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Supporter
MTAA
Since the beginning
Works in Brooklyn, New York United States of America

- http://www.mtaa.net

ARTBASE (7)

1 year performance video (aka samHsiehUpdate)
onKawaraUpdate (v2)
Simple Net Art Diagram
TIME!
To Be Listened To…
vieweratstar67@yahoo.com (the 3mb annexation)
Website Unseen
PORTFOLIO (3)

Five Small Videos About Interruption Or Disappearing
Rhizome Reception [part 1]
whereas T.Whid wonders about art in relation to 2bl2
BIO

Artists M. River and T. Whid formed MTAA in 1996 and soon after began to explore the internet, video, software and sculpture as mediums for their conceptually-based art. The duo’s exhibition history includes group shows and screenings at The New Museum of Contemporary Art, Postmasters Gallery and Artists Space, all in New York City, and at The Getty Research Institute in Los Angeles. In "New Media Art" (Taschen, 2006), authors Mark Tribe and Reena Jana describe MTAA’s "One Year Performance Video (aka samHsiehUpdate)" as “a deftly transparent demonstration of new media’s ability to manipulate our perceptions of time.” The collaboration has earned grants and awards from Creative Capital, Rhizome.org, Eyebeam, New Radio & Performing Arts, Inc. and The Whitney Museum of American Art.
BLOG POSTS

Published on Tue Apr 17, 2007

## TRACEPLACESPACE

New audio by Cary Peppermint, check it out…
+++
TRACEPLACESPACE
seven audio works .mp3 - Cary Peppermint 2007

The audio works of TRACEPLACESPACE were formed loosely in response to ever-accelerating technological developments, passing time, urgent ecological issues, and remarkable events of our globally connected system in process long before but brought to the forefront since the latter part of the year 2001. The works of TRACEPLACESPACE are components of a digital, multi-media, network-infused performance of the same title.
I like to perform this work in small community venues, outdoor gatherings, art-spaces, and galleries where everyone is welcome and can sit on the floor, talk to one another, and drink green tea. However I will perform TRACEPLACESPACE approximately anywhere.

READ ON »

Published on Fri Aug 18, 2006

## Filming Outside the Cinema

I have to admit that I'd not given much thought to film outside the cinema, web film or live video, or anything like that, but I've spent lots of time here hanging out with Peter Horvath and I'm impressed.
Peter makes very beautiful films for the web, and you can check them all out online. Today he showed us The Presence of Absence, which was comissioned for the Whitney Museum's Artport in 2003, and then Tenderly Yours from 2005, which "resituates the personal, casual and ambiguous approach of French new wave cinema in a net art narrative that explores love, loss and memory. The story is recited by a striking and illustrious persona, who moves through the city with her lover. Her willful independence is intoxicating, though her sense of self is ambiguous..." Gorgeous.

READ ON »

Published on Sun Jun 04, 2006

## Cut Piece - Yoko Ono

Cut Piece (2006, 36.5MB, 9 min)

“Ono had first done the performance in 1964, in Japan,
and again at Carnegie Hall, in New York, in 1965.
Ono sat motionless on the stage after inviting the audience
to come up and cut away her clothing, covering her breasts
at the moment of unbosoming.”
from Bedazzled .

READ ON »

Published on Sun Jun 04, 2006

## Conglomco Media Network announces http://meta-cc.net live

Conglomco Media Network is pleased to announce the official beta release of the META[CC] video engine at http://meta-cc.net.

META[CC] seeks to create an open forum for real time discussion, commentary, and cross-refrencing of electronic news and televised media. By combining strategies employed in web-based discussion forums, blogs , tele-text subtitling, on-demand video streaming, and search engines, the open captioning format employed by META[CC] will allow users to gain multiple perspectives and resources engaging current events. The system is adaptable for use with any cable or broadcast television network.

We hope that you will take a moment from your viewing time to add the RSS feed of a blog you find noteworthy. As more information sources are supplied to META[CC], the more intelligent the system becomes. As such, the META[CC] search engine is apolitical and influenced only by the news and information sources supplied by its viewers/users. We apologize, but at this time podcasts and vlogs are not supported.

