“BBC Radio: We have to bring back younger listeners
Matthew Lasar at Radio Survivor reports that young people are not listening to the British Broadcasting Company. “The amount of time spend listening is falling across all youth groups, Friend noted, dropping 0.9 percent for ages 15 through 19; 1.0 percent for ages 20-24; and 0.6 percent for ages 25-29.” He posts this video with BBC interactive music expert Mark Friend about the company’s youth strategy. (Radio Survivor)

“Broadcast Engineers: A Dying Breed?“
John Anderson at DIYMedia breaks down a Society of Broadcast Engineers report that says there are fewer broadcast engineers these says, thanks to radio consolidation and the Telecommunications Act of 1996. “Nearly three-quarters (73.9%) of working SBE members are 46 years old or older; the average age of an SBE member is 54,” he writes. (DIYMedia.net)

“Scientists Say Ambient Noise Affects Creativity“
Enrico de Lazaro in Sci-News reports on a study from business students at the University of Illinois published online in the Journal of Consumer Research, that shows, “a moderate-level of ambient noise (about 70 decibels, equivalent to a passenger car traveling on a highway) enhances performance on creative tasks and increases the likelihood of consumers purchasing innovative products.” Too much noise, at 85 decibels for instance, limited creativity and purchasing, the study found. “It turns out that around 70 decibels is the sweet spot. If you go beyond that, it’s too loud, and the noise starts to negatively affect creativity,” said Ravi Mehta, a professor of business administration at the University of Illinois. (Sci-News.com)

“The future of international broadcasting“
Amanda Pfeffer reports on the international state of international broadcasting. (RCI)

Headlines
• “FCC Commissioners Sworn In” Jessica Rosenworcel is the new Democratic commissioner, is taking over for her former boss, Michael Copps, while Ajit Pai took the Republican seat formerly held by Meredith Attwell Baker. (Broadcasting & Cable)
• “Stonehenge’s eerie sounds revived” British researchers release technical analysis of Stonehenge sounds. (MSNBC)
• “CTIA Calls on President to Light Fire Under Government Spectrum Reclamation” Corporate wireless wants more spectrum. (Broadcasting & Cable)

free103point9 interview:
Interview with Kristin Thomson from the Future of Music Coalition, about their new report, “Does Radio Matter?” WGXC’s Sara Kendall, Noah Reibel, and Melinda Braathen interview Thomson about musicians and the radio. Here’s an excerpt from the report: “There’s been a shift in perceptions about broadcast radio. Some observers and music fans say that “nobody listens to the radio anymore,” suggesting that radio is overrated or unnecessary in a landscape that now includes Twitter, YouTube, iTunes and Spotify. But is this true? For musicians in 2012, does radio still matter?”

Lissa Harris in The Watershed Post rounds up the now-national coverage of the deaths of an elderly couple in Andes, who died from lack of cell phone service. The story was trumpeted by The Daily News Friday, May 11, a week after the accident, and then an Associated Press story ran in The Washington Post and other papers. From The Watershed Post:

Arthur and Madeleine Morris, a Manhattan couple who owned a vacation home on Woodland Hill Drive in Andes, died near their own property after their car slid off the driveway and over an embankment on the afternoon of Thursday, May 3. But neither was injured in the crash. New York State Police investigator Alan Ferrara told the Watershed Post this week that Arthur had died of asphyxiation, probably after he tried to get out of the car and slipped. Madeleine walked to a neighbor’s house in an effort to get help, but sustained a head wound while walking through the woods, and died of exposure during the night.The Daily News reports that Madeleine tried to dial 911 on her cell phone nine times:

Nine times, the call would not go through — so the panicked seniors tried to escape themselves, with disastrous results. Arthur, 88, was smothered trying to crawl out of the Ford Fusion, while brave wife Madeleine, 89, trekked to a road but died of exposure after a rainy night under a tarp.

Read the full story at The Watershed Post.

