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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 Thu Nov 21, 2002

## FW: Online project with Pixel Press

At 14:23 -0500 11/21/02, Carol Stakenas wrote:
[...]Pixel Press sent [this] link to a
project they are hosting on their site, inviting submissions. Check it out
and send it along to anyone whom you think might be interested.
http://www.pixelpress.org/world_order/intro.html
+++
may be of interest to folks on the list.
--
<twhid>
http://www.mteww.com
</twhid>

DISCUSSION
Posted on Wed Nov 20, 2002

## Re: Re: Re: ART, Inc. necessary evil

On Tuesday, November 19, 2002, at 05:22 PM, curt cloninger wrote:
> t:
> should philosophers make their texts easy to read so that the general
> public can understand it?
>
> c:
> they should make their texts as easy to read as possible without
> sacrificing the meaning they are trying to convey.
>
hah! can't argue with that. of course a writer should attempt to be
clear. artists have the privilege of being ambiguous tho.

DISCUSSION
Posted on Wed Nov 20, 2002

## David Crosby, a necessary evil

On Tuesday, November 19, 2002, at 07:51 PM, Curt Cloninger wrote:
> Actually, I'm not sure if art and philosopy are that akin. So for t.
> to say, "why can't art be boring and tough to crack? philosopy is
> boring and tough to crack, yet people wade through it," I already have
> a problem with that analogy.
hey now, don't be putting yer words in my mouth (with quotes no less).
i never typed that or said that. my point was that sometimes it's hard
to crack a work because what's being expressed needs to be said in a
way that maybe isn't easy for everyone; or expresses new ideas that are
hard to articulate without new definitions. (note: i'm not talking
about MTAA's work which is very simple to understand and doesn't need
new definitions for anything and which many times relies on
entertainment and silliness to actually poke holes in what (when i talk
to curt) i wind up defending ie conceptual art is my dog and i'll kick
it around if i want; you keep your hands to yourself)
my problem with curt's crit of art is simple. it's based only on his
personal taste. 'is it good'... compared to what? David (the
neo-classical painter)?, David (the florentine statue)? David Crosby?
Davey and Goliath (the cheesy 70s religious 3d animated TV show)? David
Bowie? David Letterman? David Lynch? Davie Jones?
oh wait--we just KNOW when it's GOOD. it will 'speak' to us. our
environment and culture will have nothing to do with how we react to
cultural object 'n' which we find before us. is that it? i know you
know it doesn't work that way.
> Because a philosophical essay is an attempted mind transfer. But if
> that's all art is, then I think the art is already failing.
>
> As far as all the "dumbed down" accusations, Michelangelo's David is
> pretty popular and has been for a while, but I don't think you can
> accurately call it dumbed down. Accessible and dumb aren't
> necessarily the same, any more than inaccessable and smart are the
> same.
++
there is no accounting for the classics. and i wouldn't argue that
accessible and dumb are equivalent. beauty isn't the only goal of the
contemporary artist.
++
>> On Tue, 19 Nov 2002, Michael Szpakowski wrote:
>>
>> > <... should make their texts as easy to read as
>> > possible without sacrificing the meaning they are
>> > trying to convey...>
>> > excellent! -it should be a kind of hippocratic oath
>> > for artists , philosophers and politicians.
>> > ..and how easy to encapsulate thusly and how difficult
>> > to do!
>> > Michael

DISCUSSION
Posted on Tue Nov 19, 2002

## Re: Re: ART, Inc. necessary evil

---- Curt Cloninger <curt@lab404.com> wrote:
> > > c:
> > > that response comes across as elitist and
> > > disdainful. popular = dumb = britney
spears. it's
> > > too simple, like a prejudice.
> > >
> >
> >m: Tim an elitist? I think you two need to get
> >together have dinner or something.
>
> c: Tim started his art career by copying Iron
Maiden album covers (by
> his own admission!), so how can he have
legitimate beef with pop
> culture? Maybe since Iron Maiden is British he
thinks this lets him
> off the hook.
t: i love pop culture. but i don't confuse my artwork
with pop culture. i wish i still had those Iron
Maiden drawings tho. and i wish that art with a
capital A, the stuff you find in galleries, was a
bigger component of contemporary american
culture.
>
> m:
> >How long is the
> >drive to get down to you? What are you doing
for
> >Thanksgiving?
>
> c:
> Thanksgiving is not a good time because my
brother and his family are
> coming up. But y'all can come most any other
time. Email me offlist.
> According to mapquest, it takes 12 hours:
> http://www.mapquest.com/directions/
main.adp?go=1&do=nw&ct=NA&1y=US&1a=
> 100+Freeman+Street&1p=&1c=brooklyn&1s=
ny&1z=&2y=US&2a(+etta+drive&2p
> =&2cEnton&2s=nc&2z=&lr=2&x8&y
>
> Here are some pictures taken from my yard:
> http://www.neuralust.com/~curt/fall/
>
> >m: I think my job description is to make art and
hope
> >for the best.
>
> c: Fair enough.
>
<twhid>
http://www.mteww.com
</twhid>

