From its desert summoning in 1946 to its meatspace release in 1981, Los Angeles has served as the mythopoetic incubator of a cybernetic ideology which now uses human culture as the substrate of a globe-spanning metaorganism. Jason Brown will explain.

The Pacific Standard Time Performance and Public Art Festival Episode of Paranoid Machines (Los Angeles 1946-1981), Broadcasting From Machine Project will be distributed as a micropower FM “broadcast” to the immediate Machine Project vicinity. Technology permitting, it will also be “streamed” over the Internets. The FM micropower broadcast range SHOULD cover the block of Alvarado in front of Machine. It COULD go farther. It PROBABLY won’t! Quarter-wave ground plane FM broadcast antenna design is ANNOYING!

SCHEDULE

Signal identification broadcast will start at around 7pm.
Official Program starts at 8pm.
It could last for around two hours.
It could last for maybe, like, 3 hours?!
Conditions permitting!!

!!! WARNING !!!

The Storefront Plaza will be left in its PURE, NATURAL STATE. There will be NO effective shelter from the Brutal Elements (forecast: mid 50′s, overcast, rain likely). There will be NO electricity. There will be NO sound system. There will be NO comfortable seating. If you want to use the bathroom, you might want to go to BURGER KING.

Please PLAN AHEAD for your OPTIMAL PACIFIC STANDARD TIME PERFORMANCE AND PUBLIC ART FESTIVAL MACHINE PROJECT MICROPOWER FM BROADCAST EXPERIENCE!

If you find yourself in the Storefront Plaza for the Pacific Standard Time Performance and Public Art Festival Episode Of Paranoid Machines (Los Angeles 1946-1981), Broadcasting From Machine Project, PLEASE REMAIN CALM.

Information will be provided to you through the FM micropower broadcast. Please note: It will NOT be practical information! If you do not have an FM radio, you might be able to listen in on an available battery-powered FM radios. BUT YOU MIGHT NOT.

PST PAKS

A limited number of Pacific Standard Time Performance and Public Art Festival Audience Refugee Survival Care Paks will be available in the Plaza to aid with your survival as an audience member.

There will be an even MORE limited number of Elite Circle Comfortable Survival Paks. The distribution of these Paks will NOT be moderated by officials from the Pacific Standard Time Performance and Public Art Festival. Out of respect for your fellow audience-refugees, PLEASE keep extended sessions of loud/violent bartering to a necessary minimum.

EQUIPMENT CHECKLIST

FM radio;
Dress in layers;
Wear a hat;
Shoes are a must;
Source of warmth;
Consider a Performance Buddy;
Proof of Pacific Standard Time Elite Circle Refugee Status (forgeries accepted)

GENERAL ADVICE

Have a “performance buddy”;
Use the bathroom before you go;
Do NOT taunt the broadcasters;
Don’t use the telephone. Lines are likely to be jammed

If you try to use a Portable Hole or Sack of Holding to stash your gear, you are STILL going to get dinged for AT LEAST half-encumbrance, because that kind of lazy deus ex machina is NOT going to fly at the Pacific Standard Time Performance and Public Art Festival Episode Of Paranoid Machines (Los Angeles 1946-1981), Broadcasting From Machine Project!

IF YOU BECOME DISORIENTED, OR SEPARATED FROM THE AUDIENCE:

REMEMBER that the Los Angeles street grid does NOT run north and south DUE TO THE LAW OF THE INDIES. So when you are planning your meeting point, do not be all like, “let’s meet 500 yards due North of our Present Location.” Because then your performance buddy will be all like, “I climbed into someone’s backyard and hid there for an hour — where were you?” And you’ll be all like, “Ooooh, dude. I just went up Glendale, dude!” It will not end well with you and your Performance Buddy.

SHOULD THE PLAZA BECOME HALF-SUBMERGED, ENTRAPPING YOU WITHIN:

Don’t scramble for an exit, since stairwells may be broken or jammed with people. Never use an elevator. And PLEASE do not use Morse code. After a while, that will just get really annoying for everyone.

