between April 5 and 8, 2007, sponsored by the Program in Comparative Literature , the English Department, and the College of Arts and Sciences.

The conference theme, “Gilles Deleuze: texts and images,” is meant to be understood inclusively rather than exclusively. That is, while recognizing the conference’s focus on the work of Gilles Deleuze, the organizers encourage broad and comparative interpretations and commentaries from Deleuzian perspectives on subjects such as literature, philosophy, painting and film, as well as exegeses of Deleuze’s body of work that engage with ontological and epistemological concepts and problems. Presentations by the invited plenary speakers - Eric Alliez, Ronald Bogue, Constantin V. Boundas, and Elizabeth Grosz - will be supplemented by speakers in parallel sessions.

The conference will be held on the historic campus of the University of South Carolina ( http://president.sc.edu/history.html). The weather in April will be mild, and the campus will be in bloom. Columbia is mid-sized city with a major airport and is easily accessible. It is the capital of South Carolina and has many fine restaurants. Conference participants will be lodged on campus at the new Inn at USC (http://www.innatusc.com/); rooms have been reserved at a special conference rate of $116 for those making their reservations by February 20, 2007. There are also other hotels nearby. Those interested in speaking at the conference should send a title, a 750-word abstract, and a 250-word bibliographical biography to delcon2k7@yahoo.com as a Word or RTF attachment no later than October 1, 2006.
http://www.cas.sc.edu/DLLC/CPLT/activities/9thannuconcfp.html

ICMC (International Computer Music Conference) in collaboration with ffmup (free form mash-up) is seeking proposals for performances on the late-night ICMC concerts, which will take place as part of the 2006 festival this November 6-11 in New Orleans. In keeping with the theme of this year's conference, "Multidimensionality," we plan to represent a diverse range of approaches and practices in electronic/ computer/electro-acoustic music, encompassing improvisation, ambient, noise, experimental, electronica, and other forms of live music/sound art. Solo or group sets between 15 and 45 minutes, involving a developed live performance aesthetic are encouraged. These concerts will occur in the evening in a casual, but quiet listening environment, adjacent to a bar. The venue will include a multichannel sound system and video projection. Submit by mail (UPS/ FedEx/DHL or the like! DO NOT USE USPS as regular mail service will likely be delayed due to the situation here in New Orleans!) to:

Tae Hong Park (ICMC Late Night Concert)
102 Dixon Hall
Tulane University
New Orleans, LA 70118

Deadline: June 6, 2006 (Arrival Date not Postmark Date)
Notification: June 19, 2006

You must register submissions online at www.icmc2006.org , please go to "Call for Participation." Packages should include an unmarked CD or DVD with only your submission ID (acquired from web registration) on the label (details are listed on webpage). Other materials, including description/instrumentation of performance, synopses, program notes, and other pertinent non- biographical information should be included, but otherwise the package should by anonymous. You can submit 1 piece and there are no submission fees.

Contact: Sam Pluta (Late Night Concert Chair) ffmup@icmc2006.org
https://attica2.tcs.tulane.edu/icmc2006/

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

Founded in 1997 as a microcasting artist collective, free103point9's goals during the formative years were focused on the microradio movement fight's for public access to the airwaves. free103's mobile operations made airtime available to community voices, local bands, and most significantly to a group of under-served artists shaping conceptual works specifically for radio transmission.


PROGRAMS


PERFORMANCE/EXHIBITION/TRANSMISSION SERIES (PETS): Each year free103point9 organizes installations, performances, and site-specific projects with artists using transmissions mediums for creative expression.

FREE103POINT9 ONLINE RADIO: free103point9 Online Radio features performances and events with artists working in transmission mediums as well as movements in experimental electronic sound such as noise, free jazz, and avant-folk. Available around the clock, Online Radio also features special guest segments, selections from free103point9's archives, audio theater, and other forms of radio expression.

DISPATCH SERIES: Launched in the fall of 2001, free103point9's Dispatch Series include ten releases a season. A showcase for free103point9 collaborating artists, these releases are live recordings from free103point9 events, thematic compilations, and commissioned artist's projects. free103point9 Dispatches are available at Printed Matter, Inc., Kim's Music and Video in New York and at all free103 events. Dispatches are also distributed to stores and online through Zerotec, Triage, Squid Co, and the free103 Web site.

RADIO LAB: free103point9 considers education a key aspect of its mission. Each year free103 organizes a series of workshops on transmission as a creative medium, how transmitters work, and the history of broadcasting. A core curriculum "Wave Guide" is available online.

AIRTIME ARTIST RESIDENCY PROGRAM: AIRtime residencies are available, by application, to artists pursuing new works with transmission mediums. The residencies take place at free103point9's Wave Farm, a retreat-like setting on 30 acres in upstate New York.

STUDY CENTER & ARCHIVE: Future plans at free103point9's Wave Farm include the construction of a study center and archive specific to Transmission Arts. This public resource will house the free103point9 archives and a reference library featuring listening and viewing copies of key transmission works.

Welcome to free103point9's Newsroom blog. This page replaces free103point9's Newsroom page, with a more interactive forum for anyone interested in news surrounding transmission arts. This blog will feature reposts of transmission art news, new technologies, policy proposals, open calls, microradio activism, and other radio-related items.

free103point9's Program Director Tom Roe is currently moderating this forum, and several other contributors will be added soon.