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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 Tue Feb 03, 2004

## rss

shouldn't rhizome have an XML feed (i prefer RSS)?
???

DISCUSSION
Posted on Tue Jan 27, 2004

## Re: Harvestworks Presents: DVD-A/DVD-V Festival 12-8pm

they sure do seem pleased....
On Jan 27, 2004, at 1:03 PM, Harvestworks Events wrote:
> Harvestworks is pleased to present DVD-A / DVD-V, a surround sound
> audio and video series, from February

DISCUSSION
Posted on Fri Jan 23, 2004

## Re: Question for artists who seek commissions

On Jan 23, 2004, at 12:12 PM, patrick lichty wrote:
>
>> My sense is that things will fall pretty evenly on both sides.
>>
>> (0) Some cannot stand the constraints of a theme, or some already work
>
>> within a theme that they don't think can fit in.
>
> This is the main problem. If curators or art orgs (even one's as
> nice as Rhiz) decide to apply themes to art not-yet created we have the
> problem that art is being made that is at least a year or more behind
> what artists are thinking. The artists are leading the thinking, the
> orgs follow behind. It's fine to curate work that is already created
> and pull out themes from the evidence of the work, but to attempt to
> steer artists thinking is always going to miss the mark of what is
> really going on.
>
> *************************************
> This appears that what I read is that there should be shows where
> artists should be asked to participate in an exhibition solely on their
> name recognition/historical body of work, etc. with less emphasis on a
> narrative arc from the curatorial staff.
Well, I'm talking about commissions, not shows. Apologies if that
wasn't clear. It's obvious to me that when a curator puts together a
*group show* it's in everyone's best interest to apply some sort of
theme to it or it becomes --and this is m.river's label-- the Shotgun
Show (as in, it's scattered). A theme adds to the work and the viewer's
understanding of it.
But when you have an open call for commissions, that is, *new work* one
needs to ask themselves what is more important:
some sort of thematic continuity to these artworks? (And if this is
important, why is it important?)
~or~
good artwork.
(singular artworks which are driven by the thoughts and concerns of the
artists instead of the org holding the cash)
My point is that artists are always the one's driving the important
things happening in the artworld. And we would get better commissions
if the art orgs realized this.
There are plenty of granting bodies who solicit proposals with no
thematic or content requirements. To name some: Creative Capital,
Turbulence, NYFFA, etc.
The main problem seems to be the idea that you'll kill two birds with
one stone. You'll commission new artwork, while at the same time put
together a thematic exhibition and IMO the two are exclusive.
>
> Being that I've been working with curators, artists, writers, and now
> film makers, my sense of perspective of the ways cultural production
> reaches the masses has been greatly illuminated.
>
> First of all, I have come to the realization that methods of cultural
> production such as curation, film production, etc., are subject to a
> set
> of constraints which lessen their hold the further you get from the
> institution. However, there is an inverse correlation to legitimacy as
> well, which is a problem.
>
> If I am reading this properly in that what is proposed is an
> artist-driven cutting-edge show with little through-line of a narrative
> arc for people to grasp, and that the engagement factor will be driven
> solely by the amazing work of the artists, I can only say that this is
> a
> weak premise. From an artistic perspective, it abandons the crucial
> element of concept. From an audience perspective, it elides any
> mnemonic
> for the patron to grasp. From an institutional perspective, it's well
> nigh impossible to get a board to approve such a thing as it's so
> amorphous. From a funding angle, foundations need to have some sort of
> indication of the work that is being produced from the institutions
> they
> are funding. And, from a curatorial perspective, it's unbelievably
> difficult from the perspective as to how one would have a bunch of
> artists, probably going in separate directions, doing their own thing,
> probably in discord with one another.
>
> I try to curate shows that have a higher standard than many
> independents
> from a scholarly and conceptual perspective, but from my experience
> with
> curatorial practice/interfacing with large institutions, metanarrative
> is essential as a form of mnemonic so that they and the audience can
> better engage with what's being shown.
> ************************************************
>
> My question is: Why do institutions feel the need to slap
> thematic/content restrictions on work they commission?
>
> My first reaction was: "You're not serious, are you?" Mainly due to
> institutional constraints that call for accountability for the use of
> the funds, as well as the fundraising process, bureaucracy of arranging
> shows, publicity, creating support material and so on, you really have
> to have a narrative of some sort to get people to sign on, or just to
> understand and want to see the show itself. Art is a fairly niche
> culture, and net art is still a very, very small subset of that niche.
> To propose that the artist should be placed in control of the
> institutional agenda is a really interesting, if almost completely
> untenable idea.
>
>> From a practical perspective, I would see just throwing money out to
> artists and having them participate in shows/commission processes
> without some sort of theme would be relatively unsuccessful.
>
> I understand that the institution has its problems, but I now
> understand
> much better why they have these problems. Much like the hierarchical
> nature of humanity, I'm beginning to come to accept that many of the
> agendas that we are railing against as artists aren't going away
> anytime
> soon. The institution has its reasons for doing what it does (good or
> otherwise, but for what it does, they're valid from a pragmatic sense).
>
> The issue here is while it is quite exciting to do an independent
> curatorial program, it loses legitimacy the further you get from the
> institution unless it is backed up by solid scholarship, or if it is
> done with such professionalism that it refutes the institution itself.
>
> I think that independent curation is one of the most exciting areas
> that
> the Internet is offering the art community, but like blogs, these shows
> are proving hit or miss, but are excellent in their willingness to
> experiment.
>
> ++++++++++++
> In short, I've found that you need a theme to get people to back your
> project and to get people to understand the works better.
===
<twhid>
http://www.mteww.com
</twhid>

DISCUSSION
Posted on Fri Jan 23, 2004

## Re: Question for artists who seek commissions

On Jan 23, 2004, at 10:02 AM, J. Haefner wrote:
> My sense is that things will fall pretty evenly on both sides.
>
> (0) Some cannot stand the constraints of a theme, or some already work
> within a theme that they don't think can fit in.
Yes! This is the main problem. If curators or art orgs (even one's as
nice as Rhiz) decide to apply themes to art not-yet created we have the
problem that art is being made that is at least a year or more behind
what artists are thinking. The artists are leading the thinking, the
orgs follow behind. It's fine to curate work that is already created
and pull out themes from the evidence of the work, but to attempt to
steer artists thinking is always going to miss the mark of what is
really going on.
For example, this theme of games, artists who are making cool stuff
along these lines have been working on it for years already.
Progressive artists are already onto something else, but we don't know
what it is as it hasn't surfaced yet.
Plus, as an artist who is working on ideas that are many times
un-stylish or not seemingly current, I usually don't have any interest
at all in the themes. I don't wish to pander to an institution for $$
and it's dangerous to one's work as it can sidetrack you as you attempt
to develop a body of work with themes of your own devising.
My question is: Why do institutions feel the need to slap
thematic/content restrictions on work they commission?
>
> (1) Others love the challenge of a theme or find it easier to work
> with one.
>
> I prefer (0) theme, but can apply myself to one (1).
>
===
<twhid>
http://www.mteww.com
</twhid>

DISCUSSION
Posted on Thu Jan 22, 2004

## Re: Howard Dean, the Net.Art President

Dean re-mix:
it's so funny (and this is coming from someone who has donated $$ to
the Dean campaign and is a big fan):
http://www.viralsolstice.com/hardcoredean.mp3
On Jan 22, 2004, at 4:04 AM, Eryk Salvaggio wrote:
>
> I'm actually very surprised that the net.art / activist community
> hasn't
> talked more about Howard Dean's campaign.
===
<twhid>
http://www.mteww.com
</twhid>

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