Many thanks for your interest and participation,
The META[CC] team
http://meta-cc.net

READ ON »

Published on Thu Jan 26, 2006

## Open Call for Sound Works : WILD INFORMATION NETWORK

Cary Peppermint:

WILD INFORMATION NETWORK
The Department of Ecology, Art, and Technology
Open Call for Sound Works In Mp3 Format - Deadline April 1, 2006

http://www.restlessculture.net/deepwoods

If we encountered a pod-cast, or a streaming radio server in the woods, in the “natural

READ ON »

1 2 3 4 5 6 7 8 9 10 ... 19

RHIZOME ACTIVITIES

Discussions (875) Opportunities (2) Events (9) Jobs (1)
DISCUSSION
Posted on Sun Apr 27, 2003

## OPEN SWAP

yo,
short report with 5 collectable JPEGs
http://www.mteww.com/cgi/mtaa-rr.pl/twhid/open_swap.html
++
also! special bonus:
M.River's swap action documentation:
http://www.tinjail.com/beer/
--
<t.whid>
www.mteww.com
</t.whid>

DISCUSSION
Posted on Wed Apr 23, 2003

## Re: Re: [thingist] Jodi and Mouchette

Hi Brett,
You've convinced me. The distinctions you draw btw Jodi and other
purely visual artists of the net makes the point compellingly that
Jodi has a conceptual basis to their work.
But that doesn't make them conceptualists (as I think you would
agree). The point being that they would never create a system for
system's sake. If their systems don't result in interesting visuals I
don't think the public sees them. This is opposed to artists like..
well, like MTAA in some work, where the system is paramount--damn the
visuals if they don't result.
take care,
At 11:06 -0700 4/23/03, Brett Stalbaum wrote:
>First, my congratulations to jodi, eyebeam, and the curators. There is not
>very much that I wish to disagree with t.whid on here. But I think it is a
>(small to medium) mistake to underplay the conceptualism in jodi's work,
>because artists raising the question 'what is a browser?' is not too far
>from raising questions about what art is. Maybe that is not the tightest
>argument, but in any case, I think it is clear that they helped project the
>definition of art in a direction that includes the performance of code in a
>browser. This notion was not a broad assumption in the institutional art
>world during middle 1990's as it is today. Thus I argue that 'conceptualism'
>is an appropriate term, even if not a strong one.
>
>In 1998 (the date indicates something about why I focus on 'the browser'
>over jodi's game work...), I wrote the following in switch, the journal at
>cadre/sjsu, where jodi was in residency in 1994, btw.
>(http://switch.sjsu.edu/web/v4n2/brett/index.html)
>
>"jodi, for its part, is perhaps the best known accomplishment of the
>international net.art movement. In their site, Heemskerk and Paesmans have
>collaborated on a formal exploration of the visual implications and
>possibilities of web browsing software. Unlike e13, jodi is not merely an
>image and design delivery system, even if it does primarily focus on the
>visual aspects of net as media. The visuals presented by jodi don't only
>make reference to computer code and the visual detritus of computer
>systems, but employs such code in an experimental fashion in its
>implementation of a highly complex HTML hyperspace. So instead of a
>presentational graphic design style of beautiful images delivered by the
>net, we find that the surface of the browser has been reconsidered as
>having its own reflexive qualities as a medium, and it is the implications
>of these features of the browser that are explored in jodi. jodi treats
>the browser as an agent or systematic process, and let the browser "have
>it's say" as the conceptual foundation for their work. This includes the
>use of bad code, or the implementation of code in a manner in which was
>not intended by the engineers who designed the browsers or the language
>specifications. jodi is in no way a merely superficial art proposition
>which only concerns the visual play it ultimately presents, but is in fact
>a significant proposition about the codes which lie under the surface and
>mediate how we see and navigate."
>
>
>On Wed, 23 Apr 2003, t.whid wrote:
>>
>> I feel the projections showed Jodi's (or at least Dirk's) primary
>> motivations more than any of their other works.
>>
>> IMO Jodi is primarily interested in aesthetics. Jodi are primarily
>> visual. They are very formal and not interested in conceptualism
>> really. Their MO is recycling or misusing technology to create what
>> is a fairly conservative (read modern) aesthetic whose focus is
>> visual. The 'desktop improvisation' projections showed this very
>> clearly.
>>
>> Also, if one gets beyond the visual/aural assault of the projections
>> one starts to see a very human activity. It shows a whole new side of
>> Jodi, it makes them human. Watch the cursor, you can see the thought
>> patterns of the person behind it, searching, improvising, making
>> decisions. It's fun to watch someone who obviously loves to tinker
>> take the o-so-common computer desktop and make it do surprising
>> things. The simple fact that he surprised me with what he could do
>> with the Mac Classic Desktop (an environment i'm very intimate with)
>> I found very interesting.
>>
>> Jodi has never been about interaction. I don't think Jodi has ever
>> wanted to be scary either. They're kind of like a big monster who
>> wants to play but squishs their playmate because they don't know
>> their own strength.
--
<twhid>
http://www.mteww.com
</twhid>

