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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 Wed Jul 16, 2003

## Re: Re: N.C. Mountain State Fair to Celebrate 10th Birthday in 2003

i think that John's response is a bit harsh, but....
some bozo posted this to the front of Rhiz and that's just stoopid.
it's fine for all of us on RAW to goof around with this stuff but
it's not suitable for the folks who wish to have the content filtered
a bit. the bozo should be relieved of his SU privileges.
At 7:09 -0700 7/16/03, Michael Szpakowski wrote:
><zip code
> nonsense>
> Unlike British postal codes in which the numbers and
>letters are arranged in an altogether more attractive
>and satisfying fashion.
> Little Englandism - alive and kicking within our own
>august arts council!
>michael
>--- john hartley <john.hartley@artscouncil.org.uk>
>wrote:
>> I'm sorry Curt,
>> but I resent this.
--
<twhid>
http://www.mteww.com
</twhid>

DISCUSSION
Posted on Wed Jul 16, 2003

## Re: Re: N.C. Mountain State Fair to Celebrate 10th Birthday in 2003

this one looks more interesting:
http://capefearfair.com/
wonder if de niro will be there?
++
my niece is going to show her pygmy goats again at the Lorain County
Fair which takes place in Wellington, Ohio, USA, Earth, Sun System,
Milky Way, the universe. ;-)
I was never into that stuff when i was a kid, but the fair is kinda
like a once-a-year woodstock for rural kids in the USA. The
fairgrounds is like a magical, free place where all their friends
are, parents who let them roam, no school, barely any rules or
responsibilities (except taking care of the animals), carnival rides,
junk food and (usually) romantic trysts (making out behind the hog
barn... what could be more romantic?)
++
and so, yeah, no matter how much I would like to distance myself from
my Ohioan farmer roots. voila :-)
++
what the f is HCCA?
--
<twhid>
http://www.mteww.com
</twhid>

DISCUSSION
Posted on Wed Jul 16, 2003

## Re: Re: N.C. Mountain State Fair to Celebrate 10th Birthday in 2003

that would be North Carolina, USA
http://www.ncgov.com/
>I'm sorry Curt,
>but I resent this.
>don't really care that this has nothing to do with net art, the net
>or art. Sure, it's really important and healthy that a community
>should try and grow through sharing broad interests and social,
>easy-going stuff. But where the hell is NC? I've never heard of NC
>is that somewhere in america (giant trucks are mentioned)? I have
>gathered that I am obliged to learn some trivia like zip code
>nonsense in order to make sense of the mass media that the US
>dominates. But the Rhizome community should have more egalitarian
>ambitions because of our use of the WORLD wide web. After all, I
>wouldn't invite you to local east london social events without
>making clear very early in the message that they were in London and
>that London was in England.
>Remember there are three W's.
>
>I do hope you enjoy your party in NC.
>
>curt cloninger wrote:
>
--
<twhid>
http://www.mteww.com
</twhid>

DISCUSSION
Posted on Tue Jul 15, 2003

## Re: I promise...

>My most recent grant rejection was almost entirely conceptual art. It has
>proven to me: Conceptual art is not a good foundation for a grant
>application.
>
MTAA hasn't quite figured that one out yet.
>As a conceptual artist, could I write a proposal to a grant committee that
>says my piece is based on thier rejection of my application, and that
>payment is to be expected in full if they reject said application? They
>would then have no choice but to accept, and pay me anyway. It may be weak
>ideologically, but it might just get me paid, and I owe money on a new
>Hyundai.
>
>Ultimately, this is the value of performance art, yeah?
i'm not sure i know what you mean...
the ultimate value of performance art is getting paid?
--
<twhid>
http://www.mteww.com
</twhid>

DISCUSSION
Posted on Mon Jul 14, 2003

## Re: I promise...

On Monday, July 14, 2003, at 08:08 PM, Mark River wrote:
> http://tinjail.com/promise.html
i think 15, 16, 18 and 32 are very relevant.
Sentences on Conceptual Art
by Sol Lewitt
1. Conceptual artists are mystics rather than rationalists. They leap
to conclusions that logic cannot reach.
2. Rational judgements repeat rational judgements.
3. Irrational judgements lead to new experience.
4. Formal art is essentially rational.
5. Irrational thoughts should be followed absolutely and logically.
6. If the artist changes his mind midway through the execution of the
piece he compromises the result and repeats past results.
7. The artist's will is secondary to the process he initiates from idea
to completion. His wilfulness may only be ego.
8. When words such as painting and sculpture are used, they connote a
whole tradition and imply a consequent acceptance of this tradition,
thus placing limitations on the artist who would be reluctant to make
art that goes beyond the limitations.
9. The concept and idea are different. The former implies a general
direction while the latter is the component. Ideas implement the
concept.
10. Ideas can be works of art; they are in a chain of development that
may eventually find some form. All ideas need not be made physical.
11. Ideas do not necessarily proceed in logical order. They may set one
off in unexpected directions, but an idea must necessarily be completed
in the mind before the next one is formed.
12. For each work of art that becomes physical there are many
variations that do not.
13. A work of art may be understood as a conductor from the artist's
mind to the viewer's. But it may never reach the viewer, or it may
never leave the artist's mind.
14. The words of one artist to another may induce an idea chain, if
they share the same concept.
15. Since no form is intrinsically superior to another, the artist may
use any form, from an expression of words (written or spoken) to
physical reality, equally.
16. If words are used, and they proceed from ideas about art, then they
are art and not literature; numbers are not mathematics.
17. All ideas are art if they are concerned with art and fall within
the conventions of art.
18. One usually understands the art of the past by applying the
convention of the present, thus misunderstanding the art of the past.
19. The conventions of art are altered by works of art.
20. Successful art changes our understanding of the conventions by
altering our perceptions.
21. Perception of ideas leads to new ideas.
22. The artist cannot imagine his art, and cannot perceive it until it
is complete.
23. The artist may misperceive (understand it differently from the
artist) a work of art but still be set off in his own chain of thought
by that misconstrual.
24. Perception is subjective.
25. The artist may not necessarily understand his own art. His
perception is neither better nor worse than that of others.
26. An artist may perceive the art of others better than his own.
27. The concept of a work of art may involve the matter of the piece or
the process in which it is made.
28. Once the idea of the piece is established in the artist's mind and
the final form is decided, the process is carried out blindly. There
are many side effects that the artist cannot imagine. These may be used
as ideas for new works.
29. The process is mechanical and should not be tampered with. It
should run its course.
30. There are many elements involved in a work of art. The most
important are the most obvious.
31. If an artist uses the same form in a group of works, and changes
the material, one would assume the artist's concept involved the
material.
32. Banal ideas cannot be rescued by beautiful execution.
33. It is difficult to bungle a good idea.
34. When an artist learns his craft too well he makes slick art.
35. These sentences comment on art, but are not art.
First published in 0-9 (New York), 1969, and Art-Language (England),
May 1969
--
<t.whid>
www.mteww.com
</t.whid>

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