Nancy Schaar at Ohio’s Times Reporter writes:

A 62-year-old Carrollton area man was found unconscious and unresponsive Thursday morning during an intense search overnight by Carroll County sheriff deputies, an Ohio State Highway Patrol trooper and the patrol’s airplane. [Sheriff] Williams said he attempted to use the man’s cell phone signal to locate him, but the man was behind on his phone bill and the Verizon operator refused to connect the signal unless the sheriff’s department agreed to pay the overdue bill. After some disagreement, Williams agreed to pay $20 on the phone bill in order to find the man.

Read the full story in the Times Reporter.

Panelists
Peter Doyle, Division Chief, Audio Division, Media Bureau
Jim Bradshaw, Deputy Chief, Engineering, Audio Division, Media Bureau
Tom Hutton, Deputy Chief, Legal, Audio Division, Media Bureau
Kelly Donohue, Assistant Chief, Audio Division, Media Bureau
Agenda
2:00 – 2:05 p.m. Opening Remarks and Overview
2:05 – 2:10 p.m. Summary of 4th Report and Order
2:10 – 2:15 p.m. Summary of 5th Report and Order
2:15 – 2:45 p.m. Discussion of the LPFM Grid Tool, FM Translator Non-Preclusion
Showings, and Processing Differences Between Spectrum Limited and
Spectrum Available Markets
2:45 – 3:30 p.m. Audience Questions
3:30 p.m. Adjournment

Transmittal opens this Saturday in Catskill.
Join us at the opening reception 5 – 7 p.m.

“Deluge” by Phillip Stearns.
Transmittal
April 28 – June 2, 2012
OPENING RECEPTION, APRIL 28 5 – 7 PM

Greene County Council on the Arts (GCCA)
398 Main Street
Catskill, NY 12414

free103point9 and the Greene County Council on the Arts are pleased to present, Transmittal, an exhibition offering Greene County residents and visitors a window into Transmission Arts. Transmittal is curated by Galen Joseph-Hunter, free103point9’s Executive Director and author of Transmission Arts: Artists and Airwaves (PAJ Publications: 2011.) The exhibition features an international and local roster of artists and organizations whose work celebrates the interdisciplinary nature of Transmission Arts and is made manifest in video, sound, radio, installation, performance, and work-on-paper.
In A Noospheric Atlas of New York, Brett Ian Balogh (Chicago, IL) maps the hertzian space created by the New York’s mass media broadcast stations. This space is not definable in the traditional terms of the surveyed boundaries of state territories, but rather by electrical field strengths and consumer markets. Geospatial data provided by the Federal Communications Commission is rendered as translucent shapes whose color is determined by the type of service (AM/FM/TV).

With RELAY, Max Goldfarb (Hudson, NY) presents a grouping of Ambulant Transceivers, a series of handmade radio transceivers constructed from reconstituted radio-electronic components, housed inside vintage first-aid tins. The adjacent video, Locations:Relay, represents an equally hand-made security system in the form of a community-watch perimeter check. The localized security network is cobbled together by many collaborating members of an unspecified village: each voice transmission attached to aerial imagery of the territory.

Sam Sebren (Athens, NY) presents 9/11-QVC, an off-air single-channel video work. On the 10th Anniversary of the September 11 attacks in New York City, Sebren videotaped himself toggling his television dial between news coverage in memorial of the attacks and a home shopping network’s regularly scheduled programming. Here Sebren “performs” with a palette of commercial television broadcast re-presenting these transmissions in a critical and reflective light.

Fill, by Maria Papadomanolaki (New York, NY) is an interactive sound installation using low-power radio transmission. To experience Fill, attendees will borrow a small radio transceiver and move about the space. Papadomanolaki’s microcast is designed to highlight the physical properties of her site-specific transmission. Gallery goers will observe distinct changes in what they hear based on their position and movement in the GCCA exhibition space.

