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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 »

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RHIZOME ACTIVITIES

Discussions (875) Opportunities (2) Events (9) Jobs (1)
DISCUSSION
Posted on Thu Oct 07, 2004

## Re: Thinking of art, transparency and social technology

sorry, but i need to add:
On Oct 7, 2004, at 3:17 PM, t.whid wrote:
>
>>
>> I pose the question back to this community: if you're bored enough to
>> be reading so far, is the complexification.net work intellectually
>> stimulating?
You're thoughtful reply was anything but boring and brought up many
good points that I hope to respond to/reply to/comment on...
>
> not to me.
>
>
>> If it isn't, should we bother talking about it, and if so, why
>> exactly?
>
> There is nothing to talk about. It's not formally, conceptually or
> aesthetically groundbreaking. It's pleasant. Even from a purely formal
> graphic design angle it's not very progressive: how is it any
> different from the screensaver on my Mac or the visualizer on my
> iTunes?
I should have typed:
How is it different from my screensaver or visualizer other than it
uses much more tasteful colors?
>
> It's cool that a lot of it seems to be OSS.
===
<twhid>http://www.mteww.com</twhid>
===

DISCUSSION
Posted on Thu Oct 07, 2004

## Re: Thinking of art, transparency and social technology

On Oct 6, 2004, at 7:54 PM, bensyverson wrote:
>
> I pose the question back to this community: if you're bored enough to
> be reading so far, is the complexification.net work intellectually
> stimulating?
not to me.
> If it isn't, should we bother talking about it, and if so, why exactly?
There is nothing to talk about. It's not formally, conceptually or
aesthetically groundbreaking. It's pleasant. Even from a purely formal
graphic design angle it's not very progressive: how is it any different
from the screensaver on my Mac or the visualizer on my iTunes?
It's cool that a lot of it seems to be OSS.
===
<twhid>http://www.mteww.com</twhid>
===

DISCUSSION
Posted on Thu Oct 07, 2004

## Re: Thinking of art, transparency and social technology

On Oct 7, 2004, at 1:43 PM, Francis Hwang wrote:
>
> On Oct 6, 2004, at 12:02 AM, curt cloninger wrote:
>> Art can speak individual to individual without proceeding through the
>> sanctioned filters of the "contemporary art world" and still have
>> great value and "potency" (yea, even potency for ye olde precious
>> social change). This is the interesting thing about outsider art and
>> one of the things I think the net is good for (if we'll let it be).
>> Human culture has changed a great deal, but individual humans have
>> been wired pretty much the same for a good while.
>
> Yup. I don't think its necessarily a given that new media arts can
> become less ghetto-ized by being more closely associated with the arts
> world as a whole. The art world doesn't seem to be very good at
> de-ghettoizing itself.
But still, new media is a ghetto within (or perhaps a suburb of) what
could be argued is the ghetto of the art world.
I'm not sure if I buy the art world as ghetto. Exhibits A and B being
Barney and Currin at the Guggenheim. Anecdotally, people whom I know
aren't generally familiar with contemporary art visited these
exhibitions. And there are plenty of other 'blockbuster' exhibitions of
more established names (Picasso, Monet, blah, blah).
But I'm ambivalent, it's hard not to notice that, generally speaking,
contemporary art has a very small footprint in American culture. But is
it because it's a ghetto? Or because it's a shining city on a hill?
>
> I think it's profoundly meaningful that MOMA's new admissions fee is
> $20 -- I have a lot of friends who never ever pay that much money to
> get into somewhere unless they're going to see a big-name rock star
> like Prince or Morrissey or Nick Cave. I'm sure that the MOMA people
> did their market research and decided that the high admissions fee
> will work out fine for them, but what does it portend for the ability
> of just anybody to spend an afternoon carousing the galleries if
> they're not already heavily invested in that world--i.e., they're an
> artist, designer, dealer, critic, etc. ...
>
> I look at the field of classical music and wonder if fine arts is
> heading in that direction. Do you suppose we'll ever see the day when
> people in the arts sit around fretting about how to get more young
> people into art?
===
<twhid>http://www.mteww.com</twhid>
===

DISCUSSION
Posted on Tue Oct 05, 2004

## Re: Thinking of art, transparency and social technology [was : they must not be very bright]

MTAA: idiot savants of the net art world ;-)
On Oct 5, 2004, at 3:11 AM, Liza Sabater wrote:
> So without even knowing it, MTAA has hit it over the head.
--
<t.whid>
www.mteww.com
</t.whid>

DISCUSSION
Posted on Mon Oct 04, 2004

## Re: they must not be very bright

On Oct 4, 2004, at 7:05 PM, Plasma Studii - uospn

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