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…
+++
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: NYC - concert this SUNDAY beige/paperrad!!!!!
MTAA's photos and stuff:
http://www.mteww.com/cgi/mtaa-rr.pl/twhid/photos/summer_of_html.html
'twas fun.
cya
>BEIGE Records and Paper Rad "SUMMEr OF HTML TOUR"
>http://www.paperrad.org/summertour/
>
>This Sunday --> Aug 3rd
>TEAm gallery NYC
>527 w26th btw 10th and 11th
>7:30pm-10pm
>
>performances and videos by:
>
>Extreme Animalz
>Paper Rad
>Jamie Arcangel and the Arcangels
>Bitch Ass Darius
>Taketo Shimada
>DJ Jazzy Jess
>Beige Records
>Dr Doo
>Insectiside
>plus live HTML!!!!!!
>and possibly almost 100% confirmed new awesome work by M.River
--
<twhid>
http://www.mteww.com
</twhid>
Re: Re: Death Bets
;-) cya
At 5:04 -0400 8/1/03, Curt Cloninger wrote:
>m. said:
>Along a this line, twhid and others have pointed out to me that DADA
>was one of the more interesting reactions to WWI, as in; "if this is
>the way the world works, I'm fucking out of here..."
>
>t. said:
>Dada led to eventually to conceptual art and there is indeed ample
>reason for a comeback of the absurd.
>
>j. m. said:
>of our elaborate plans / the end
>of everything that stands / the end
>
>----------
>
>yet
>
>run/dmc said:
>i'm not going out like that
>
>and
>
>radiohead said:
>we ride tonight / ghost horses
>
>http://www.sarahmasen.com/dark/story.php/8
>
>----------
>
>he who has ears, let him hear.
>
--
<twhid>
http://www.mteww.com
</twhid>
Re: Re: Request to Safari users
>
>I just got back from out of town. My gut feeling is that this
>argument is going to be won (if it's won at all) not by trying to
>get coders to recognize the aesthetic value of net art (star peg,
>square hole), but by correctly pointing out that animated gifs are
>standards compliant, tiling background images are standards
>compliant, and setting a gif of any kind as a tiling background is
>standards compliant. Safari is failing to support standards in this
>instance.
>
++
twhid:
hey curt,
i agree. most people could give a shit about web art.
i attempted to point out the utility of animated background GIFs on
the apple discussion board without talking about art and made a
decent arg:
++
in traditional web design there are many useful purposes for an
animated background.
basically you can use the :hover pseudo-class to create animated
rollovers without using javascript. that's a pretty useful feature
AND it *adds to* the semantic web by taking images out of the content
and not relying on alt tags.
for example, presently the only way to have an animated hover effect
is to use javascript and GIFs. if Safari animated background GIFs you
could use text within [a] tags with an animated background GIF called
in by the :hover pseudo-class. you get the best of both worlds:
machine readable and indexable navigation separated from presentation
*and* visually interesting roll over effects. sounds like win/win to
me.
++
re: standards.
this is actually sort of a grey area where developers can decide on
their own. unless i'm mistaken the GIF format isn't controlled by any
standards body (like JPEG) but by a private corp, Unisys (their
patent on the LZW compression has just lapsed so now GIF is 'in the
wild').
so, there isn't a rule in (x)HTML that says a browser *must* display
any image format at all. It's up to the browser manufacturers. that's
my understanding anyway. For a developer to support a format
unevenly, depending on what sort of tag, attribute or property is
used to call the image into the browser seems like bad practice to me.
++
>I have to go back and recode playdamage.org for Safari anyway,
>because it doesn't recognize my vertical center code (and it's
>correct not to, there is technichally no <td> height attribute in
>HTML4 or XHTML1). Fortunately, there is a CSS layers solution to
>this, and I'll just have to retrofit.
>
>There's a way around the non-animating gif background as well -- in
>CSS, just set the gif as "background-image" of a div layer, set the
>layer height and width to 100%, and set its z-index to 0. Again,
>it's just more retrofitting for me, but whatever.
++
twhid:
from my one test if you use an animated gif in the background of a
DIV it doesn't animate in Safari.
>
>The idea of coding my DHTML art to standards is something that never
>occured to me, but based on recent events in the commercial browser
>world, it's starting to make sense to me. Not to "comply" or to be
>"disability friendly," but for archival longevity (to keep from
>having to retrofit my site every browser regime change).
>
>What raises my dander is the way that if some coder knows W3C
>standards and a modicum of usability practice, he also presumes to
>be an expert on aesthetics and "right" uses of the web. The irony
>is, I just shared the Seattle Web Design World stage with Jeffrey
>Zeldman, Mark Newhouse, Steve Mulder, and a host of
>standards/usability/xml superfreaks:
>http://www.ftponline.com/conferences/webdesignworld/seattle/speakers.a
>sp
>Furthermore, I tech edited the industry standard tome on web design
>for people with disabilities:
>http://www.amazon.com/exec/obidos/tg/detail/-/073571150X/qid5967149
>6/
>It's not that I'm unaware. It's just that those concerns do not
>apply to this use.
++
twhid:
right on dude. the Web has all sorts of applications. not just
publishing texts.
cya
--
<twhid>
http://www.mteww.com
</twhid>
Re: more on PAM
>> I must admit. I don't see the whole PAM thing as being totally evil or
>> wrongheaded. It's intriguing in a way. yes, betting on deaths seems
>> gruesome. but gaming the system seems like the real danger.
>
>I read it described as a federal betting parlor on crimes and attrocities.
>It's stupid and twisted, hateful and revolting.
well yeah, that's what it is (was) but it may have had some value. it
may have theoretically been able to predict future events and with
that information the proper governmental agencies around the world
could attempt to stop them.
>
>I hope you vote that loony son of a bitch out of office and restore some
>responsibility and reasonable judgement to your government.
he's definitely a loony SOB and a very dangerous one.
and even tho i would love it if the f'ing shrub was personally
embarrassed and politically damaged by this PAM thing, most likely he
knew nothing of it. it's likely that not many in the higher levels of
the administration knew about it. from what i can tell, it was career
bureaucrats at DARPA (Defense Advanced Research Projects Agency) who
put it together with a measly $8mil. with or without the shrub this
project may have been put together.
and, like it or not, many great inventions have been developed first
by the military including the one we're using right now. PAM could
have yielded very important info, it could have yielded more
terrorist activity, it could have done both or neither. we'll never
know.
>
>ja
>
>
>+ ti esrever dna ti pilf nwod gniht ym tup
>-> post: list@rhizome.org
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>+
>Subscribers to Rhizome are subject to the terms set out in the
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--
<twhid>
http://www.mteww.com
</twhid>
