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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 Dec 17, 2002

## art students, ya gotta love 'em

Art Student Admits Planting Boxes In Subway Station
http://www.ny1.com/ny/TopStories/SubTopic/index.html?topicintid=1&subtopicintid=1&contentintid&573
An art student has confessed to planting dozens of suspicious boxes
that led to the evacuation of the Union Square subway station last
week,.
Clinton Boisvert, 25, a student at the School of Visual Arts, turned
himself in to the Manhattan district attorney's office Monday. He
admitted he placed the 38 black boxes, labeled with the word "fear,"
around the busy station last Wednesday.
Boisvert said the stunt was part of a assignemnt to study reactions
to art in public places. His lawyer said it was "an innocent art
project gone awry."
Police evacuated the subway station and trains skipped the stop for
about five hours as the bomb squad investigated the boxes, which were
attached to walls, benches and floors. The boxes, some painted black
and others wrapped in electrical tape, were determined to be empty
and the station was reopened.
Boisvert was charged with aggravated harassment and reckless endangerment.
--
<twhid>
http://www.mteww.com
</twhid>

DISCUSSION
Posted on Mon Dec 16, 2002

## Creative Commons Unveils Machine-Readable Copyright Licenses

not sure if this made it the first time, sorry if it double posts
+++
this is some very valuable work that empowers creators to release
their work into the world on their own terms instead of the all or
nothing approach that copyright law allows. it releases creative work
into the network in a new way which provides much more freedom for
creators and viewers.
+++
from creativecommons.org:
Creative Commons Unveils Machine-Readable Copyright Licenses
Monday, December 16, 2002
San Francisco, CA - Creative Commons, a nonprofit dedicated to
promoting the creative reuse of intellectual works, launched its
first product today: its machine-readable copyright licenses,
available free of charge from creativecommons.org. The licenses allow
copyright holders to easily inform others that their works are free
for copying and other uses under specific conditions. These self-help
tools offer new ways to distribute creative works on generous terms -
from copyright to the public domain - and are available free of
charge.
"People want to bridge the public domain with the realm of private
copyrights," said Stanford Law Professor and Creative Commons
Chairman Lawrence Lessig. "Our licenses build upon their creativity,
taking the power of digital rights description to a new level. They
deliver on our vision of promoting the innovative reuse of all types
of intellectual works, unlocking the potential of sharing and
transforming others' work."
Creative Commons licenses help people express a preference for
sharing their work - on their own terms. Copyright holders who decide
to waive some of their rights but retain others can choose a license
that declares "Some Rights Reserved" by expressing whether they
require attribution or allow commercial usage or modifications to
their work. Additionally copyright holders may select to waive all
their rights and declare "No Rights Reserved" by dedicating their
work to the public domain. After the copyright holder chooses their
license or public domain dedication, it is expressed in three formats
to easily notify others of the license terms:
1. Commons Deed. A simple, plain-language summary of the license,
with corresponding icons.
2. Legal Code. The fine print needed to fine-tune your copyrights.
3. Digital Code. A machine-readable translation of the license that
helps search engines and other applications identify your work by its
terms of use.
"Our model was inspired in large part by the open-source and free
software movements. The beauty of their approach is that they're
based on copyright owners' consent - independent of any legislative
action - and motivated out of a wonderful mixture of self-interest
and community spirit," explained Creative Commons Executive Director
Glenn Otis Brown. "One of the great lessons of these software
movements is that the choice between self-interest and community is a
false choice. If you're clever about how you leverage your rights,
you can cash in on openness. Sharing, done properly, is both smart
and right."
Various organizations and people have pledged their support for
Creative Commons, including Byrds founder Roger McGuinn, DJ Spooky,
iBiblio, the Internet Archive, MIT Open Courseware project, O'Reilly
& Associates, People Like Us, the Prelinger Collection/Library of
Congress, Rice University's Connexions project, Stanford Law School,
and Sun Microsystems. Implementers include musicians, writers,
teachers, scholars, scientists, photographers, filmmakers,
publishers, graphic designers, Web hobbyists, as well as listeners,
readers, and viewers.
Copyright holders can choose the appropriate license for their
digital content at http://creativecommons.org/license/. Additional
information is available through the technical fact sheet and
testimonials document.
Behind Creative Commons
Cyberlaw and intellectual property experts James Boyle, Michael
Carroll, Lawrence Lessig, and Molly Shaffer Van Houweling, MIT
computer science professor Hal Abelson, lawyer-turned-documentary
filmmaker-turned-cyberlaw expert Eric Saltzman, and public domain Web
publisher Eric Eldred founded Creative Commons in 2001. Fellows and
students at the Berkman Center for Internet & Society at Harvard Law
School helped get the project off the ground. A non-profit
corporation, Creative Commons is based at and receives generous
support from Stanford Law School and the school's Center for Internet
and Society. Learn more.
--
<twhid>
http://www.mteww.com
</twhid>