Phillip Stearns (Brooklyn, NY) presents his work Deluge, a sound and light installation that depicts the white noise of unoccupied radio frequencies as a showering rain of light. As digital technologies become more adept at reducing interference and noise through omission and censorship, we are quickly losing touch with unmediated white noise, that static hush in between the stations, and playground for the imagination. Many antenna like structures, LED strands are clustered together, each representing the activity of the broadband white noise being picked up by simple transistor receivers. From these discrete elements, a cloud of lights is formed, filling the space with a form activated by the absence of pre-determined content. The sculpture plays on the poetics hidden within the language of both analog and digital electronics.

Presented as listening stations, Transmittal also includes special selections from two recent international radio art exhibitions: Radio Arts Space by radioCona (Ljubljana, Slovenia), and Radio Boredcast co-commissioned by AV Festival 12 and Pixel Palace, hosted by basic.fm (Newcastle, UK). In conjunction with the Transmittal exhibtion, Radio Arts Space programs will also be presented on WGXC 90.7-FM on seven consecutive nights at 1:00 a.m. April 29 – May 5, 2012.

GCCA exhibition programs are made possible, in part, by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. free103point9 programs are made possible, in part, by the New York State Council on the Arts with the support of Governor Andrew Cuomo, and the New York State Legislature and The Andy Warhol Foundation for the Visual Arts, as well as generous individual donors.

Curated by Gladys-Katherina Hernando, Zachary Kaplan, Sarah Loyer, Ilana Milch, Evelena Ruether, Megan Sallabedra, Jackie von Treskow, Adrienne White, and Emily Wilkerson.

Radio Break is an exhibition on the air, presenting twelve artworks in locations throughout Los Angeles conveyed through low-power radio transmissions during two weeks and live events held on two consecutive weekends. Radio Break connects participants with the ambient sounds of the city, inviting them to tune in to its history, noise, narratives, and music.

Presenting work by:
2 Headed Dog
Elana Mann, ARLA, and the People’s Microphony Camerata
Brandon LaBelle
Vanessa Place
Alyce Santoro
David Schafer
Brendan Threadgill
Lincoln Tobier
Lucy Raven
Pedro Reyes
Arnoldo Vargas
Richard T. Walker

A way-finding map will accompany the exhibition and provide details about the projects and their locations. Click here to download map.
SATURDAY, APRIL 14th
4–6pm
Union Station, 800 N. Alameda Street
Alyce Santoro’s Between Stations explores how cities are aurally experienced by turning New York City subway sounds into music that contrasts with the movements of Los Angeles’s transportation hub.
6–9pm
Opening event and Reception
La Serenata Restaurant, 1842 E. 1st Street
Brandon LaBelle and collaborators recorded their own versions of conversations overheard on the streets of Santiago de Chile to create The Echo Project.

Lincoln Tobier revisits The Orchestra Pit Theory by Roger Ailes, a theatrical work based on a single Fox News transcript exploring the genre of the news broadcast, affect, and subjectivity. Coinciding with the transmissions will be a reception with light refreshments.

SUNDAY, APRIL 15th
10am–2pm
MacArthur Park, Wilshire Boulevard and S. Park View Street
Brendan Threadgill reconfigures the Los Angeles Times “Crime Map” with Incident Reports 2007–2012 (MacArthur Park Homicides), using sound to mark the sites of lives lost throughout the city.
Arnoldo Vargas’s Triggernometry and the Cartography of Sound gives voice to Wilmington residents by broadcasting their distant concerns to Angelenos and the city at a remove. This is a preview of weeks’ worth of recording to be presented in full at a listening event on Saturday, April 21st at Slanguage Studio in Wilmington.

10am–2pm
El Pueblo, 125 Paseo De La Plaza
Pedro Reyes sources digital voice messages from Angelenos, making public the private lives of anonymous city residents with the work VMR: Voice Mail Radio.

SATURDAY, APRIL 21st
All events at LACE, 6522 Hollywood Boulevard
1–4pm
Lucy Raven presents the audio play Con Air 2, a record of actual events—the artists’ friends at play, communicating via walkie-talkie—exhibited within a fictionalized setting.
1–5pm
LIVE PERFORMANCE
Vanessa Place reads Full Audio Transcripts, a selection from the logs of the Federal Aviation Administration, North American Aerospace Defense Command, and American Airlines on September 11, 2001, a narrative of the tragedy before comprehension or memorialization.

