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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 »

1 2 3 4 5 6 7 8 9 10 ... 19

RHIZOME ACTIVITIES

Discussions (875) Opportunities (2) Events (9) Jobs (1)
DISCUSSION
Posted on Mon Feb 24, 2003

## Re: Re: Linking vs. Plagiarizing (Re: Turbulence.org)

hi all,
i think it is a major error in viewing Cory's work in trying to call it
'not art' or any of the other terms Curt has listed.
Cory is definitely an artist and his work is simply borrowing from
sub-cultures which haven't been mined by the traditional art world as
of yet ie the very specific 'demo' culture. taking from culture's
outside of the dominant is an art strategy that goes back, oh, let's
see, to the impressionists.
not dissing Cory's work, I think it's fly. But his strategies are very
much in the tradition of the main art world.
here's a freebie for anyone else who wants to follow this strategy:
overclockers.
On Monday, February 24, 2003, at 05:54 PM, curt cloninger wrote:
> dyske,
>
> evidently "punk" is too open a term. so let's abandon it and move on
> to the idea of "not art" or "outsider art" or "art brut." Alex
> Galloway claims in the piece's artist statement that the piece is not
> art (odd then that it should have an artist statement). Yet when I
> try to recontextualize the piece outside of its given contemporary art
> environment, i get slapped. this irony is noteworthy.
>
> curt
>
>
> +++++++++++++++++++++++++++++++++++
> dyske said:
> I understand Curt's assertion that not allowing re-contextualization of
> Cory's work is contradictory to his presumed "punk" mentality. (Though
> I'm
> not sure where that claim comes from. "fresh, formalist and punk-rock
> to the
> core" Is this the line in question? If so, is this really describing
> Cory's
--
<t.whid>
www.mteww.com
</t.whid>

DISCUSSION
Posted on Mon Feb 24, 2003

## Re: Re: Arcangel/Deep/Young Ethereal

i can't remember an artwork creating so much discussion and now this
linking controversy! my-oh-my.
hey curt,
feel free to deep link to anything on mteww.com ;-)
++
but this is a serious issue. I would very much like to hear Cory's
opinion (tho he is probably wise enough to keep his mouth shut).
MTAA has just completed a small commission for an institution that we
haven't released yet (or they haven't released yet, or someone hasn't
released yet... but that's another story...)
There was no discussion on attribution, copyrights or any of that
stuff. I slapped a creative commons license on it and if the
institution asks me to remove it I believe I'll refuse. But maybe I
won't. The fact of the matter is in the extremely small world of
non-profits commissioning this sort of work it's easy to be pegged as
'hard to work with' and never get another penny. 'Ya gots to go along
to get along'.
Working with Creative Time in the past, we've had to sign contracts
that stipulate credits, copyrights, usages and so on. In that case,
to be ethical (and technically legal), I couldn't encourage deep
linking. I prefer everything to be explained up front in a contract,
that way everyone knows where they stand.
Turbulence seems to be professionally run imo, they probably had a
contract with Cory and he knew what he was doing when he signed it
and what (if any) limitations he was putting on his work by signing
it.
At 14:25 +0000 2/24/03, marc.garrett wrote:
>Hello Jo-Anne,
>
>I was wondering if you were referring to the lists recent and quite
>informative discussions around Cory's work.
>
>best - marc
>
>
>> >Turbulence exists primarily to support artists. We commission works such
>as Data Diaries with funds from various foundations. Foundations require
>that they are credited for the work they support. The artists' success
>allows Turbulence to raise more money to commission more work. I'm sorry
>that you are denying Cory a wonderful opportunity.
>>
--
<twhid>
http://www.mteww.com
</twhid>

DISCUSSION
Posted on Fri Feb 21, 2003

## barney at the Gug

http://www.mteww.com/barney_opening/barney_opening-Images/12.jpg
In the above photo you see Barney on the left in the grey.
He's talking to Richard Serra with his back to the camera.(I walked
right by 'em, mriver had to point 'em out to me.)
Whatever you think about Barney's work, it's hard not to like a guy
who wears dickeys work pants to his own swanky opening at the
Guggenheim.
more pics to come later.
and of course:
http://www.nytimes.com/2003/02/21/arts/design/21KIMM.html?8iwea
--
<twhid>
http://www.mteww.com
</twhid>

