- Rhizome
- Journal
- Artbase
- Community
- Programs

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 Tue Oct 15, 2002

## Endnode (AKA Printer Tree)

Endnode (AKA Printer Tree)
MTAA's new work is being launched tonight at Eyebeam
(http://www.eyebeam.org/artists/air02.html) and we invite everyone to
join the "Endnode" list-serv and take part in the work.
short description (from Eyebeam's site):
The arts collaborative MTAA has created a life-sized sculpture of a
tree with a networked print server in its trunk and printers on each
branch that print and release a rain of email-leaves that cascade to
the ground. The public is encouraged to email the tree through the
Endnode Mailing List.
see http://www.endnode.net for more information.
the list:
Join the "Endnode" mailing list here:
http://www.endnode.net/mailman/listinfo/endnode
The Endnode list-serv is an unmoderated email list which we hope will
focus on new media art. Remember, there will be hardcopy of your email
falling from the "Endnode" sculpture when you post to the list.
--
<t.whid>
www.mteww.com
</t.whid>

DISCUSSION
Posted on Sat Oct 12, 2002

## Re: [thingist] [Fwd: Please Support Rhizome Now!]

i'll defend rhizome. i'm cc'ing to Rhizome too.
first, it's unfair to compare the 7k that The Thing received to Rhiz's
440k as TT also has dough coming in from it's ISP service; for the last
year Rhiz got only grants and donations (they are now attempting a
hosting service and classes to raise money so that may change in the
future). What sort of revenue does TT make from it's ISP business?
second, is The Thing non-profit? Do I get a tax write-off if I donate?
I took a quick look at the site and didn't see any info to that regard.
I suppose I could write-off ISP and hosting fees as expenses but I can
get those elsewhere cheaper and write 'em off too.
Rhiz pays an editor (rachel greene), a programmer (francis hwang), an
artbase assistant, and MT of course. fair compensation for these four
should be at least 150k (or more). they also pay for daily net art news
blurbs (assuming 50 bucks per blurb 50USD * 5 * 52 = 13k). they don't
have their own hosting facilities on-site as TT does so they pay for
hosting and bandwidth. i would guess from what little i know about
these commercial rates that they prolly pay 30-50k a year. plus the
commissions, they just paid out around 20k (or more). and the expensive
soho loft of course. prolly costing at least 24k (they were sharing the
costs) a year. plus software, legal, office expenses, insurance,
hardware, event hosting, travel, development... (my total comes to
around 250k, but that's not counting the list of expenses at the end)
we could just ask Mark Tribe, he's always been upfront and honest about
what he's doing; as robbin noted, he's obligated to make it public
anyway.
re: expensive soho loft: I invite Rhizome to move to beautiful
Brooklyn, that's where all the cool kids are anyway :-)
On Saturday, October 12, 2002, at 10:54 AM, Liza Sabater wrote:
> It can't be 440,000 this year!! Didn't he say back in June at the
> Upgrade they had no money then? Could that have been money tied into
> the commission money they gave out this year? Anyhow, their offices
> are (were) in Soho. That in itself would make anybody go bankrupt.
>
>
>
>> on 10/11/02 2:24 PM, Wolfgang Staehle at wolfgangsta@thing.net wrote:
>>
>>> Last Monday I read in the Times that Rhizome received
>>> $440.000 in grants this year... so far The Thing, in spite of
>>> intense
>>> fund raising efforts, received two mini grants (from NYSCA and
>>> MorganChase - thank you!) totaling $7,000.
>>
>> What _does_ Mark _do_ with all that money! We should ask to see
>> Rhizome's
>> annual report, which they have to file as an NPO. There's something
>> really
>> screwy going on there.
>>
>> And the Rockefeller Foundation has also dumped a pile of loot for
>> something
>> called the Arts Lab created by Leonardo Journal and headed by Michael
>> Naimark (http://www.artslab.net/pr071502.html) that sounds
>> suspiciously like
>> what we proposed two years ago to the same foundation.
>>
>> Argh!
>>
>>
>>> Checks or money orders may be sent to The Thing Inc, 601 West 26th
>>> Street, New York NY 10001.
>>>
--
<t.whid>
www.mteww.com
</t.whid>

