The clash between the rules of theatre and those of documentary ignites a controversial debate on the methods and legitimacy of provocation using the medium of radio vs truthfulness.

This American Life Retracts Apple Mike Daisey China Show

‘Nowadays, there’s a general idea that most of young people don’t feel motivated to actively participate in society. Nevertheless, they are extremely enthusiastic about new media (blogs, podcasts, social networks, etc). Taking this in consideration, Raise It Now! came up with “Europodcast – New Media for Young Entrepreneurs and Volunteers”, a project that gathers young people from 6 European countries and empowers them in radio and podcast production, journalism, communication and new media, mobility, entrepreneurship and volunteering.
All of these young people, coming from Austria, Greece, Italy, Poland, Portugal and Romania, met in Lisbon between August 1 and 7, and one of the most visible outcomes is in the form of an international radio programme now available in podcast. The empowerment continues after the international meeting as each national team will organize
workshops for local youngsters and produce a local radio programme to be distributed for all other partners and made available in podcast.
On each monthly programme, mobility, entrepreneurship and volunteering will be the main topics and European young bands / artists will have the possibility to promote their music’.

‘The aim of the Radio Art group is to create a forum for radio art practitioners and/or enthusiasts to exchange views and ideas relating to the art-form. Its goal is put radio art issues somewhere they can be acknowledged and to ignite further debate and discourse’.

Selected artists will be notified on the 12th of December.

We would like to take this opportunity to thank everyone for their submissions.

Kind regards,

Radiauteur

‘The Sound Bank scheme is offering funding of between £500 and £1500 towards the production of new audio pieces of 3 to 15 minutes duration each. Recipients of the scheme will also be allocated a ‘mentor’ to help with the artistic, editorial and practical realisation of their idea. The finished works will feature at In The Dark events and online. In addition In the Dark offers to promote winning commissions, liaising with broadcasters, webhosts, festivals and competition-holders across the English-speaking world.

An independent jury of radio enthusiasts chaired by Nina Garthwaite will award up to four grants. The scheme is open to all – first-time producers and students, migrants from other arts and media as well as experienced radio professionals seeking the opportunity to attempt something bold and adventurous.’

Deadlines

All proposals and showreels need to be submitted by midnight on Monday 5th September
Results will be published on this site on Friday 30th September

Pieces will need to be completed by  January 2012

The sound of the ocean 24/7.

Take a deep breath.

A conference not to be missed by anyone with an interest in radio:

‘With over a century of history, and having been considered the most prominent media of the 20^th century, radio currently faces the need to reconsider its place in the media environment and its relationship with the audience. With the advent of what has been called “’Radio 2.0’”, it is impossible to ignore the transfiguration of audio contents (production and dissemination), which is no longer in the exclusive hands of radio broadcasters, just as it is impossible to discard the mutation of the role of the conventional listener.

Given the technological potential, audiences demand participation, engagement, and interaction. In fact, technology has allowed for the diversification and dispersion of audiences. Having been given the opportunity to manipulate, create, and share information, via widely available and user-friendly electronic tools, both users in general and listeners have potentially become more active and participative.

There are fundamental shifts in society and technology with which radio broadcasters are confronted on all sides, both by the opportunities and benefits provided by new digital media and by increased competition within their traditional media markets. This all adds up to uncertainty, and there is a massive push to understand how these changes will impact listener-users’ behavior both now and in the future. Moreover, with the explosion in capacity resulting from the launch of new digital radio and web-radio platforms, there is a demand for new content and channel offerings that threatens to out-strip supply.

The aim of the conference is to examine the evolution of radio over the past decade, identifying changes in terms of the technology, production, and structure of the radio industry, in addition to changes in radio genres and languages, styles, and modes of reception. The main goal is to think about radio as a privileged medium of representation and creation of social imaginary within the spirit of community that it has promoted since the early 1900’s.’

http://www.cmfe.eu/

‘The CMFE was founded to strengthen the participation of the “Third Media Sector” in European discussion and decision-making processes at a moment when freedom of expression and free access to information are increasingly endangered by the consequences of concentration in the media field.

The “Third Media Sector” is made up of non profit-making media serving a local community and has as such a clearly distinct identity alongside the national public service sector and private commercial media. The CMFE is a common platform for networks, national federations and projects active within this sector. On the one hand, it enables the participating organisations to bring up their concerns on a European and international level and, on the other hand, it represents a channel through which European institutions can spread information on relevant questions to CMFE participants.’

The CMFE stands for

1. obtaining recognition of the 3rd Media Sector by the European Union and the Council of Europe as a point of reference for national culture and media policy;
2. the drawing up of a Framework Convention on Community Media to guarantee the basic requirements on a national level;
3. establishing funding possibilities for community media within the future MEDIA programme and other media-related EU budget lines;
4. raising awareness about the large number of social and cultural issues which are covered and supported by the activities of community media;
5. building up a platform for continuous dialogue and discussion on how to ensure media pluralism, freedom of expression and access to information throughout Europe;
6. strengthening cooperation and giving support to new independent civic media initiatives in transition countries, this being a key condition for democratic participation and development in their societies.’