5–6pm
LIVE PERFORMANCE
2 Headed Dog (Jim Turner, Mark Fite, and Dave “Gruber” Allen) presents Clowntown City Limits, a radio play telling the desperate tale of out-of-work hobo clowns. Viewers can listen to the broadcast and interact with two of the characters.

SUNDAY, APRIL 22nd
All events at 6020 WILSHIRE (The new ForYourArt space), 6020 Wilshire Boulevard
2–6pm
Richard T. Walker intervenes into Los Angeles’s visual and radiophonic space, telling the absurdist tale of one man’s quest to find the words to speak when language no longer suffices in between distance and a mountain.
3–5pm
Elana Mann asks us to tune into the concerns of Angelenos affected by the financial crisis by listening to the carols of the People’s Microphony Camerata.

6–9pm
LIVE PERFORMANCE and RECEPTION
David Schafer‘s Cage Mix: Static Age reconceives a selection of John Cage’s compositions through live electronic and processed improvisation performed alongside an accompanying installation. A reception will follow Schafer’s performance.

A listening station with all projects will be at 6020 Wilshire through April 27th.

USC Roski School of Fine Arts
Watt Hall 104, University Park Campus
Los Angeles, CA 90089-0292

http://roski.usc.edu/ma/

“For most of the Whitney Biennial, you will be asked to look. A survey is a process of listening, asks you instead to listen.” Barry Esson, Arika

* * *

Arika and the Whitney’s program is the first major collaboration with a UK organisation in the history of the Biennial. The program, a week of performances, investigations and talks, is also the largest focus on sound, music and listening in the Biennial’s history.

One of the leading international organisations working in sound, Arika’s programme at the Whitney cross-pollinates music with ways of listening found in other practices: literature, visual art, film, philosophy or activism. Every aspect of the programme will be performative, asking people to spend time together.

A survey is a process of listening is not just focused on the aesthetics of what we hear, but on the ways listening allows us to think: on the social, political, educational and philosophical possibilities of listening.

* * *

Listening is often reduced to our experience of what we hear: we might call this an aesthetic experience. This festival focuses on other equally important but often less considered aspects of listening. It invites us to consider these modes of listening, their social, spatial, political, philosophical context, how they cause us to think, and how they might relate to our own lives, experiences and contexts. Arika hope that these events investigate what you might call the cognitive experience of listening.

With this in mind Arika have been inspired to undertake a brief survey of some of the different modes of listening evident in North America, as practiced by musicians, artists, filmmakers, activists and philosophers. Each of the performances, talks, investigations, installations or publications in our program investigate many things subjects (labor, poetry, sociology, cultural memory, collectivity, allegory, organising, spontaneity) but they are use listening to do so.

* * *

Jay Sanders, co-curator of the 2012 Whitney Biennial comments “As a curator of performance, film, poetry, as well as visual art in New York for the past decade, I have been a long admirer of the festivals and events organized by Arika. To my mind, they have consistently pushed the vanguard position & been at the forefront of experientially rich, aesthetically demanding, and philosophically provoking curatorial practice in relation to durational art. Where museums and arts organizations are often scrambling to keep up with independent artistic practices, Arika appears to be an equal collaborator, challenging both its audiences and its participating artists to bring their most potent work into view. As I have known many artists, musicians, writers, filmmakers who have presented in Arika’s events, it is also a testament to their abilities that their participants have consistently told me that they too feel that Arika are doing the finest and most original curatorial work around, and that the events are organized with the highest level of consideration, care and

professionalism. This is an often impossible chasm to traverse…to present works with an overall intellectual backbone to the structure and organization of the event, and to have the ability to pull it off.”

Andrew Dixon, Chief Executive, Creative Scotland, said “The Whitney Biennial is one of the most respected events in the world and this invitation to work in the USA builds on Arika’s impressive track record in engaging audiences with projects in sound.”