DISCUSSION
Posted on Wed Apr 23, 2003

## Re: [thingist] Jodi and Mouchette

xposting to rhiz, bah
+++
hi Keith,
I feel the projections showed Jodi's (or at least Dirk's) primary
motivations more than any of their other works.
IMO Jodi is primarily interested in aesthetics. Jodi are primarily
visual. They are very formal and not interested in conceptualism
really. Their MO is recycling or misusing technology to create what
is a fairly conservative (read modern) aesthetic whose focus is
visual. The 'desktop improvisation' projections showed this very
clearly.
Also, if one gets beyond the visual/aural assault of the projections
one starts to see a very human activity. It shows a whole new side of
Jodi, it makes them human. Watch the cursor, you can see the thought
patterns of the person behind it, searching, improvising, making
decisions. It's fun to watch someone who obviously loves to tinker
take the o-so-common computer desktop and make it do surprising
things. The simple fact that he surprised me with what he could do
with the Mac Classic Desktop (an environment i'm very intimate with)
I found very interesting.
Jodi has never been about interaction. I don't think Jodi has ever
wanted to be scary either. They're kind of like a big monster who
wants to play but squishs their playmate because they don't know
their own strength.
>Sorry for the lack of clarity:
>
>I meant the jodi projections. Not exactly interactive. Why reprise
>as a dvd something you did in a more way several years before? What
>had previously been a kinda scarey pseudo-assault on your desktop
>was reduced to a kind of formalist doodling. Not so interesting,
>except it was big and loud and in a trendy space.
>
>Keith Sanborn
>
>>about the urls or the jodi projections?
>>
>>the url comment was a joke.
>>
>>the comment regarding jodi's work is not a joke.
>>
>>>You must be joking.
>>>
>>>
>>>>do urls in general just keep getting longer and longer?)
>>>>
>>>>I was really impressed with the large Jodi projections, liked
>>>>those quite a bit.
--
<twhid>
http://www.mteww.com
</twhid>

DISCUSSION
Posted on Tue Apr 22, 2003

## nyc net art happenings

hey everybody,
some coverage of the Mouchette happening and Jodi's INSTALL.EXE:
http://www.mteww.com/cgi/mtaa-rr.pl/twhid/photos/jodi_mouchette.html
check out the photos too, leave comments if you feel like it.
--
<twhid>
http://www.mteww.com
</twhid>

DISCUSSION
Posted on Mon Apr 21, 2003

## Re: survey about netart's public

This is a great idea. I've been wondering about these questions as
well. sometimes the audience feels very small from my POV.
one problem in your implementation of the survey, a lot of browser's
let one block unwanted pop-ups these days (i use apple's safari) so
you are perhaps losing some of your intended survey subjects.
good luck.
Hi there,
I'm a french student folowing a master in Cultural Projects
Management at the university of Paris 1. My current work deals with
the question of Netart's public. My researches' aim is to answer to
four questions:
a. Who are the visitors of art stuff on the web?
b. How do the public understand these master pieces? How various are
their interpretations?
c. How an internet's users manage to reach a master piece on the web?
d. What does the link used by the user to reach the piece of art in
his own interpretation?
I realized a short survey to make visitors answer these questions.
Christophe Bruno already agree to help me, then when someone reach
the website <http://www.iterature.com/adwords/>Google Adwords
Happening, the survey appear as a pop-up beyond the webpage.
For my researches, I also need artists interested in my work to their
visitors answer these questions. It also could help you to get a
better knowledge of your audience.
Thank you very much for your help in advance.
Best regards
Jean Thevenin
P.S : sorry for bad english !
--
<twhid>
http://www.mteww.com
</twhid>

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