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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 Dec 08, 2005

## Rhizome commission makes it to Digg's front page

iTunes Signature Maker
http://digg.com/music/_iTunes_Signature_Maker
right now (12/8/05 @ 15:56 EST) you can find it here:
http://digg.com/
impressive :-) wish I had submitted it to Digg (coz I'm a dork)
good job all around!
--
<twhid>www.mteww.com</twhid>

DISCUSSION
Posted on Tue Dec 06, 2005

## make your own MMOG

http://www.multiverse.net/
Definitely could have net art applications.
From the site:
There are no upfront costs. We only make money when you make money,
and if you never charge a cent, you never have to pay us anything.
Haven't delved in much yet...
--
<twhid>www.mteww.com</twhid>

DISCUSSION
Posted on Tue Dec 06, 2005

## Fine Art in Space and 31GRAND present: PodART

For Immediate Release: UPCOMING EXHIBITION AT FINE ART IN SPACE Gallery Hours: Monday through Saturday, 9am. to 5pm. Fine Art in Space 10-47 48th Avenue Long Island City, NY 11101 (718) 392-7766
PodART December 9, 2005 - January 17, 2005 at FINE ART IN SPACE Opening Reception: December 9, 2005, 7 to 9pm
Fine Art in Space is pleased to present in collaboration with 31GRAND,the first group exhibition of video art intended to be viewed and soldsolely on the iPod. Apple, the computer of choice by much of the artworld is the inspiration for our new exhibition.
This curatorial exploration was inspired by the introduction of thelatest iPod, which now plays video. In recent years, Video art hasbeen growing rapidly in popularity. Their ongoing introduction of moretechnologically advanced products has resulted in the acceptance andaccessibility of this media. Apple's latest achievements with the iPodhave garnered this art form even more portability.
Artists featured in PodART will include the work of: Gogol Bordello,Jason Clay Lewis, Nelson Loskamp, MTAA, Marisa Olson, EugenioPercossi, Jean Pigozzi, Adam Stennett, Lee Walton, and Jeff Wyckoff.
MTAA is an art duo working on and off-line and are known for theirconceptual and often humorous art projects. Past exhibitions have beenat the New Museum of Contemporary Art, The Getty Research Institute,and Postmasters gallery.
Based in San Francisco, Marisa Olson's work has been commissioned bythe Whitney Museum of American Art and she has most recently performedor exhibited at the New Museum for Contemporary Art, the Berkeley ArtMuseum/Pacific Film Archive, Side Cinema-Newcastle, New Langton Arts,Southern Exposure, Foxy Productions, Debs & Co, Galapagos, FluxFactory, 667 Shotwell, Pond, the international Futuresonic,Electrofringe, Cinemascope-London, Machinista, Scope, and VIPERfestivals, and elsewhere. She has held residencies and fellowships atGoldsmiths, the New School, Northwestern University, the TechnicalUniversity-Dresden, and the Banff Centre for the Arts. Sheparticipated in an exhibition which Artforum highlighted among their"Best of 2004" and while Wired has called her both funny and humorous,the New York Times has called her work "anything but stupid."
Jeff Wyckoff is an artist and scientist whose video work includesintravital imaging, cancer research and often music. Mr. Wyckoff hasan upcoming lecture at MIT in February and exhibitions in Belgrade,Antwerp, and is currently working with the Art and Genome Center inAmsterdam.
Each video object is a limited edition and is sold in iPod formatwith the player.
Press contact: Heather Stephens at gallery31grand@earthlink.net 31GRAND 31 Grand Street Brooklyn, NY 11211 718-388-2858 Gallery hours: F-M, 1pm

DISCUSSION
Posted on Thu Nov 10, 2005

## re: need to know programming to be a digital artist?

Sorry but I tried to post this via the online form to follow the thread
but it doesn't seem to be working... or this is going to dupe.. whatev.
+++
re: need to know programming to be a digital artist?
This has been a discussion around here for a while. Here's a short post
on my blog from.. it's says august of this year, but that can't be
right... oh well the blog is f'd up:
http://www.mteww.com/mtaaRR/news/twhid/programming_and_digital_art.html
In the post I argue that to make the analogy btw 'code' and 'paint' is
faulty. The real analogy is between 'code' and 'form', that is, knowing
programming as a digital artist is akin to knowing 2d formal theory as
a painter (color, shape, line etc).
Obviously a painter doesn't need to understand 2d form to be a painter
(a quick tour of Chelsea will prove that). One doesn't need to know it
to be a *good* painter either (Darger being a somewhat flawed example).
One doesn't need to know programming to be a digital artist. So the
question goes back to what GH said, look at a thing in a larger
discourse (not nm art, not digital art -- but art) and decide if you
think it's good.
But some types of work need programming skills by the artist and even
the audience. I think much net art, if you don't *really* understand
how the Internet works, you won't get. If part of the subject of the
work is computer languages, the Internet or if computation is part of
the work the audience won't understand it if they don't grasp certain
concepts.
I think GH is arguing for a 'big tent' sort of philosophy -- include
everyone working in digital art? But that begs the question if we're
urging folks to remove nm art from the nm ghetto, then why would you
want to be in the tent at all?
On the other hand, there's nothing more annoying than having computer
programmers look at nm or software art and judge it using standards of
programming rather than look at it as art. For example, when Galloway
released Carnivore, it was slashdotted. Many of the geeks there judged
it by it's (to them) rather simple structure ('it's just a wrapper to
some tcp-ip sniffer tool, etc blah, blah, etc'). They obviously missed
the point.
===
<twhid>http://www.mteww.com</twhid>
===