DISCUSSION
Posted on Fri Oct 11, 2002

## Re: get yr war on

>
>roll yr own...
>http://www.googlefight.com/
>
musta been slashdotted--the server is overwhelmed.
--
<twhid>
http://www.mteww.com
</twhid>

DISCUSSION
Posted on Thu Oct 10, 2002

## Wired News :Art: What's Original, Anyway?

A note from t.whid:
perhaps of interest to the list
============================================================
From Wired News, available online at:
http://www.wired.com/news/print/0,1294,55592,00.html
Art: What's Original, Anyway?
By Kendra Mayfield
2:00 a.m. Oct. 10, 2002 PDT
If current copyright laws had been on the books when jazz musicians
were borrowing riffs from other artists in the 1930s and Looney Tunes illustrators were creating cartoons in the 1940s, entire art genres such as hip-hop, collage and Pop Art might never have existed.
The debate over whether artists can use copyrighted materials entered
the national spotlight this week as the Supreme Court heard opening arguments in Eldred v. Ashcroft, a case in which plaintiffs are seeking to overturn the <a href="http://thomas.loc.gov/cgi-bin/bdquery/z?d105:SN00505:
TOM:/bss/d105query.html">1998 Copyright Term Extension Act.
See also: -
Fencing Off the Public Domain -
Free Speech Same as Free Content? -
Making Copy Right for All -
Setting Boundaries on Copyrights -
Discover more Net Culture -
Picture Yourself in Politics
To acknowledge this landmark case, an exhibit will celebrate
"degenerate art" in a corporate age: art and ideas on the fringes of intellectual property law.
The exhibit, Illegal Art: Freedom of Expression in the Corporate Age,
will take place in New York from Nov. 13 to Dec. 6 and in Chicago from Jan. 25 to Feb. 22.
"Almost all art, to a certain extent, is unoriginal," said Carrie
McLaren, publisher of Stay Free! magazine and organizer of the exhibit. "(In) an environment where you can have free exchange of ideas, you get better art."
The show will examine the intersection between intellectual property
and the First Amendment. Some pieces have been the focus of court battles, while others have eluded copyright lawyers.
Digital rights activists argue that creativity is under assault with
the recent passage of laws like the Digital Millennium Copyright Act.
Current copyright laws discourage the creation of new works, McLaren
said. For example, filmmakers typically screen anything that appears on camera for copyright violations.
"That effectively makes filmmaking off limits for anyone who's not a
millionaire," McLaren said.
Some digital rights advocates believe that Eldred v. Ashcroft could
shift the balance of power.
"The fact that the Supreme Court is taking this case is a major
opportunity for this discussion," McLaren said. "It shows that the court is concerned about the First Amendment implications of copyright."
Timed with the exhibit's opening in November, a panel discussion at
New York University will focus on some of the aspects of using and archiving artworks that appropriate copyrighted or trademarked material.
"Understanding the sociopolitical implications of the current
copyright regime is of particular concern at this time," said Meg McLagan, an assistant professor of anthropology at NYU, "given the challenges posed by corporate attempts to limit access to works that should be moving into the public domain." McLagan is the panel's moderator.
Exhibit organizer McLaren hopes Illegal Art will "wake people up" to
restrictive copyright legislation. "When people see this exhibit they won't want to support the laws that make this type of work illegal," she said.
The exhibit surveys a variety of mediums -- from collage to audio and
film -- and includes pieces that flout intellectual property law by violating copyrights or infringing on trademarks.
The visual art exhibit, viewable online, features murdered Disney
characters, a parody of the Starbucks logo and a painting of a lace doily that incorporates the Texaco logo.
The exhibit's site also highlights illegal films and videos that
appropriate others' intellectual property through the use of found footage, unauthorized music, or shots of copyrighted or trademarked material.
Site visitors can also download illegal MP3s, including recycled
lyrics from 2 Live Crew's parody of Roy Orbison's "Oh, Pretty Woman" and Vanilla Ice's 1990 hit "Ice Ice Baby," which borrowed the main riff from David Bowie and Queen's song "Under Pressure."
The site includes links to audio works by experimental music and art
collective Negativland, longtime advocates of the concept of fair use since the group was forced to cease performing and distributing a parody of U2's "I Still Haven't Found What I'm Looking For" in 1995.
Since the early '90s, "these issues have become more and more
mainstream," said Mark Hosler, one of Negativland's founding members.
Groups like Negativland have felt the repercussions of the digital
copyright wars. In 1998, Negativland's CD manufacturer refused to press the band's latest album because of concerns over the inclusion of unlicensed samples.
"It really has impacted us very directly," Hosler said. "It seems like
the content owners don't care any more about what we're doing. But in terms of getting (CDs with samples) manufactured, that's the problem."
A compilation CD of music featuring plundered hits by Negativland,
Public Enemy, John Oswald and other artists will be given away free at Illegal Art events in New York and Chicago.
The free CD, which includes several tracks that were sued out of
existence, could create some legal entanglements of its own.
But the exhibit's organizers insist that its material is fair game.
"Since we're criticizing and educating about this, we think it falls
under fair use," McLaren said. "We wanted to have more discussion and debate about this. We're not just throwing this stuff out there."
Related Wired Links:
Fencing Off the Public Domain
Oct. 9, 2002
Free Speech Same as Free Content?
Oct. 8, 2002
Music Biz Lament: Stealing Hurts
Sep. 26, 2002
Every Montage Tells Another Story
June 27, 2002
Making Copy Right for All
May 17, 2002
Setting Boundaries on Copyrights
Feb. 20, 2002
Why Copyright Laws Hurt Culture
Nov. 27, 2001
Where Everything Is Negativland
May 9, 2000
Open Source in Open Court
April 26, 1999
A Mickey Mouse Copyright Law?
Jan. 13, 1999
Samples Silence Negativland
Sep. 1, 1998
Copyright (C) 1994-2002 Wired Digital Inc. All rights reserved.

