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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 Jan 05, 2005

## Re: BEACON

Hi all,
An oldie but a goodie that seems relevant:
http://www.mteww.com/mtaaRR/news/twhid/google\_netartmasterpiece.html
submitted in the spirit of discussion.
On Jan 5, 2005, at 11:14 AM, Alexander Galloway wrote:
> There have been many projects that use real-time displays of random
> search strings, here are some:
>
> http://www.metaspy.com/
> http://www.google.com/press/zeitgeist.html
> http://www.wordtracker.com
> http://sp.ask.com/docs/about/jeevesiq.html
> http://50.lycos.com/
> http://buzz.yahoo.com/
> http://search.store.yahoo.com/OT?
>
> How does Beacon differ from these other sites? more specifically, what
> makes it an artwork?
>
> On Jan 5, 2005, at 4:39 AM, Jon Thomson wrote:
>
>> BEACON. A new on-line artwork by Thomson & Craighead, 2005.
>>
>> At 00.00hrs on January 1st 2005 an automated beacon began
>> broadcasting on the web at:
>>
>> http://www.automatedbeacon.net
>>
>> The beacon continuously relays selected live web searches as they are
>> being made around the world, presenting them back in series and at
>> regular intervals.
>>
>> The beacon has been instigated to act as a silent witness: a feedback
>> loop providing a global snapshot of ourselves to ourselves in
>> real-time. As resources become available,

DISCUSSION
Posted on Mon Dec 27, 2004

## Chomp if You Like Art

NYTime's profiles PacMondrian, mentions rhiz and eyebeam in the process
http://www.nytimes.com/2004/12/27/arts/design/27mond.html
PacMondrian:
http://pbfb.ca/pac-mondrian/
===
<twhid>http://www.mteww.com</twhid>
===

DISCUSSION
Posted on Fri Dec 24, 2004

## The Infectious Nature of Holiday Cheer

Ho, Ho, Ho
http://www.mteww.com/mtaaRR/news/twhid/
the_infectious_nature_of_holiday_cheer.html
It's a big download, over 80MB, but well worth it :)
You will also need Quicktime with the Divx codec installed (all linked
from the URL above)
Happy Holidays to all
--
<t.whid>
www.mteww.com
</t.whid>

DISCUSSION
Posted on Fri Dec 24, 2004

## Re: creative commons and copyright

Another extremely valuable thing that (and perhaps is one of the main
reasons they were created) CC licenses do is provide legal
legitimization for P2P networks. One of the reasons that Napster went
down was because the no one could point to a good amount of
non-infringing content on the network. If CC had been around before the
Napster decision, Napster's defense could have pointed to the large
amount of share-able stuff on the network using CC licenses.
On Dec 23, 2004, at 5:52 PM, Rob Myers wrote:
> On 23 Dec 2004, at 21:18, ryan griffis wrote:
>
>> Just to be clear: i didn't write that blurb about Albert's criticism.
>> and the main reason for posting it was the posted responses to his
>> jabs, which i have read/heard in other venues. certainly, Albert's
>> critique is one always leveled against reformist practices, which i
>> think are good for at least keeping the fact that it is a process of
>> reform, rather than an outright overhaul, in the discussion.
>
> Yes, it is important to remember that the Commons and Free Software
> movements are *reform* movements.
>
> I would argue that they are progressive reform movements, seeking to
> make new methods of production work for rather than against producers.
> This is in contrast to would-be regressive reform such as
> Adbusters-style anticapitalism, which seeks to reform other people's
> consumption. These are historically precedented reactions to changes
> in means of production. Consider Bauhaus and the Arts & Crafts
> movement as reformist reactions to mass production.
>
> On 23 Dec 2004, at 20:42, twhid wrote:
>
>>> > You are more free to use a CC licensed work than if no such
>>> license was used.
>>>
>>> But less free than if the work is in the public domain. If you want
>>> to play, contribute to the public domain. If you want to reserve
>>> your rights, do
>
> This is a very common straw man. Yes, it's easier to rip off the
> public domain than it is to rip off licensed work. That's what freedom
> means here, the freedom to lose freedom! Licenses protect against
> this, safeguarding freedom.
>
> SCO and Microsoft like the public domain, and love PD-like licenses
> such as BSD. Why anyone who wishes to be any kind of radical would
> side with those organizations is beyond me.
>
> And as an artist who's trying to find public domain images, I must say
> that what little of the visual public domain that is untouched by
> contracts or licenses is very hard to find.
>
>> So his stance is either make your work completely free in the public
>> domain (CC provides methods to put your work in the public domain
>> http://creativecommons.org/licenses/publicdomain/), or use copyright.
>> But there is a *huge* middle ground
>> (http://creativecommons.org/images/spectrumofrights2.gif) which the
>> reviewer just disregards. Why can't I reserve some rights? He never
>> gives an answer.
>
> Good resources on this sort of thing:
>
> http://notabug.com/2002/rms-essays.pdf
> http://www.free-culture.cc/freecontent/
>
> - Rob.
> --
> http://www.robmyers.org/ - A decade of art under a Creative Commons
> license.
> http://www.robmyers.org/weblog/ - Art, aesthetics & free culture
> weblog.
--
<t.whid>
www.mteww.com
</t.whid>

DISCUSSION
Posted on Thu Dec 23, 2004

## Re: creative commons and copyright

I agree with Rob, the criticisms are nothing but either/or radicalism
that does nothing to solve current existing problems.
Just one example from the responses to the criticism
(http://www.metamute.com/look/article.tpl?
IdLanguage=1&IdPublication=1&NrIssue$&NrSection=5&NrArticle45):
> > You are more free to use a CC licensed work than if no such license
> was used.
>
> But less free than if the work is in the public domain. If you want
> to play, contribute to the public domain. If you want to reserve your
> rights, do
So his stance is either make your work completely free in the public
domain (CC provides methods to put your work in the public domain
http://creativecommons.org/licenses/publicdomain/), or use copyright.
But there is a *huge* middle ground
(http://creativecommons.org/images/spectrumofrights2.gif) which the
reviewer just disregards. Why can't I reserve some rights? He never
gives an answer.
On Dec 23, 2004, at 3:15 PM, Rob Myers wrote:
>> Saul Albert raises the question and a discussion within the
>> University of Openess Wiki follows."
>
> The UOW mostly just point out the flaws in his polemic...
--
<t.whid>
www.mteww.com
</t.whid>

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