DISCUSSION
Posted on Thu Nov 10, 2005

## Re: Re: Re: Re: 10 questions/more art

This has been a discussion around here for a while. Here's a short post on my blog from.. it's says august of this year, but that can't be right... oh well the blog is f'd up:
http://www.mteww.com/mtaaRR/news/twhid/programming_and_digital_art.html
In the post I argue that to make the analogy btw 'code' and 'paint' is faulty. The real analogy is between 'code' and 'form', that is, knowing programming as a digital artist is akin to knowing 2d formal theory as a painter (color, shape, line etc).
Obviously a painter doesn't need to understand 2d form to be a painter (a quick tour of Chelsea will prove that). One doesn't need to know it to be a good painter either (Darger being a somewhat flawed example). One doesn't need to know programming to be a digital artist. So the question goes back to what GH said, look at a thing in a larger discourse (not nm art, not digital art -- but art) and decide if you think it's good.
But some types of work need programming skills by the artist and even the audience. I think much net art, if you don't *really* understand how the Internet works, you won't get it. If part of the subject of the work is computer languages, the Internet or if computation is part of the work the audience won't understand it if they don't grasp these concepts.
I think GH is arguing for a 'big tent' sort of philosophy -- include everyone working in digital art? But that begs the question if we're urging folks to remove nm art from the nm ghetto, then why would you want to be in the tent at all?
On the other hand, there's nothing more annoying than having computer programmers look at nm or software art and judge it using standards of programming rather than look at it as art. For example, when Galloway released Carnivore, it was slashdotted. Many of the geeks there judged it by it's (to them) rather simple structure ('it's just a wrapper to some tcp-ip sniffer tool, etc blah, blah, etc'). They obviously missed the point.
Rob Myers wrote:
> On 10 Nov 2005, at 18:47, G.H. Hovagimyan wrote:
>
> > Computer programing and art are two different methods of thinking
> > and perception.
>
> Unless you are creating a program to make art. Painting and art are
> two different modes of thinking and perception. Otherwise every wall
> is a masterpiece.
>
> > When you write a program you already know what the result will be.
>
> Even for a functional program like Emacs this is not the case. And
> for art hacking it may certainly not be the case. Software may, and
> often will, be unexpected. Only corporate managerialism prevents this.
>
> > Art doesn't function in the same way.
>
> It depends what kind of art.
>
> > Often an artist uses chance and accidents to create new ways of
> > thinking and perception.
>
> This is the same as programming. A complex program will make demands
> and afford possibilities during development that could not be
> predicted.
>
> > Art is an ongoing cultural discussion.
>
> As is computing. If there are domains outside cultural discussion,
> this would be a very interesting phenomenon.
>
> > Computer art, digital art etc. needs to engage in the larger
> > cultural discourse.
>
> The larger "discourse" needs to take notice of computer/digital
> culture *and its content*.
>
> > Your statements about "good or bad" painting/computer art begs the
> > question who is the judge?
>
> Why? If standards are established, any competent individual can
> judge. Unless we are assuming an institutional theory of art, in
> which case computing can simply be nominated as art.
>
> > Usually in a larger cultural discourse there is an ongoing debate
> > about what constitutes "good" art.
>
> Yes, the market demands this. If each season doesn't bring new
> fashions, sales will drop.
>
> > I find the insistence by some in the digital art realm that only
> > people who know programming are truly digital artists to be rather
> > narrow minded.
>
> Why? If someone who did not know about the support structures of art
> made pronouncements on support structures their ignorance would not
> be a badge of honor.
>
> > The "who signs the checks" question is really amusing. Think about
> > what the support structures are for art. You have collectors,
> > museums, and governments. You can add the University and Academic
> > realm as a support structure for art. Right now digital art has the
>
> > most support from the Academic structure. In other words you get a
>
> > teaching job.
>
> This puts digital art on a par with science, literature and
> "critical" "discourse". Hardly a bad thing.
>
> > Once the novelty of using computers in art works wears off (which
> > it has ) the question becomes how does digital art challenge and
> > advance the art discourse.
>
> For people who are interested in "challenge, "discourse" and
> "advance". But there are more serious concerns for an art that
> regards itself as not simply a lackspace for the projection of the
> critical/market ego into.
>
> > That's a much larger dscussion than whether someone knows
> > programming or how a computer repaints a screen.
>
> But it is a different discussion. I can't decide whether trying to
> bring art computing to its heel is parochial or imperialistic.
>
> - Rob.

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