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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 Sat Mar 06, 2004

## Eolas Patent Invalid=good news

http://www.eweek.com/article2/0,4149,1543839,00.asp?
kc=EWRSS03119TX1K0000594
from what i've read there is tons of prior art which should keep this
patent invalid... let's hope.
--
<t.whid>
www.mteww.com
</t.whid>

DISCUSSION
Posted on Fri Mar 05, 2004

## Re: The Distorted Molotov

Liza wrote on her blog:
> Joy Garnett Riot show are oil paintings of images sampled from
> newswires and other public news media. Now she is not only being sued
> by the photojournalist whose picture was sample in Molotov but she is
> being asked to never show and never sell the artwork. This is
> obviously not a case of an artist protecting his speech rights but of
> one artist using his copyrights as a way to censor another artist. A
> sad case of Stockholm Syndrome if there ever was.
I would like to add to Liza's thoughts.
I'm not sure it's censorship... Why would the photojournalist want to
censor Joy? There really is no reason. Does the photoJ think that she
will be financially harmed by Joy sampling her work? I doubt it. That
would mean that someone would choose to use Joy's image instead of the
original. Joy's not trying to sell repro rights of the image, Joy's
trying to sell the painting.
I think it comes down to simple pride and something similar to as the
Stockholm Syndrome. She feels she owns this image (tho her subject
would probably like to light her on fire with a pepsi molotov if he
knew what she was doing with his image). It's not simply 'legal' with
her, she probably really feels that Joy is stealing from her, it's
become ethical with her. The twisted copyright laws of the USA have
been internalized by her, she confuses legalities with ethics. It's the
Disney Syndrome.
+To crit Joy+
I find it strange that there is a copyright on the original Molotov
page which I mirrored here:
http://www.twhid.com/misc/joy/molotov/
If you are going to sample imagery for your own work you should at the
very least release your work with a cc license which allows
unattributed sampling, no? Or it should be released with no strings
attached whatsoever. I mean, technically, all of our joywar pages are
illegal.
Seems a bit --let's say-- inconsistent?
take care,
On Mar 5, 2004, at 12:53 AM, liza sabater wrote:
> http://www.culturekitchen.com/archives/000555.html
>
--
<t.whid>
www.mteww.com
</t.whid>

DISCUSSION
Posted on Thu Mar 04, 2004

## Re: Re: 'piracy' update

maybe cory will let you borrow his hat:
http://www.twhid.com/photos/pirated_movie/index-Pages/Image33.html
On Mar 4, 2004, at 1:29 PM, Joy Garnett wrote:
> OMG I don't know whether I can afford to stop laughing *now* --
> yesterday
> I tried to buy a pirate's eyepatch from the paper party store on 86th
> and
> Lex -- they said they were out of stock (!)-- you think there's a run
> on
> them??
>
> an Lee: thanx! but the peg isn't downloading...
>
===
<twhid>http://www.mteww.com</twhid>
===

DISCUSSION
Posted on Thu Mar 04, 2004

## Re: Re: 'piracy' update

JOYWAR! JOYWAR! JOYWAR! JOYWAR!
I'll sign-up to be a joy.WARRIOR!
http://www.twhid.com/misc/joy/molotov/
call me agent.COPYCAT
On Mar 4, 2004, at 11:14 AM, ryan griffis wrote:
>> anyone feel like grabbing the image and putting it on their site? not
>> that I'm actually suggesting it or anything (ahem). I may have to
>> remove
>> it from mine at some point, even if only temporarily, to avoid
>> 'problems.'
>
> start a "joywar" ;)
> ryan
> +
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> -> visit: on Fridays the Rhizome.org web site is open to non-members
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at http://rhizome.org/info/29.php
>
>
>
===
<twhid>http://www.mteww.com</twhid>
===

DISCUSSION
Posted on Mon Mar 01, 2004

## Re: Re: I am a pirate ?!

Yo,
well, I just have to chime in on this thread now. don't i?
(let's make a rule that whenever talking about hypothetical situations
that deal with net art we have to use MTAA as the example artists. Does
everyone agree?)
more inline below:
On Mar 1, 2004, at 12:54 PM, Dyske Suematsu wrote:
> Hi Joy,
>
> It is an interesting coincidence that this thread was going on at the
> same
> time my thread about meritocracy was going on. The reason why people
> are
> concerned about credit and financial compensation is because they
> believe in
> meritocracy.
I agree. It's an interesting coincidence with lots of strange tendrils
reaching out from one discussion to the next which I'm not going to
attempt to describe.
>
> Here is my analysis of your situation:
>
> If your audience and your buyers are aware of the fact that the images
> you
> used are appropriated, there is no deception in your process. From the
> perspective of the market as the standard, as long as there is no
> deception
> involved, the fact that someone wants to buy your work speaks for
> itself.
>
> Say for instance, I copy one of MTAA's digital artworks from their
> server
> and post it on my site as my work. I put a big disclaimer upfront
> stating
> that the work was copied from MTAA and was re-branded as mine. And I
> also
> explain why I think this is a legitimate artistic gesture. Suppose some
> collector actually wants to buy it. Should I then give some money to
> MTAA?
> If this were to actually happen, I would probably offer some money to
> MTAA
> anyway, but theoretically speaking,
(you should offer us money just for hypothesizing the scenario ;-)
> I shouldn't have to, because the money
> was paid for my artistic gesture of copying, not for the actual work.
This scenario has been successfully pulled-off by the 01etc collective
when they copied hell.com and put it on their own server and made it
free to access at the time that hell.com was member only. I'm not sure
if they received any financial reward from the action but they
certainly received critical reward and fame which probably lead to
financial reward down the line.
>
> But this becomes tricky if I provided no disclaimer or explanation.
> For the
> buyer, it would then become similar to buying Enron stocks. As soon as
> the
> secret is revealed, the market will adjust itself. My MTAA copy may
> then
> have no value.
let's face it. It had no value to begin with ;-)
===
<twhid>http://www.mteww.com</twhid>
===

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