DISCUSSION
Posted on Wed Feb 19, 2003

## more mccloud, last one promise

At 12:42 -0500 2/19/03, curt cloninger wrote:
>t.,
>
>you're missing McCloud's argument and the point of the book.
>"understanding comics" isn't an art history chronicle. it's a
>series of ruminations on the language of a particular medium. he's
>not suggesting that 20th century comic artists were directly
>influenced by egyptian art. he's suggesting that there's something
>intrinsic to the human condition that makes us want to tell stories
>sequentially with pictures, and he's analyzing the ways we have done
>so throughout history in order to arrive at some fundamental
>conclusions about images, icons, words, and communication itself.
+++
yo,
It's been a long time since I've read it but I'll concede that he
doesn't attempt to draw direct connections btw contemporary comix and
egyptian art.
If memory serves correctly he calls Egyptian art comics however
(along with cave paintings). If he does do this it is a good
illustration of his intellectual paucity. There is no defensible
reason to tack on contemporary names to historical movements or
thinking. I'v made that point before on this list so I won't go
through it again. (Rembrandt != expressionist)
There's nothing illuminating in describing people using images to
tell stories throughout history. A fairly obvious observation imo. To
tack on the sequential thing because it happens to be his own medium
is simply self-serving.
It's not a serious book (it's analogous to a pop psych book) and to
quote it when making args about art doesn't serve you well curt. I
think you have much better ideas and args than McCloud.
take care,
>
>He brings up the Egyptians to point out that this form of iconic
>storytelling is not so tangential to human culture as we might
>suppose. He later uses these Egyptian narratives to exemplify a
>time when images and words were not so segregated and specialized as
>they were at the end of the 19th century.
>
>Likewise, with the 6 creative phases, he's not talking about
>historical art movements, he's talking about the intrinsic human
>creative process. Maybe there's no such thing as an intrinsic human
>creative process, and maybe art means nothing outside of its given
>socio-historical contexts -- but those assertions were still open to
>some debate last time I checked.
>
>peace,
>curt
>
>
>++++
>t. wrote:
>
>yo curt,
>
>it's irrelevant in that those who pioneered newspaper comics in
>america in the early part of the 20th weren't taking any cues from
>Egyptian art; they weren't thinking about Egyptian art. they were
>being directly influenced by political cartoons from 1800s in both
>America and Europe (Nash, Daumier, etc) (btw Marcel Duchamp's bro was
>a cartoonist for newspapers, it was considered very uncool so he
>changed his name to Jacques Villon ).
>
>to say simply that it's a sequential pictorial narrative therefor
>draw some relation is absurd. film (which fits the def as well) is
>also directly related to Egyptian art? Early comics creators weren't
>directly influenced by any art historical form of sequential art.
>the only connection is a general art historical connection but then
>you
>can say everyone from Titian to Matt Barney have connections to Egyptian art.
>
>it's just a rather obvious play to attempt to give contemporary
>comics some sort of art historical or cultural cache that they don't
>need. they live and breathe on their own. so perhaps it isn't an
>absurd idea, simply an irrelevant observation.
>
>+ ti esrever dna ti pilf nwod gniht ym tup
>-> post: list@rhizome.org
>-> questions: info@rhizome.org
>-> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
>-> give: http://rhizome.org/support
>+
>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 Wed Feb 19, 2003

## small note about mccloud thread

one point to add:
i only bring up the egyptian/sequential art thing because it brings
into question the rigor of the rest of his thinking. obviously people
can make what they will of the list.
take care,
At 11:50 -0500 2/19/03, t.whid wrote:
>At 11:29 -0500 2/19/03, curt cloninger wrote:
>>Hi t.,
>>
>>We disagree about McCloud. He defines comics (not just american
>>underground comics, but all comics) as sequential art, so how is
>>his discussing sequential pictorial Egyptian narrative totally
>>absurd and irrelevant given his definition? As I continue to
>>explore web art from a narrative angle (as something between film
>>and literature) McCloud's several insights on comics are
>>particularly relevant.
>
>++++
>yo curt,
>
>it's irrelevant in that those who pioneered newspaper comics in
>america in the early part of the 20th weren't taking any cues from
>Egyptian art; they weren't thinking about Egyptian art. they were
>being directly influenced by political cartoons from 1800s in both
>America and Europe (Nash, Daumier, etc) (btw Marcel Duchamp's bro
>was a cartoonist for newspapers, it was considered very uncool so he
>changed his name to Jacques Villon ).
>
>to say simply that it's a sequential pictorial narrative therefor
>draw some relation is absurd. film (which fits the def as well) is
>also directly related to Egyptian art? Early comics creators weren't
>directly influenced by any art historical form of sequential art.
>the only connection is a general art historical connection but then
>you can say everyone from Titian to Matt Barney have connections to
>Egyptian art.
>
>it's just a rather obvious play to attempt to give contemporary
>comics some sort of art historical or cultural cache that they don't
>need. they live and breathe on their own. so perhaps it isn't an
>absurd idea, simply an irrelevant observation.
>
>
>>
>>Anyway, to prima facie dismiss an argument as unincisive is not
>>really dialogue. your critique is unincisive.
>>
>
>+++
>that's true, it's not very incisive. people can look at the list and
>make their own opinion. perhaps later i'll back up my comment, no
>time now.
>
>take care,
>
>>i remain,
>>curt
>>
>>+++++++++++++++++++++++++++++++++++++++++
>>t. wrote:
>>
>>you're talking about Scott McCloud the comix guy?
>>
>>he's an idiot. well, let me back up. he's not an idiot, but i
>>wouldn't take any art lessons from him. in 'understanding comix' he
>>attempts to make a connection from american underground comix to
>>egyptian art (they are both sequential static images creating a
>>narrative is his reasoning) which is totally absurd and irrelevant.
>>
>>his artistic process above doesn't seem any more incisive. he
>>reminds me of pop psychology (the dr. phil brand) but he's making
>>poor arguments in art criticism and art history.
>>+ ti esrever dna ti pilf nwod gniht ym tup
>>-> post: list@rhizome.org
>>-> questions: info@rhizome.org
>>-> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
>>-> give: http://rhizome.org/support
>>+
>>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>
>+ ti esrever dna ti pilf nwod gniht ym tup
>-> post: list@rhizome.org
>-> questions: info@rhizome.org
>-> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
>-> give: http://rhizome.org/support
>+
>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>

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