Each strand is a station in its own right, running on the same rule against its own pool — so switching strand does not put you off the clock. Commissioned works, guest-curated drops and artist-voiced station identifications are planned and not yet built; nothing is listed here that does not exist.
DMCF Radio is operated from Athens as a non-commercial curated stream and, before that, as a curation research instrument. It has no advertising and sells nothing.
Programming is governed by a Foundation Document with a single pillar: art in which a rule, code, system or sign is the medium. Geography is never a selection criterion. Every record enters the corpus by passing a four-point admission test and carries a mechanism statement, a curatorial system and a rights routing; a decision record is minted when a record is actually programmed.
The station is private and is not transmitted to the public, so the operative question is not whether a recording may be broadcast but whether the copy is lawfully held. The register answers both and keeps them apart. private_ok is the airing gate: an open licence permits the copy, or the purchase is recorded against it. public_ok records, separately, whether a retained instrument would permit communication to the public — it governs nothing today and exists so that option is preserved rather than destroyed. The playlist derives from private_ok and nothing else; if the register cannot be read the station goes silent.
Twenty curatorial systems are defined. Three are populated. The empty ones are documented gaps and are what the programming plan exists to close — the Catalogue and the coverage map show the real state rather than a flattering one.
There is no presenter and no hand-made playlist. The schedule is itself a rule.
A station whose subject is rule-governed art should not be sequenced by taste applied nightly. The order is a seeded permutation of the whole cleared corpus, repaired so that no two adjacent records share a maker or a series, and the playhead is a function of the clock. This yields three properties worth stating plainly: the same recording reaches every listener at the same instant; the order is reached by rule rather than by nightly taste; and the station runs whether or not anyone is listening.
What the day does not promise is exhaustion, and the honest form of that is worth stating (AMEND-061). Each block reseeds at midnight and plays only the opening hours of that day's permutation, so over any window a block samples its pool — a record can wait, and a record can recur before another has been heard at all. Fairness by construction is the holding layer's property: the whole holding, no gate, every record exactly once per pass. The day is for shape; the holding is for completeness.
Every record on air shows why it is on air — the mechanism in one sentence, the capture protocol as its maker published it, the curatorial system it instantiates, and the licence under which it reaches you, with the credit that licence requires. Press More in the player for the record playing now.