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
Re: Re: Cremaster web site
>> Hi Jim,
>>
>> it's strange that you criticize the work without having seen it.
>> reactionary? using the web site as reference for criticism is like
>> criticizing paintings that you've only seen reproduced in books or
>> magazines. You simply haven't experienced the work.
>
>Hi t.whid,
>
>It would be great if the web site were the real thing. I tend to like those
>sorts of sites. Am I unreasonable to expect the real thing from the greatest
>artist of his generation? All the time and everywhere? Yet I am not
>outraged.
Yes. It is an unreasonable expectation. It is unreasonable to judge a
thing which is meant to be a brochure for the art (more or less) as
the art. And it's not just unreasonable, it's also just plain silly.
If you can't discern the difference I can't help you.
It's also unreasonable to criticize an artist for work you think they
should make.
>
>> it wasn't really a rhetorical statement, just my opinion.
>
>I thought you said it was american art spam, not new york art spam? isn't
>the implication that it's known across the land?
>
>ja
I don't understand what you mean by the above. I was simply giving a
smart-ass reply to your (fairly obnoxious) post. The post was
insulting. I'm not employed by anyone to publicize their work and
it's an insulting insinuation. (I suppose because I called the
financial pot-shots 'pathetic' you felt you were within your rights.)
I will amend my earlier comment; I should have said that Barney is
the greatest american artist of his generation.
disclaimer: this is only my opinion and I have no power either
through post of rhetorical talent to force this opinion on anyone who
may feel otherwise. happy?
--
<twhid>
http://www.mteww.com
</twhid>
Re: Re: Does Barney Wear Nikes?
AND 9 out of 10 philistines also prefer bread and circuses to revolution.
what does that prove? the public-at-large is lazy and complacent?
I enjoy amazing visuals and spectacles as much as the next philistine
but in contemporary culture these techniques are used mainly to keep
the masses wide-eyed and out from behind the curtain.
Pop cultural consciousness is a poor measure of artistic quality.
exhibit number one: B. Spears.
Cross-over from the art world shouldn't occur by art becoming more
like the (mostly) junk that rules pop cultural sensibility. It should
work the other way around. (that is, art shouldn't be similar to
B.Clinton beating the republicans by becoming one and pushing them
farther to the right but losing many of his values in the process.)
I'm not defending 01etc, the strategy of this piece is fairly tired
IMO. But Nike is playing right into their hands with the lawsuit.
You'd think corps would learn by now..
I did fwd to a friend of mine who is an executive at R/GA (the agency
of record for Nike's interactive marketing) if I hear from her I'll
paraphrase to the list.
cya
>
>----- Original Message -----
>From: "curt cloninger" <curt@lab404.com>
>To: <list@rhizome.org>
>Sent: Tuesday, October 21, 2003 3:14 AM
>Subject: RHIZOME_RAW: Re: Does Barney Wear Nikes?
>
>
>> Hi Ryan,
>>
>> This seems kind of weird. You're dissing Barney because of his lack of
>pop distribution, and you're holding the nikeplatz prank up as an example of
>well-executed pop distribution? The Cremasater Cycle is regularly held-over
>at art theaters all over the place, where students and punks and the merely
>curious show up and check it out.
>>
>> There are even verifiable philistine discussions of it at the internet
>movie database:
>> http://www.imdb.com/title/tt0321781/usercomments
>>
>> And the nikeplatz prank is discussed by 010101's lawyers, Nike's lawyers,
>rhizome readers, anti-globalization trendies, and who else? Perhaps if John
>Grisham wrote a screenplay about the resultant court case, with Tom Cruise
>as Luther Blissett, then maybe.
>>
>> Until then, 9 out of 10 philistines prefer amazing visuals to
>anti-advertising faux happenings.
>>
>> peace,
>> curt
>>
--
<twhid>
http://www.mteww.com
</twhid>
Re: Re: Cremaster web site
>'greatest artist of his generation' just reads like new york art spam to me,
>t.whid.
>
>ja
>
more like american art spam.
cya
--
<twhid>
http://www.mteww.com
</twhid>
Re: Re: Cremaster web site
it's strange that you criticize the work without having seen it.
reactionary? using the web site as reference for criticism is like
criticizing paintings that you've only seen reproduced in books or
magazines. You simply haven't experienced the work.
it wasn't really a rhetorical statement, just my opinion.
cya
>> I've said it before and I'll say it again, if there is a greater
>> artist of his generation please point that person out to me. (I
>> didn't want to like Barney, but remembering the '93 Whitney Biennial,
>> his work is the only work in the entire show that I can vividly
>> recall.)
>
>I don't live in New York or the States, so Barney's work is kind of low on
>my radar. "Greatest artist of his generation." Sounds pretty rhetorical to
>me, t.whid. What I saw of the web site so far, I've seen many better web
>sites. It is well done, though. I watched the film on the site. 'Ultra
>American?' Homage to excess? The notion of "beauty" I see there is
>excessive. Ziegfield follies etc.
>
>But will have another look.
>
>ja
--
<twhid>
http://www.mteww.com
</twhid>
Re: Re: Cremaster web site
good point. I don't think it's 'suspect' however. I'm not an expert
on exactly how Barney puts his funding together. I know his gallerist
put together most of the dough for the films which she then makes up
by selling his sculptures, photos, books, and videos. The Gug show
prolly had corporate sponsorships simply to mount the exhibition..
you know how this stuff works..
If cultural funding in the US was controlled by a central agency, it
might be suspect, but funding isn't controlled that way. I think, a
bit like Christo, getting the funding is part of the art in capital
intensive projects.
My position is this: In our contemporary culture, art has been
dangerously marginalized. It's in serious danger of not simply being
irrelevant to the vast majority of the public (it is already) but of
disappearing entirely. So, I'm very 'pro-art' in a general way. I
think we're in a very desperate situation. And I'll applaud as much
legitimate cross-over (art world to general public consciousness) as
I see.
It would be great if many, many artists could get lots and lots of
funding. I would be ecstatic if 1000s of artists could put together
millions of dollars each to fund their projects but we're not at that
point yet.
At 3:20 PM +0100 10/20/03, marc.garrett wrote:
>Hi T.Whid,
>
>When visiting New York last we went to the show at the Guggenheim and
>enjoyed the exhibition there. But what I found interesting was that during
>that time there I also was meeting various great net groups and artists
>needing the cash, yet institutional support was not there at all. So one
>dude gets the cash & many do not - isn't that a bit suspect?
>
>And it does not always have to go down to how one presents their ideas it
>could come from a place of democratic responsibility - so money gets more
>evenly spread.
>
>(no dis on the work tho...)
>
>marc
>
>> These potshots at the financing behind Barney's work are rather pathetic.
>>
>> Personally I'm excited that an individual coming from the world of
>> art has been given the resources to create a (for art film)
>> high-budget work. I see Barney as bringing the values, philosophy,
>> and traditions of contemporary art to 'the big screen'. I'm excited
>> that an artist is given the opportunity to compete against main
>> stream film by getting a budget which, tho paltry compared to Hwood,
>> is a decent independent film budget.
--
<twhid>
http://www.mteww.com
</twhid>