* * *

Particular highlights of A survey is a process of listening include the great conceptual musician and Fluxus associate, Yasunao Tone’s Paramedia an immersive, overwhelming cross between traditional Eastern culture and Western philosophy and media theory and hard, dense visceral computer music.

TEST, a collective creative improvising quartet based out of the NYC Underground (figuratively and literally) for over a decade they performed on a weekly basis in the streets and subway stations of New York City (Astor Place or Long Island Railroad or Times Square). In doing so, they developed a collective, musical but also spatial language, championing the vibration of the streets and of the subway.

Christof Migone Hit Parade project tests sound as it is endured by space and the body. Fifteen participants lie face down and pound the floor with a microphone one thousand times, each person choosing their own rhythm and intensity.

Andrea Geyer’s Comrades of Time, in which seven women recite monologues composed from speeches, letters and essays from 1916-1941, written by architects, writers, philosophers and political organizers from the vibrant years of the Weimar Republic. The performance will act as a kind of cultural echo, an experience of historical times as they are brought to the present.

* * *

Arika is a not-for-profit arts organisation from Scotland, UK run by Barry Esson and Bryony McIntyre. Over the past 10 years they have organized (developed, curated, delivered) some of the leading experimental music, sound and film events in the UK, working with major institutional as well as community partners. These events have included internationally significant festivals and thematically organised projects. Their most recent project was an episodic, 10-week festival in three parts, addressing variously: the relationships between form and content in artists’ political film; the usefulness of nihilism and doubt in performance, neuroscience and critical thought, and; embodiment as a tactic in how we choose to speak, whom we address and how we understand by speaking. You can find out more about their work here: www.arika.org.uk or via bryony@arika.org.uk.

The 2012 Whitney Biennial—the seventy-sixth in a series of Biennials and Annuals that began in 1932—curated by Elisabeth Sussman, curator and Sondra Gilman Curator of Photography at the Whitney, and Jay Sanders, a freelance curator, focuses on a diverse mix of intergenerational artists working in a variety of media. In addition to visual artists, the exhibition includes a select group of filmmakers, choreographers, musicians, and playwrights. The curators have worked on the Biennial’s film program with Ed Halter and Thomas Beard, who run Light Industry. The exhibition is accompanied by an innovative catalogue, designed by Joseph Logan and distributed by Yale University Press, with contributions from each Biennial artist. For more details, please visit whitney.org/Exhibitions/2012Biennial.

The project is supported by Whitney, Arika, Creative Scotland, Boldworks and Julia.

For further information, interview requests and photo requests contact the Whitney Press Office at 212.570.3633 or pressoffice@whitney.org. or via Bryony McIntyre at Arika on bryony@arika.org.uk.

A survey is a process of listening
Arika at the 2012 Whitney Biennial
2 – 6 May 2012
Fourth Floor, Whitney Museum of American Art

INTRODUCTION

Arika are a leading Scottish experimental arts organization. Their programme at the Whitney Biennial is a perfomative survey of listening, as it can be found in music, film, visual art, performance, literature, activism and philosophy.

PERFORMANCE LISTINGS

Wednesday 2 May

11am – 1.45pm Ultra-red & George Lewis – What is the Sound of Freedom?
Working through their installation / residency (see below), today Ultra-red are joined by trombone player, improviser, composer, and scholar in the fields of jazz and experimental music, George Lewis.

2.30pm – 4pm Christopher DeLaurenti – Wallingford Food Bank
Christopher DeLaurenti is a leading field recording artist “Dead broke in 2004, I stretched my meager income with multiple visits to the local food bank: I collected site recordings, interviews, and surreptitious microphone captures into my testimony of poverty.”

4.45pm – 5.45pm Craig Dworkin & Vanessa Place – A Handbook of Protocols for Literary Listening
Craig Dworkin is one of the chief practitioners and thinkers of conceptual writing: he will be giving a guided reading of his handbook for literary listening, joined by Vanessa Place, writer of “arguably the most challenging, complex and controversial literature being written today.”

Thursday 3 May

11am – 1.45pm Ultra-red with members of the House | Ballroom scene – What is the Sound of Freedom?
Working through their installation / residency, today Ultra-red are joined by members of New York’s House | Ballroom scene.

