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.
TRACEPLACESPACE
New audio by Cary Peppermint, check it out…
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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.
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.
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 .
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
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
article in NYT about Eyebeam Atelier
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from the article:
Despite star architects, hot artists and old money, Mr. Johnson seems
determined to keep Eyebeam slightly out of bounds. "If we are doing our
job right we will always be viewed with skepticism by the contemporary
art world," he said. "We want to challenge the idea of who an artist is
and what an artist does."
And what happens when digital art is fully accepted? Mr. Johnson
smiled. "We will probably move on to something else.
Re: finding net.art in the rhizome artbase
Eryk's point, that one shouldn't be made to compete without one's
consent, makes sense; but the rest of the comments regarding
competition don't address his main point: being roped into a
competition without consent.
There is nothing wrong with judging art on it's quality. Some of it is
good, some of it sucks.
Artists attempting to make a career of it need to get used to people
judging your work, it happens all the time. You apply for grants,
residencies, galleries and etc and someone judges you at that point.
MTAA has been judged poorly by many people many times. These people are
wrong. But tho we've been treated poorly time and again by these judges
we understand that it is something one must endure in order to create
art that gets noticed. It can even help one grow when one is judged
mediocre of a failure.
So, I would be interested in a competition within the artbase (tho
MTAA's strongest work isn't represented). But Eryk's point needs to be
addressed before we go forward.
> Can we not have a format without the competitive
> element?
On Nov 7, 2003, at 10:55 AM, nathaniel stern wrote:
> This would not be a
> competition (best or worst art?),
>
> Feisal Ahmad, who can be found @ feisal@rhizome.org online, so boldly
> stated
> the following, on 11/7/03 5:15 PM:
>
>> I think we understand your feelings on the potential downside of the
>> 'competitive nature' of such an idea and it's definitely a valid
>> point.
===
<twhid>
http://www.mteww.com
</twhid>
Re: Re: Re: W3C sides with Microsoft
> Hey...Power to the little guy. I bet that settlement will come in
> handy for
> his company.
In all probability the patent is bogus. When you have the W3C against
you then you're probably not doing something that's good for the web.
and yes, 500 million would come in handy for just about anyone ;-)
Re: W3C sides with Microsoft
>Thu Oct 30, 3:34 AM ET
>
>Antone Gonsalves, TechWeb News
<snip>
>
>In its letter to the patent office, the W3C maintained
>that the Eolas patent is invalid because its ideas had
>previously been published as "prior art." Prior art
>wasn't considered in the Microsoft trial, nor when the
>patent was granted, the standards body said.
>Therefore, the patent should be invalidated.
>
>If the patent is allowed to stand, the W3C said, it
>would cause "cascades of incompatibility to ripple
>through the Web."
Has anyone seen any info on what prior art Berners-Lee submitted to
the patent office?
this is good news IMO.
--
<twhid>
http://www.mteww.com
</twhid>
Wired 11.11: 8-Bit Punk
McLaren is a bit behind the curve on this one (as usual).
I haven't read the entire article but there is a mention of Beige's
8-bit Construction Set
http://www.beigerecords.com/products/beg-004.html
Cory Arcangel is the greatest american artist of his generation
(http://www.twhid.com/photos/pirated_movie/index-Pages/Image6.html).
--
<twhid>
http://www.mteww.com
</twhid>