HAVE SOME GIANT EAR-MUFF RADIO HEADPHONES FROM THE 80′S?

They won’t just allow you to HEAR the Pacific Standard Time Performance and Public Art Festival episode of Paranoid Machines Broadcasting from Machine Project — They May Save Your Ears!

FIRE!?!?

There MIGHT be candles in the Audience Survival Care Paks. If you find yourself adjacent to fire in the Storefront Plaza, please put out any fires that are NOT a candle. If a fire is significantly larger than a candle, or if it is producing a lot of smoke, leave the Plaze immediately, alerting your fellow audience members on the way out. Notify the fire department.

However if the fire you are adjacent to IS a candle, please do NOT notify the fire department, unless the other necessary hazardous fire conditions are met (large fire, smoke, evacuation, et cetera.)

“CAR CULTURE”

If you are in a moving vehicle and you find yourself listening to the PACIFIC Standard Time Performance and Public Art Festival EPISODE OF PARANOID MACHINES, BROADCASTING FROM MACHINE PROJECT you should pull to the side of the road as quickly as safety allows, stop your car, and stay inside. Stay away from overpasses, bridges, tall buildings, and power lines. Set volume at a comfortable level. If you desire a burrito while trapped in your car, please see the BURRITO VENDOR FM MICROPOWER RECEPTION ZONE section.

BURRITO VENDOR FM MICROPOWER RECEPTION ZONE:

Obviously you will want to obtain and consume a burrito while enjoying the micropower FM broadcast of the Pacific Standard Time Performance and Public Art Festival episode of Paranoid Machines Broadcasting from Machine Project. Please consult the following advisory range finder:

El Flamin Taco: we’re cautiously optimistic
Burrito King: depends on liquor store parking lot situation
Taco Zone: would require 1337 FM sK1lzz
Rodeo: we really don’t think so
Tacos Arizas: fuggedaboutit
Presented in conjunction with Pacific Standard Time.

Pacific Standard Time is an unprecedented collaboration of more than sixty cultural institutions across Southern California, coming together to tell the story of the birth of the L.A. art scene. Initiated through grants from the Getty Foundation, Pacific Standard Time will take place for six months beginning October 2011.

The clock ticks; the moon waxes; the autumn leaves turn crimson. Time is as ubiquitous as it is elusive. Guided by science and science fiction, All In Time traverses the timeless mystery of time itself.

This 25-minute work won the Luc Ferrari International Broadcast Arts Competition and was commissioned by La Muse En Circuit (Centre National de Création Musicale), with the support of Radio Suisse Romande, Deutschlandradio Kultur, RTBF Musiq 3, Groupe de Recherches Musicales, and Radio-France. It recently won a Gold World Medal for Best Sound at the New York Festivals Radio Programming Awards.

In 2011, All In Time was presented on Radio Suisse Romande in Switzerland, Deutschlandradio Kultur in Germany, as well as at the Archipel Contemporary Music Festival in Geneva, at Festival Extension XI in Paris, at Netaudio London, at Ohrenhoch sound art gallery in Berlin, and at the Deep Wireless Festival in Toronto.

The audio work of Canadian Sarah Boothroyd has been featured by broadcasters, festivals and galleries in over 25 countries. She has won awards from New York Festivals, Third Coast International Audio Festival, the European Broadcasting Union, and La Muse En Circuit.

At various noons in November in reference to the myth of The Universal Now: November 3; 4:30 pm CST (12pm Marquesas Time), November 5; 1:00 am CST (12pm Indian Chagos Time), November 6; 5:00 pm CST (12pm Samoa Standard Time), November 9; 9:00 am CST (12pm Paraguay Time), November 11; 3:00 pm CST (12pm Gambier Time), November 12; 2:00 pm CST (12pm Pitcairn Standard Time), November 13; 2:00 pm CST (12pm Easter Island Standard Time).