DISCUSSION
Posted on Tue Nov 19, 2002

## Re: Re: ART, Inc. necessary evil

At 12:18 -0500 11/19/02, curt cloninger wrote:
>>side A, "professionalism sucks the life out of art; it >should be
>>done with passion"; side B,
>>"without an audience (aka art world) art is functionally >meaningless."
>>personally i don't see the two as exclusive.
>
>
>So art can both require an audience and still have the life sucked
>out of it. I can't argue with that. Actually, I do agree that the
>"for profit" vs. "for passion" dichotomy is largely a bogey. Is the
>work good? That's the question I can't escape.
>
>Some "for passion" work is bad and some "for profit" work is bad,
>but often for different reasons. The "for passion" work will tend
>to be bad because it's ill-considered, hastily made, and unwittingly
>exploring areas that have already been well-explored. The "for
>profit work" can tend to be bad because it is narrow,
>micro-scene-dependent, contrived to sell, relying on the punch of
>its context rather than the punch of its craft.
++
we absolutely agree, one needs to judge the work individually. i
won't say anything about craft tho. personally i love great technique
and craft, but i don't think it's necessary to make good art.
++
>
>
>>if one is making work that
>>has it's roots in the history and tradition of the 'art >world'
>>(aka ART, Inc.) then one needs an educated >audience to appreciate
>>the
>>work. the average web surfer (esp an USAian one) >isn't going to
>>have experiences necessary to >understand or appreciate some work;
>>even something >as old hat as abstract expressionism!
>
>This pretty much sticks right in my craw. The roots in art history
>you're talking about go back to Duchamp. Are you in dialogue with
>stuff back to Bosch? It seems you are rooted in a veneer.
++
i was attempting to speak broadly (ie i'm not talking about my own
work in the passage above). by 'roots in the history and tradition of
the 'art world' i was thinking of the entire history of western art.
i believe that MTAA's work is in dialogue with this history.
++
>
>I know plenty of people who are blown away by Arvo Part or Steve
>Reich who grew up on the Beatles and T.Rex. They don't have to read
>the liner notes or take a course in minimalism to be impacted by the
>actual work. Because it's good work. And Charlie Parker dug
>Bartok. If I have to be smart and schooled to be impacted by your
>work, how good is your work?
++
very good.
++
Is the goal of art to speak to humanity, or to speak only to the
relatively few people who have been filtered through the thin pipe of
contemporary art education?
++
that question is answered individually by each artist. should one
dumb-down one's work to appeal to the masses if that's not what one
believes to be the proper course for their work? PLUS, americans are
being schooled everyday in how to respond to the aesthetics and
techniques of pop culture. in the cultural context of contemporary
america, when you say 'speak to humanity' i hear 'britney spears
videos'.
++
>
>>go to the Met and stand next to the huge, awesome >"Autumn Rhythm
>>(Number 30)" and count how many >assholes say, "I could do that."
>>fuck that
>>audience, i don't need 'em.)
>
>so people either like what you like or they are uninformed redneck
>idiots. Might there be a third class of people who get it but still
>don't like it. Or does one's dislike of a piece of work defacto
>prove that they just don't get it?
++
if someone isn't intensely moved by the example i site above then,
yes, imo they just don't know how to look at and openly experience a
painting (you may fill in your own derogatory term for one who's
uncultured; redneck is good, philistine, cretin). perhaps if ART,
Inc. wasn't so derided and dismissed in contemporary american culture
the general public would know how to look at a Pollack painting. they
don't. I'm not an educator so until they learn i don't give a damn
what they think about Pollack's work or mine own.
++
>
>
>Tim, I'm not dissing your personal decision to pursue the sale of
>your art. To do that would be to dis your chosen lifestyle, and
>one's lifestyle is a personal issue. Everybody's different, so the
>way you choose to make your money is up to you.
>
>My take on it is this -- everybody needs a place to fail. My life
>would be poor indeed if there was nothing I did that was just for
>the pure pleasure of it. If when working on one of my sites I was
>always thinking in the back (or front) of my mind, "is this new
>enough? will this get press?" then I would have to find another
>hobby [to me, "hobby" is not a diminutive but rather a sacred term].
>
>http://www.playdamage.org and http://www.neuralust.com/~curt/ are
>ongoing personal public experiments. What I learn there gets
>applied to future work. The advantage is, I can fail in public.
>It's open source. It doesn't matter. if my work isn't in dialogue
>with anything else out there, it doesn't matter. I don't have to
>push my work (or hire someone to push my work). I don't have to fit
>it into anything. There's no temptation for me to make my work
>anything other than what I want it to be.
>
>Another advantage is that, on this list, I can lose face without
>losing financial worth. If someone influential disses you and your
>work, or C.P. and his work, or Valery and his work, y'all stand to
>lose future customers. Your brand value is decreased. If someone
>influential disses me and my work, oh well.
++
i'm not trying to diss anyone's choices either. sometimes i see a
notion on the list that those who do work from 'passion' are somehow
more genuine as opposed to us careerists. i'm just giving the other
side of the argument.
++
>
>on the record, I like your printer tree.
++
so why aren't you on the mailing list :-)
++
>
>peace,
>curt
c-ya
--
<twhid>
http://www.mteww.com
</twhid>

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