2.30pm – 3.15pm Christof Migone – Hit Parade (New York)
Christof is a leading conceptual musician interested in language, voice, bodies, space, intimacy, complicity and endurance. In Hit Parade, 15 participants lie face down and pound the floor with the microphone one thousand times.

4pm – 5.30pm The Indivisible or Inadmissable Committee
When one calls a strike, who hears the call, who attunes and listens to it? How to listen to the call of a strike? What prevents one from hearing this call or stops one from listening to it?

Friday 4 May

1pm – 4pm Ultra-red with Nancy Nevárez – What is the Sound of Freedom?
Working through their installation / residency, today Ultra-red joined by theatre director and activist Nancy Nevárez.

5.30pm – 7pm Andrea Geyer – Comrades of Time
Andrea is a leading German visual artist, creating major image and text based installations and performances, around national identity, gender and class. For Comrades of Time seven New York women recite monologues composed from speeches, letters and essays from the vibrant years of the Weimar Republic.

7.45pm – 8.30pm Yasunao Tone – Paramedia
Yasunao Tone is one of the major (fluxus) sound artists of the last 50 years whose unconventional music brings together traditional Eastern culture, Western Philosophy and media theory to create dense, immersive, overwhelming sound environments.

Saturday 5 May

11am – 2pm Ultra-red with Fred Moten – What is the Sound of Freedom?
Working through their installation / residency, today Ultra-red joined by writer, poet and academic Fred Moten, who works at the intersection of black studies, performance studies, poetry and critical theory.

2.30pm – 3.30pm Sean Meehan
Sean Meehan is a leading improvising percussionist from New York. He creates performances that use music to explore the social construction of space.

4pm – 4.30pm Eugene Thacker – Cosmic Pessimism
Eugene Thacker is a writer, philosopher and occasional noise musician whose performative lecture is concerned with Renaissance occult (musical) thinkers of the cosmic put forward the notion of the “disharmony of the world”

5pm – 5.45pm Brandon LaBelle – In Passing
A prominent thinker about sound and its relationship to everyday life, Brandon make music that doesn’t feel like music, but, in some new way, is. In Passing is a silent performance of (musical) reverberation.

Sunday 6 May

11am – 2pm Ultra-red – What is the Sound of Freedom?
Working through their installation / residency, this final session in their week-long residency will review the week and develop questions and propositions for the future.

2.45pm – 3.30pm Evan Calder Williams – Dr. Mabuse dispassionately recites communist theory over found footage of riots
Socialism and/ or Barbarism is a project by Evan Calder Williams, a writer and thinker on ornament, dialectics, melodrama, and the communist politics of (horror) films of the 1970’s. His performed lecture will be about the politics of narration.

4.30pm – 5.45pm TEST – Tom Bruno, Daniel Carter, Matt Heyner, Sabir Mateen
TEST is a collective creative improvising quartet based out of the NYC Underground; figuratively and literally. For over a decade they performed on a weekly basis in the streets and subway stations of New York City.

INSTALLATIONS

Wednesday 2 – Sunday 6 May during museum opening hours

Craig Dworkin – A Handbook of Protocols for Literary Listening
Craig Dworkin is one of the leading conceptual writers in the US, who’s own brilliant work often takes medium-reflexivity to its impossible conclusion. He will be giving a guided reading of his handbook for literary listening.

Brandon LaBelle – Temporary outpost for an auditory figure
A prominent thinker about sound and its relationship to everyday life, Brandon’s Outpost is an archival space full of live audible energies: researching the ways in which sound and audition move through everyday life, Outpost is a collection of sonic amplifications, video documents, texts and artifacts.

Ultra-red – What is the Sound of Freedom?
Ultra-red are an international sound art collective who develop explicitly political art and learning projects. With communities they have worked with in New York, and over 5 days they will ask: what is the sound of freedom?

AGF (Antye Greie).