Notes: Special thanks to physics maven Peter Watson; to antique clock collector Georges Royer; to Morgantj and Dokashiteru for providing Creative Commons samples; and to Himan and Melina Brown for permitting the use of CBS Radio Mystery Theatre clips.

Through Localore, AIR will recruit talented radio, TV, film, and online producers to lead 10 station-based projects blending approaches to broadcast and digital platforms. The range of radio and television stations signed on to Localore crisscrosses from Vermont to Alabama, Ohio to Arizona, Pittsburgh to the Pacific Northwest. Big stations in major markets have begun to throw their hats into the ring alongside small rural stations, public television dual licensees, and Native American stations out west. Launch stations will be announced at an event on September 22nd at the PRPD’s Public Media Programming Conference in Baltimore.

Radio and television stations interested in taking on a Localore project are encouraged to “raise their hands” and demonstrate their preparedness for incubating Localore innovation by signing on to the Station Runway. There, prospective incubator stations will present three to five minutes of media (slide show, video, or audio piece) showcasing their creative culture, their distinctive community, and their vision for engaging a new community of public media citizens.

Localore producers are invited to submit proposals between today’s launch date — September 15th — and November 10th at Localore.net. A second round of vetting in December will call on producers, matched with incubator stations, to submit final proposals. Projects will launch between March and June 2012, with a time frame of execution anticipated at nine to 12 months.

AIR has assembled its own multiplatform, collaborative production team to lead Localore, including Executive Editor Noland Walker, a Peabody- and Emmy Award-winning producer/director of PBS and independent documentaries, and author/journalist Jessica Clark, who led the Future of Public Media project at American University’s Center for Social Media from 2007 to 2011. She serves as AIR’s Media Strategist.

In many ways, the Localore project reflects the changing composition of AIR itself, with a membership that is rapidly diversifying and expanding public media and journalism. AIR was founded in 1988 by a group of 10 independent public radio producers in New York City. It has since grown into a global, social and professional brain trust of more than 800 producers — both independent and those employed by media organizations — representing an extensive range of disciplines, from NPR news journalists and reporters to sound artists, station-based producers, podcasters, gearheads, web developers, and more. Public media’s leading networks — American Public Media, NPR, PRI — and leading producing stations from across the U.S. are also in the ranks of AIR.

Learn more about the nuts and bolts of Localore in this video of AIR’s recent producers’ webinar.

###
Links:
www.AIRmedia.org
www.localore.net
Webinar video: www.vimeo.com/29065323
Project logos are available at: http://www.airmedia.org/PageInfo.php?PageID=480

Funding for AIR comes from our members and the generous support of the Corporation for Public Broadcasting (CPB), the John D. and Catherine T. MacArthur Foundation, the New York State Council on the Arts (NYSCA), Wyncote Foundation, Recovery.gov, and the National Endowment for the Arts (NEA), which believes that a great nation deserves great art.
Association of Independents in Radio
P.O. Box 220400
Boston, MA 02122
Phone: 617-825-4400
www.airmedia.org

Association of Independents in Radio
PO Box 220400
Boston, Massachusetts 02122

Copyright (C) 2011 Association of Independents in Radio All rights reserved.

Episode 12 will host HMBKR, an experimental laptop quartet based in Vancouver, Canada, featuring members from Ejaculation Death Rattle (Ross Birdwise), Connect_icut (Samuel Macklin), Scant Intone (Constantine Katsiris) and Coin Gutter (Emma Hendrix). Radius will broadcast Radio Majesty which documents the first meeting of four Vancouver-based audio artists who explore the frequency spectrum through real-time digital signal processing, unconventional tuning systems, and free improvisation.

Radius will transmit Radio Majesty for seven days to mirror the scales found in “The Well-Tuned Piano“ by La Monte Young on: September 1 (12am CST), 3 (12:30am, 11:30am, 11:00pm CST), 6 (5:30am, 12:00pm CST), 8 (11:00pm CST), 9 (11:00am, 6:30pm CST), 12 (12:00am, 5:30am CST), and 14 (1:00pm CST).

