Film and Media

2004, 20 pages, with accompanying DVD. La Peña Cultural Center, 3105 Shattuck Avenue, Berkeley, CA 94750, 510-849-2568, www.lapena.org

2004, 119 pages, ISBN 0-9759241-1-7. Global Business Network, 5900-X Hollis Street, Emeryville, CA, 94608, 510-547-6822

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The fall 2002 issue of the Reader (volume 13, number 3) introduced an ongoing feature, "Why Art?" as a response to GIA's goal to strengthen the role of arts and culture in philanthropy and in society as a whole. This Reader feature aims to help members and others make stronger arguments for the support of arts and culture by sharing examples of arguments, case statements, insights, and stories that convey the multifaceted role that culture, the arts, and artists play in our society, neighborhoods, and individual lives.

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Three briefings for funders on electronic media policy were held January—March 2005, organized by Grantmakers in Film and Electronic Media, hosted by the Ford Foundation, and co-sponsored by other interested parties, including Grantmakers in the Arts. The first session, “Securing Our Rights to Public Knowledge, Creativity, and Freedom of Expression,” was reported on by Helen Brunner in the spring 2005 Reader. (Please note that web addresses for most of the organizations mentioned are listed at the end of this article.)

“What the FCC Is Going On?”

To California's great Central Valley they have come from the highlands of Oaxaca, the cities of eastern Pakistan, the relocation camps of Thailand—political refugees and new immigrants from around the world aspiring to build a future for their children, grands, and greats.

For three days in October these new U.S. Americans gathered in Fresno's Tower District for their second Tamejavi Festival. Everyone was welcome; the historic Tower Theatre's marquis proclaimed, “Tamejavi: It's Still Free.”

Early in 2004, the Graduate Center of the City of New York convened ten small to mid-sized arts organizations to talk about what had happened to them in an experimental, internet-based project funded by the Ford Foundation. The ten, from across the country, are community-based cultural organizations; they share a commitment to emerging and experimental artists and art forms, and a commitment—equally firm—to their local or nearby communities. Despite their similarities of mission, the ten were not familiar with each other's work.

On December 2 and 3, 2004 the University of Chicago's Cultural Policy Center held a conference on “The Future of Public Television” at the Museum of Contemporary Art in downtown Chicago. The Center convened a star-studded series of presenters and key speakers to illuminate the current condition of public television and to make some predictions about its future. The speakers and panelists included Kathleen Cox, president and CEO, Corporation for Public Broadcasting (CPB); Pat Mitchell, president and CEO, Public Broadcasting System (PBS); Kenneth P.

January 7, 2005. Hosted by the Ford Foundation and organized by Grantmakers in Film and Electronic Media's (www.gfem.org) Working Group on Electronic Media Policy. Co-sponsored with Grantmakers in the Arts, the Funders Network on Trade and Globalization (www.fntg.org), and the New York Regional Association of Grantmakers (www.nyrag.org).

The following remarks were presented at a symposium that was part of the 2004 Ars Electronica Festival: TIMESHIFT—The World in Twenty-Five Years. This festival for art, technology, and society was founded in 1979 and is held annually in Linz, Austria. Joan Shigekawa, associate director of Creativity and Culture at the Rockefeller Foundation, spoke on the final panel of the symposium, “TOPIA,” which was designed to “present scenarios around a wide variety of topics relating to art, technology, and society.