Productión: RADIO-SYSTEM – audio sin orillas

Where: RAMAS GENERALES – El Nuevo Almacén

Call for Participation – Radio Art & Sound Art: “AIR / EAR” installation.

Second collective installation of radio art and sound art will open in San Justo, Santa Fe, Argentina.

“Radio signals are not, as commonly thought, a recent phenomenon. Nature has spoken through radio signals
from the origins of the universe. ”

“In an age of high technology, such as how long we live, we are surrounded by many electronic devices,
which manage the day to day, even more basic operations, where they can be useless or useful. We are so
accustomed to its presence, so I think part of the environment that we see every morning on waking. ”

“Clearly we are connected in real time everything that happens on our planet. Remains to be seen how much
this can help improve our knowledge of himself. ”

“Nature gives us a powerful device, the radio signal, to observe what is around us. We must be careful not to
forget that most of the advanced knowledge we have today about the universe comes from observations with
radio telescopes, and not with the observations in an optical field. ”

“Even our planet is a radio signal source, especially at low frequencies: each of us has, at the same time,
listening to radio crackling noises medium wave during a storm. Different natural phenomena such as
auroras, earthquakes and storms create radio signals and these signals can be studied with a very simple and
inexpensive device. ”

“We have lost the direct physical contact with our surroundings. We just have to think about the objects that
meant the technology to our grandparents.” Renato Romero

Each form of address to the radio from the nature mean a knowledge of ourselves and our relationship with this
device already has 90 years of age: the radio sound is our grandmother.

“AIR / EAR” is the assembly of a radio transmission in a / a space / cultural hall of a small town in rural
Argentina. Over the years my relationship with the radio, I was penetrating into the ambient sound of space
around me constantly, in everyday life and transmission of these devices, like having a pair of headphones built
all the time. This combination made in time I discovered the term radio art and began to investigate.

“AIR / EAR” joins two English terms related to the transmission and listening to together form a Spanish word,
meaning fresh, oxygenation and giving to know one thing.

“AIR / EAR is through sound show the different ways in which the radio art grows, so by means of a call over the
Internet are invited to participate in this event, transforming it into a sample collectively.

“AIR / EAR” arises to make known a new art form, the radio art through sound public places and means of
communication.

Are invited to send audio output as follows:

1) Sound file (s) (MP3, WAV, cassette) that produced it yourself or with others. The same may
include: a) sounds of a radio in a natural environment in which both soundsmerge: a radio
transmission and the sounds of nature, b) soundscapes that will air the day of installation c) musical
composition through sounds of nature. Duration between 5 and 15 min … you want your 15 ‘fame?! :)

2) Write your thoughts on the play (written on paper, email, and / or hand-written) – If it is written on
paper or written by hand, please be good to spend a PDF, or mail it to me address (included below).

• The themes of the sounds and noise in other (aesthetic, emotional, religious, psychological, philosophical,
sociological, historical, political, etc).

• The filtered sounds through the compositions.

—————————————————————————————————————————————–

• Sounds submitted will be played from a computer, is an audio (audiogallery), so that people will have access
only acoustic, do not be discouraged by the low frequency: all will be part of the sample, the receivers will be
the curators themselves.

• If your recording is a cassette recorder, do know. They can be digitized.

• If you can only record on cassette tapes let me know. If submitted in time, I can record to a digital format.

• Please include your name and contact details (web address – mailing address and short biography.)

• The productions, in all cases, be transferred under Creative Commons license.

• The files are compiled as a playlist in the living room, through a streaming e-radio.

Reception:

Preferably to rmtolosa@gmail.com

By mail to:

Gobernor Cabal 2333
Rubén Marino Toulouse 2333
(3040) San Justo, Santa Fe
Argentina

—————————————————————————————————————————————–

Timing:

Make sure you arrive until 1 June.

Feel free to send the following information to anyone who might be interested.

