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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 Tue Apr 08, 2003

## Re: Dia article in NYTimes Mag

hi all,
Sorry I keep harping on this but I don't think what I was originally
questioning was addressed.
Lets put aside all the collaborative, open source, community oriented,
and yet-to-be-invented models of cultural production and remember what
the Dia did for these lucky artists in the early 70s. They gave them
the time and means to pursue their grandest visions without
encumbrance. They didn't have to worry about raising money from
investors, writing grant proposals, organizing teams to build parts of
their work; they simply had to worry about their vision.
The Dia attempted to remove all obstacles btw the artist and his
vision. The artists were free to ascend the ivory tower and live in
intellectual, abstract realms. Would this sort of ivory tower be
beneficial for net/web/new media artists? Should net/web/new media
artists have the daily drudgery swept away? Does the daily hubbub
inform our art in a essential way? Do artists need to mix with the hoi
polloi?
--
<t.whid>
www.mteww.com
</t.whid>

DISCUSSION
Posted on Tue Apr 08, 2003

## Technology in Art (was Dia article in NYTimes Mag)

At 20:39 +0000 4/8/03, joseph (yes=no & yes<>no) wrote:
>> one big reason is economics.
>>
>
>There is a huge cultural base used to consuming writing and paintings as
>creative content. Not so with Art in Technology (note my use of branding :),
>it will take a dedicated effort to create that cultural base. Though
>the online
>games market is helping quite a bit.
>
>>
that's the difference btw us, yer talking about Art in Technology and
i'm talking about Technology in Art.
I think there is a very big difference.
--
<twhid>
http://www.mteww.com
</twhid>

DISCUSSION
Posted on Tue Apr 08, 2003

## Re: Re: Re: Dia article in NYTimes Mag

At 20:32 +0000 4/8/03, joseph (yes=no & yes<>no) wrote:
>Quoting "t.whid" <twhid@mteww.com>:
>
>>
>> we shall see. John Ippolito is working on a project that looks to
>> 'open source' contemporary art production (with an emphasis on
>> net/web/new media). it may be just crazy enough to work ;-)
>
>do you mean creative commons?
>
>>
he's got something else cookin'. similar to creative commons, but
focused more on net/web/new media artists.
--
<twhid>
http://www.mteww.com
</twhid>

DISCUSSION
Posted on Tue Apr 08, 2003

## Re: Re: Re: Dia article in NYTimes Mag

one big reason is economics.
the film industry is a multi-billion dollar one. the new media art
world? ha, not even multi-million.
and if you expand the definition by saying that it could lead to jobs
in the software or web industry my response would be that people who
would be interested in those types of resume items would prefer to
build relationships in those industries and not in the rarified new
media art world.
another reason is glitz and glamor.
In the nyc art world it's easy to find cheap labor because people so
much want to be part of that world (same for the publishing world,
fashion, etc). unfortunately net/web/new media art doesn't have the
same cultural muscle.
hopefully it will in the near future as you say.
>>
>> re: independent film, a good comparison but the system in place there
>> works much differently than the open source software model. an
>> independent director can get free labor, but those folks get to build
>> resumes and connections into the film industry. a net/web/new media
>> artist can't offer anything like that.
>>
>Dont see why not, at least in the near future. Ivan
--
<twhid>
http://www.mteww.com
</twhid>

DISCUSSION
Posted on Tue Apr 08, 2003

## Re: Re: Re: Dia article in NYTimes Mag

i see yer point, but then one is just collaborating on software
applications at that point, no? one is collaborating on tools and
parts to build a work and not on a work. as an analogy, it's as if a
painter got some dedicated crafts people to weave some linen and
grind some paint for her.
i was imagining something where the technical aspects of a piece
aren't so easily separated from the subject and content. once these
technical aspects get intertwined more closely into a work (like
needing a game engine to render shadows in some specific way unique
to an artist's game) than you will find many fewer people willing to
give away their labor for free.
there are some open source game engines out there, but how do they
compete against quake or unreal? i'm no expert, but probably not very
well.
we shall see. John Ippolito is working on a project that looks to
'open source' contemporary art production (with an emphasis on
net/web/new media). it may be just crazy enough to work ;-)
At 18:21 +0000 4/8/03, joseph (yes=no & yes<>no) wrote:
>T.whid wrote
>> > > > that competes with the industrial world on a technical level.
>
>> I don't think that the open source model of software engineering is going to
>> work for artwork.One doesn't have this sort of certainty when it comes to
>> making art and who wants to freely follow a tyrant that wants
>>everyone to toe
>> the line re: subject and content of an artwork.
>
>Note the key term I was responding to was - technical level - like there are
>many disparant and individual uses for a database, but a group can
>get togethor
>to make the database engine. On the subject of content, I might point to
>independent movies that regulary compete with the big boys and are made by
>teams of people on very small budgets (comparatively speaking). Once you have
>the engines, it doesn't really take that big of team to build
>dynamite content.
>Yes, you need some sort of directing vision, but no, it does not preclude each
>individual from the team from having a rewarding and creative experience.
>
>
re: independent film, a good comparison but the system in place there
works much differently than the open source software model. an
independent director can get free labor, but those folks get to build
resumes and connections into the film industry. a net/web/new media
artist can't offer anything like that.
>
>joseph & donna
>
>Quoting "t.whid" <twhid@mteww.com>:
>
>> > > >
>> > > > OK, that's what I was thinking. This goes back a bit to my
>> > google/net
>> > > > art masterpiece post. It's practically impossible to make
>> > something
>> > > > that competes with the industrial world on a technical level.
>> > > >
>> >
>> > The Open Source model, such as Linux has proven capable of competing
>> > on the
>> > technical level. You need to get a few dozens or hundreds of net.art
>> > programmers to cooperate.
>> >
>>
>> I don't think that the open source model of software engineering is going to
>> work for artwork. the purposes of an artwork aren't usually as
>>easily defined
>> as a software project. you can argue about how best to implement a web
>> server, but everyone is in agreement that what you're building is a web
>> server. One doesn't have this sort of certainty when it comes to making art
>> and who wants to freely follow a tyrant that wants everyone to toe the line
>> re: subject and content of an artwork. an artwork is less objective and it's
>> goals aren't as quantifiable as software programs built to perform certain
>> tasks. it's easy for meritricious code to bubble to the top on the strength
>> of it's logic, it just works better. obviously these sorts of distinctions
>> are harder to make when it comes to creating a piece of a whole in an
>> artwork.
>>
>>
>> having said that, there are artworks which are massively collaborative that
>> are interesting, but they're a genre, they all end up being very
>>similar: the
>> collaborative story, the collaborative sentence, etc. the only way these
>> collaborations work is to make them very open and unfocused, the subject is
>> always partially the collaboration.
>>
>> but who knows? maybe an open source 'toy story' or 'doom 3' is possible? it
>> has yet to appear.
>>
>> + 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
>+ 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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