Radius is an experimental radio broadcast platform based in Chicago, IL, USA. The goal is to support work that engages the tonal and public spaces of the electromagnetic spectrum. Radius features a new project semi-monthly with statements by artists who use radio as a primary element in their work. Radius provides artists with live and experimental formats in radio programming.

Osvaldo Cibils is a visual and sound artist born in Montevideo, Uruguay now living and working in Trento, Italy. He works with drawing, computer-generated sounds, and short videos.

Radius will broadcast h88h. h88h was made using radio field recordings (Rovereto, Italy, 2010), desk recordings (Trento, Italy, 2011), cassette (POLE music fragment, 2001), CD-R (computer sounds experiments, 1997-2001), software sounds (Linux MultiMedia Studio, RolloSonic, Mixxx, Acid v1.0.), and a Midi keyboard controller.

Radius is an experimental radio broadcast platform based in Chicago, IL, USA

International Radiophonic Creation Day is a biennial event honouring radio creation on its widest sense : soundscape, Hörspiel, radio drama, experimental music, various sounds…

How does it works ?
On Saturday the 4th of June between midnight and midnight will be broadcast at the same time on a lot of radios around the world, the 24 hour program provided by us and including your pieces. After the festival, a boxset containing the 24 hour programming will be edited and will be distributed to all the participants and to arts centers, librairies, specialised bookshops etc.

Submissions
Applicants must fill out> and submit the Submission Form on this site, as well as an e-mail with your sound piece attached (it is preferable to use www.sendspace.com to send your pieces) to info@shakerattleroll.com

Application open to : radio stations, artists, anyone interested in sounds :: Subject : no fixed subject ::
Lenght : no fixed length :: Format : .wav or .mp3 (256kbps) ::

Open for submissions : December 2010
Deadline for entries : 1st April 2011
Delivery of commissioned programming : 22nd April 2011
24h Broadcasting : 4th June 2011
Boxset edition : November 2011

To listen: FBi Radio 94.5 fm Sydney :: To Watch: Visitors Studio :: Outside of Sydney: open up above URL’s in different browser windows to stream both sound and visuals.

Ethernet Orchestra featuring live from Sydney: Buhu Ganburged - Mongolian Horse fiddle and throat singing; Yavuz Uydu - Turkish Oud and Bendir; Roger Mills - Processed Trumpets.

Live from Londrina, Brazil- Guitar by ex Blurt (Factory Records); Guitarist Chris Vine

Live from Braunschweig, Germany - Martin Slawig Laptop electronics and Max/MSP processing.

VJ’s: Grazmaster - London; Helen Varley-Jamieson - Munich, Germany; Neil Jenkins - Sydney

Networked performance is a part of Furthernoise curated networked improvisations for Explorations in Sound.

“A weekly broadcast of Slow Electronics - measured sounds in active inversion of misogynist+fascist Power Electronics. The grind of disused VHS decks, turntables at -500%, low-power high-impact wall-of-drone solutions.” … listen to the slow streams within streams of recursive machines inna feedbacked whirld we live in live every Sundaze: glitch.fm_v2.

Southbridge is the label for the musical genre of Slow Electronics. We are concerned with decoding and resisting crypto-fascist patriarchal Power Electronics. We believe in the process of slowness in terms of processing power, data streams and carefully considered recursions folding in on themselves through ’screeching waves of feedback, analogue synthesizers making sub-bass pulses or high frequency squealing sounds, and screamed, distorted, often engaged and relatively unknown lyrics.’

We consider most Power Electronics to be celebrations of structures of domina(nce|tion) and a performance of the open embrace of shadow self that often surfaces as a sort of “extreme” shadow play of sexual violence.

We read Power Electronics according to this interpretation and respond to it on those terms. We hope that this opens conversation, because while we are familiar with explanations by some Power Electronics artists of their intents and strategies we feel that on the whole these intents and strategies have a tendency to go largely unquestioned and spin out of the realm of open questions thru self-parody and into acquiescence.

