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: Bell tolling for PNG graphics format
responses below, glad you found the article of interest.
At 17:03 +0100 6/9/03, neil jenkins wrote:
>really interesting article..
>
>it was only recently, whilst installing The Gimp, that i discovered
>that the LZW compression used was a proprietry format and required
>an extension - to be used only in countries not covered by the
>unysys patent (!) - however, the non-commercial/profit nature of the
>gimp implies that this should not be a problem anywhere else either
>(see http://www.wingimp.org/faq.php?conid and
>http://lpf.ai.mit.edu/Patents/Gif/unisys.html )
++
t:
never really used The Gimp myself tho it runs on macosX my OS of
choice. but yea. soon you'll be able to output GIFs without this
'extension' which is a good thing i suppose. i would really like PNG
to become the de facto standard instead of GIF but I guess we'll be
waiting a while if it ever happens.
Apple may be (and i stress MAY BE) building SVG into their browser,
Safari. now THAT would be cool. if they could force MS to build it
into MSIE (through a demonstrated demand that MS wouldn't be able to
deny) we would be on the cusp of a whole new dynamic web. weeehoooo.
>
>would be interested to hear of any (attempted) prosecutions for
>infringment - anyone ? takes me back to the days when Yves Piguet's
>GifBuilder was about as sophisticated as it got (and image crunching
>competitions seemed to be geek de rigueur) wonder if the patent is
>one of the reasons it's no longer available at download.com
>
>btw.. did the png ever *really* take off ? I never really used them
>as compatibility seemed a problem, but that was a while ago i
>guess...
++
t:
it didn't ever *really* take off on the web. it's biggest claim to
fame is being the working format for macromedia's fireworks (or it
was back in version 2, haven't used it for years). the problem always
being MS's refusal to make IE support the alpha transparency on the
Windows version. (you can get it to work but you need to use
non-standard MSIE-only CSS filters).
--
<twhid>
http://www.mteww.com
</twhid>
Bell tolling for PNG graphics format
story regarding PNG format and what the expiration of the GIF patent
means for it.
--
<twhid>
http://www.mteww.com
</twhid>
for the record
if memory serves, i was defending Charlotte against your abuse when i
called your work 'crappy' and it wasn't a critique i was simply
applying an appropriate adjective. it was like saying 'yellow vase'
if a vase is yellow.
this was my actual critique:
"It uses the a very simple and overdone method of juxtaposing USA pop
imagery with the horrors of war"
a simple crit for a simple piece imo.
read the entire post from which the above line is taken:
http://rhizome.org/print.rhiz?16606
>> > May I point out to one and all that the extent of
>> a certain t.whid's
>> brilliant critique of our own work consisted almost
>> entirely of the words
>> >
>> > "crappy work"
>> >
--
<twhid>
http://www.mteww.com
</twhid>
Re: Fwd: FW: Digital Artists: Call for Entries
> See, T. - I think you're being just a bit disingenuous
> here.
how? I've been honest the entire time.
> All of the people involved in praising Jess's work
> yesterday have posted rigorous, critical and closely
> argued stuff over the last few months.
no argument, i was responding specifically to the posts i quoted in my
original post.
> Could it be that your reaction to the posts has more
> to do with the fact that many of those posting have
> either explicitly or implicitly adopted positions on
> this list that are opposed to your idea of what
> constitutes good or serious art.
no, that could not be.
> In an offlist mail to me you denied that you had
> accused us of insincerity and yet the only other
> possible reading of your post is that you believe that
> you have some sort of privileged access as to what
> constitutes the worthwhile.
who's being disingenuous? I only posted that the specific remarks
quoted in the post where not serious art discussion but rather mere
back-slapping. I have no privilege other than being able to read the
english language. I had no doubt that the back-slapping was genuine, my
critique was with the depth of the praise, not that it wasn't genuine
or deserved.
> Tell us please, just who *are* the Sunday painters,
> the dilettantes of your post?
people who aren't on this list. most on this list don't fit into this
category. that was my critique, we are collectively better than
that and i was hoping to raise the level of discussion.
> If you didn't think Jess's piece was any good then why
> not address *that* rather than impugning the motives
> of those who did?
this is ridiculous. my opinions regarding Jess' piece have nothing to
do with my post. i didn't want to mix up whatever my reaction to the
piece might be and my criticism of the remarks surrounding it.
> I'd be more than happy to take part in an extended
> and detailed discussion about the actual artistic
> issues involved.
that's all fine and good, but my point was to address the level of
critical discussion and i think i'm through with it.
take care,
<twhid>
http://www.mteww.com
</twhid>
Re: Fwd: FW: Digital Artists: Call for Entries
>Just before the recent 'critiquing of the critics', i posted to
>Rhizome with a very serious question; about artists being invited to
>submit work, with an assurance that their work would not challenge
>the interests of the sponsors.
>
>'critiquing of the critics' launched its analysis and damning
>judgment, of a moment of friendly appreciation among artists and
>writers who have each shared work in progress and contributed
>thoughtful and critical debate to this list over the last year.
++
hiya ruth,
i wouldn't call my mild critique 'damning judgement', simply
reminding people that i (and many others i imagine) expect at least a
bit of rigor in our art talk on this list. It's been a trend on Rhiz
that I've been noticing a bit in the past few months so I took
advantage of the large amount of tossed-off praise surrounding Jess's
latest as my chance to address it.
It simply goes back to the long-running debate on Rhiz as to whether
this space should function more as a cocktail party or should it
function on a higher level. Perhaps the debate doesn't need reviving?
I can see that side of the argument. i know i'm as guilty as anyone
in making tossed-off, unthoughtful posts from time to time (or even
more often).
personally, i like cocktail parties much better when there are actual
cocktails in everyone's hands ;-) email lists function better when
more thought is put into posts than is put into your average cocktail
party chatter IMO.
++
>
>The first represents a money/power taboo and the second a human
>emotion taboo.
>I wonder how useful or necessary are these restrictions are?
>
>Artist's self censorship- who needs the first amendment?
>
>regards
>ruth
--
<twhid>
http://www.mteww.com
</twhid>