DISCUSSION
Posted on Sat Dec 14, 2002

## Art Explores Cartoon as Commodity

Art Explores Cartoon as Commodity
http://www.wired.com/news/culture/0,1284,56762,00.html
from the article:
"A new exhibit at SFMOMA intends to bring Annlee to life by inviting
artists to appropriate her character and fill her empty "shell" with
ideas manifested as animations, paintings, posters, books, neon works
and sculptures."
++
this project is very interesting from an open source and copyright
perspective. i find the concept more interesting than most of the
images to come from it which seem rather cliche.
i notice that the richter survey is at sfmoma now. highly recommended.
--
<t.whid>
www.mteww.com
</t.whid>

DISCUSSION
Posted on Tue Dec 10, 2002

## Re: an excerpt from a review of a book about a museum of wonder

hum.
i had the exact opposite reaction to the book. it made me a HUGE fan
of the Museum of Jurassic Technology.
i visited the MJT a few years back and recommend it as a 'don't miss'
spot if you find yourself in LA.
>David Wilson is indeed a "national treasure," as is his unsettling
>museum. This book, however, seems to me a snide, yuppie's-eye-view
>of a truly original person and his meticulously wondrous
>contribution to the long history of the wonder-cabinet. I was
>depressed for quite a while after reading it to think that this
>condescending and anti-intellectual account would bear Wilson's mind
>and seditious achievements out into the world so much more
>frequently than would the Museum of Jurassic Technology itself, or
>its own publications. People fated to live out imaginatively
>impoverished lives in latter-day American society could use some
>capacity for self-loss in the face of what is other than ourselves
>or what we have mastered. And--perhaps less fundamentally, but in
>the interests of our being less boring to each other--we could use a
>less pervasive culture of knowingness. *Mr. Wilson's Cabinet of
>Wonder* brings that possibility forward only to smother it in a kind
>of smugly affectionate ridicule for the person who tried to give us
>a chance. I was particularly disappointed in that Weschler's 80s New
>Yorker piece about Boggs was both intriguing and respectful, and his
>original Harper's piece on Wilson at least showed honest curiosity.
>The book is a failure for a writer who had seemed to have an
>interesting mission. People interested in Wunderkammern of the past,
>as Wilson himself is and as Weschler's irrepressible condescension
>demonstrates he is finally not, should look at the catalogue of
>Dartmouth's Hood Museum exhibit and conference on them, edited by
>Joy Kenseth, *The Age of the Marvelous*; Paula Findlen's *Possessing
>Nature: Museums, Collecting and Scientific Culture in Early Modern
>Italy; Lorraine Daston and Katherine Park's *Wonders and the Order
>of Nature, 1100-1750*, and Rosamond Purcell and Stephen J. Gould's
>glorious *Finders, Keepers: Treasures and Oddities of Natural
>History*.
>
>- mary campbell, 2001
--
<twhid>
http://www.mteww.com
</twhid>

DISCUSSION
Posted on Mon Dec 09, 2002

## Re: phat qtvr

i retract the 'cheesy' statement below. these are very, very nice imo.
On Monday, December 9, 2002, at 10:42 PM, t.whid wrote:
> http://www.virtualdenmark.dk/qtvr/cubic.html
>
> some of the subject matter is cheesy but these are some very cool web
> images.
>
> need quicktime 5 and good bandwidth i suppose.
> --
> <t.whid>
> www.mteww.com
> </t.whid>
>
>
--
<t.whid>
www.mteww.com
</t.whid>

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