This is one of the Southbridge points of origin. Another important vector we travel is concerned more with experimental strategies (for|of) slowness as a way to work+play between the cracks of various technologies, especially audio technologies. We use electromechanical sound + devices that can be slowed down i.e. the turntables we use for our radio show that go to -60% speed, obsolete software to modify playback in realtime to .01% speed, a speculative cassette player that can be cranked by hand, or the ’southbridge’ on a computer motherboard which connects the processor to the ’slow electronics’ like the snd card + keyboard…

Southbridge DJs are Jake Elliott and jonCates. Jake and Jon have been performing and DJing in the international noise, new media art and techno communities since the 20th century, including shows in Chicago, New York, Mexico City, Linz, Montreal and Beijing.”

Slow Electronics
Southbridge
On Twitter
On Facebook.

Thirty-three artists will send live broadcasts from fields direct to your desktop. All works, whether video, animation, performance, sculpture or live data will be created in the field with no editing or post-production. Each broadcast will be viewed by a dispersed international audience, at office desks, in cafes, on trains and at kitchen tables.

To receive the field broadcasts go to fieldbroadcast.org, click on ‘download viewer’ and follow the instructions. Once you have installed the viewer application each broadcast will arrive directly to your desktop, through your internet connection, opening in a pop-up window. All broadcasts are live and will not be repeated.

Artists: Bram Thomas Arnold, Ed Atkins, Dave Ball, Christopher Bassford and Jonathan Ryall, Richard Bevan, Sara Bjarland, Martin John Callanan, Susan Collins, Dan Coopey, Alexander Costello, David Cotterrell, Michael Cousin, Juan Cruz, Sean Edwards, Simon Faithfull, Florencia Guillen, Hamilton, Southern and St Amand, Toby Huddlestone, Fritha Jenkins, David Kefford, Olivier Leger, Pernille Leggat Ramfelt, Neil Luck, Revati Mann, Elizabeth McTernan, Alex Pearl, Eric Rosoman, Jennie Savage, Rob Smith, Dan Walwin, Ian Whittlesea, Luke Williams, Laura Wilson.

Curated by Rebecca Birch and Rob Smith for PROJECKT in conjunction with Wysing Arts Contemporary Presents

For further details email field [at] fieldbroadcast.org

From glitches and disrupted audiovisual flows to scrambled signals and noise via avant-retard aesthetics and live montage — Sound & Television offers you artistic re-imaginations of the future (and past) of live digital-TV broadcasting. As a Transmission Art series, Sound & Television invites artists who work with the materiality of audiovisual flows to realise performances exploring the performativity of television: not live on TV, but live as TV. During six half-hour long television transmissions, a group of Danish and International artists develop performances where the transmission itself becomes the artwork. The performances all reflect on different significant aspects of the changing conditions of broadcasting. In the new DVB-T (digital terrestrial television) environment, the very transmission format of TV has changed, from symmetric analog to asymmetric data flows, encoded in the MPEG format and decoded through software implemented in everything from flat-screen TV’s, set-top-boxes and PC’s.

Signal, noise, feedback, liveness and flow along with standardized production formats are all aspects of the television medium which are reshaped in digital, networked media. Rather than a stream-lined sound- image of digital convergence, Sound & Television will strive to act as a springboard for an aesthetic “media-clash” reflecting on the political- aesthetic of old and new media forms.

Transmission Schedule Spring 2010:

Apri 27___AYMERIC MANSOUX
May 4___DEMOCRATIC INNOVATION feat. LAMBURG TONY (open studio)
May 25___ROSA MENKMAN
June 1___SVEN KONIG
June 8___JACOB KIRKEGAARD
June 15___VICKI BENNETT aka PEOPLE LIKE US (open studio)

Sound & Television is curated by Linda Hilfling and Kristoffer Gansing in collaboration with tv-tv, Copenhagen.

tv-tv is a non-commercial TV channel which started as a local Copenhagen channel in 2005 but which can now be viewed across Denmark, broadcasting 1 hour per week on all DK regional channels.