DISCUSSION
Posted on Tue Oct 08, 2002

## Re: Anti-anti-life anti-death life and death.

At 12:47 -0700 10/8/02, Jim Andrews wrote:
>I've read quite a bit of talk in new media writings about the
>importance of databases to the
>art. But where are the examples of interesting use of databases in
>art? There are very few such
>examples. Database work is the bread and butter work of computing,
>generally for business, and
>the creative use of databases in art is relatively rare.
>
i don't know if i would call them rare; use your own judgement as to
if they are interesting. perhaps there aren't that many standard
databases (like the ArtBase) used in new media art (the artBase
itself has at least 4-5 interfaces as art (or as rhizome calls them,
alt.interfaces). but if one is more offensive if applying the term i
think that there are quite a few.
Jennifer and Kevin McCoy (http://www.mccoyspace.com/) have been
exploring the idea of treating cultural objects as databases in lots
of their work. check out:
"every anvil" (http://www.mccoyspace.com/anvil.html) --they did a
bunch of pieces similar this
"448 is Enough" (http://www.mccoyspace.com/448.html)
and of course:
"201: a space algorithm"
(http://www.mccoyspace.com/201/index.html)
and lots more on their site.
there is MTAA's very own rip-off of the McCoy strategy called
"website unseen #1: Random Access Mortality"
(http://www.mteww.com/RAM/)
++
i have a question for the list:
can a piece like "Carnivore" (http://www.rhizome.org/carnivore/),
which uses real-time network data as raw material for client
artworks; or a new piece M.River and I have been working on called
"Endode" (http://www.endnode.net), which uses email lists and user
posted messages to create part of the work, be considered database
works?
i submit that they simply use databases that are in the process of
being created and in Carnivore's case an ephemeral database which
only exists in part for a short period. ~or~ abstract databases,
simply a definition of what the data will be with no actual 'basing'
(storing) of the information. am i stretching the definition for no
good reason?
--
<twhid>
http://www.mteww.com
</twhid>

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