—————————————————————————————————————————————–

Inquiries:

Send email to rmtolosa@gmail.com

================================================================================================

==============

Thanks! Among all we hear and walk

“April Fools Gags on Air? Play It Safe, and Remember the FCC’s Hoax Rule“
By David Oxenford at Broadcast Law Blog

“With April Fool’s Day only a few days away, we need to repeat our annual reminder that broadcasters need to be careful with any on-air pranks, jokes or other jokes prepared especially for the day. While a little fun is OK, remember that the FCC does have a rule against on-air hoaxes – and, of any day in the year, April 1 is the day that the broadcaster is most at risk. The FCC’s rule against broadcast hoaxes, Section 73.1217 of the Commission’s Rules, prevents stations from running any information about a “crime or catastrophe” on the air, if the broadcaster (1) knows the information to be false, (2) it is reasonably foreseeable that the broadcast of the material will cause substantial public harm and (3) public harm is in fact caused. Public harm is defined as “direct and actual damage to property or to the health or safety of the general public, or diversion of law enforcement or other public health and safety authorities from their duties.” Air a program deemed a hoax, and expect to be fined by the FCC.”

Solar Weather
Solar activity is expected to be low with a chance for an isolated M-flare. Old Region 1429 (N19, L=299) is expected to rotate onto the solar disk midday on 29 March, which should increase M-class flare probabilities. New Region 1448 (S18E55) was numbered today and is an A-class spot group.
Geophysical Activity Forecast: The geomagnetic field is expected to be quiet to unsettled for 29 March due to persistence. Quiet levels are expected for days two and three (30 and 31 March).

Thursday webstream
Remarks by Chairman Genachowski and Digital Education Leaders on National Adoption of Digital Textbooks
March 29, 2012, 1:30-2:30 p.m. EDT online-only at fcc.gov/live.
Remarks by Chairman Genachowski and Secretary Duncan, followed by a presentation from the Leading Education by Advancing Digital (LEAD) Commission on the opportunities and challenges of transitioning the country to digital textbooks. Julius Genachowski, Chairman, FCC; Arne Duncan, Secretary, U.S. Department of Education; James Coulter, Co-Chair, Leading Education by Advancing Digital (LEAD) Commission CEOs and senior executives, broadband companies, publishers, and digital device manufacturers.

http://radialx.radiozero.pt

(Above, Karlheinz Stockhausen’s “Cosmic Pulses,” work for eight-channel tape, which is comprised of 24 melodic lines indeterminately manipulated across 7 octaves, in 24 registers, in 24 tempi, each containing between 1 and 24 tones. The work begins with the retroactively determined, generated lines that represent the lowest registers and the slowest tempi, and works upwards throughout the duration of the piece.)

“Solar activity is expected to remain at low levels from 19 -26 March. On March 27, and then March 28, old Region 1430 (N22, L = 318) and Region 1429 (N18, L = 299) are expected to return, respectively. Even though these regions are on the far side of the solar disk, imagery supports that they are still active and producing CMEs. An increase to low to moderate levels is expected from 28 March – 11 April as both regions populate to front side of the solar disk. A return to predominantly low levels is expected to prevail for the remainder of the forecast period.

No proton events are forecast from 19 – 29 March. An increase to a slight chance for proton events is forecast from 30 March – 11 April as old Region 1429 populates the visible disk. A return to background proton flux levels is expected from 12 April – 14 April.

Electrons, greater than 2 MeV, are expected to be at high levels from 18-25 March. A decrease to normal to moderate levels is expected from 26 – 28 March. From 29 March – 03 April, a return to moderate to high levels is forecast. From 04 April, through the end of the forecast period, 14 April, a return to normal to moderate levels is expected.

The geomagnetic field is expected to be at quiet to active levels on 19-20 March, in response to the arrival and lingering effects of a CME. Predominantly quiet levels are expected to prevail from 21-27 March. On 28 – 31 March, a CH HSS is expected to become geoeffective with quiet to active conditions expected. Quiet conditions are expected from 01 – 02 April. From 03 – 04 April, quiet to unsettled conditions are expected as another CH HSS moves into a geoeffective position. Predominantly quiet levels are expected to continue from 05 – 12 April. From 13-14 April, a CH HSS is expected to become geoeffective.”