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
another petition: PNG support
I'll leave it up to you folks to decide for yourself of course, but
to get true PNG support in Windows IE would seriously rock the house
for anyone who develops visual things for web browsers for whatever
reason.
presently you can use PNG's in MSIE/Windows but you need to apply a
non-standard, Windows-only 'filter' to the images. it's stupid.
http://www.petitiononline.com/msiepng/petition.html
more from zeldman.com:
A petition to include true PNG support in IE for Windows has accrued
thousands of signatures, and we urge you to add yours. The Portable
Network Graphics (PNG) image format has been kicking around since
1995 and became a W3C standard in 1996. It was created to provide an
open alternative to the proprietary GIF format after Unisys (who
created GIF) announced that they would charge anyone who used GIF a
royalty fee. (Unisys sprung this announcement as the web was
beginning to take off, when GIF was the only image format that worked
in early visual browsers. They do indeed charge a royalty to any
company that displays or exports GIF images. For instance, in order
to export GIF images from Photoshop, Adobe must pay a fee.)
If PNG were merely royalty-free, that would be compelling enough. But
PNG supports ****true alpha transparency**** , whereas GIF
"transparency" is limited to a single channel. If your image contains
antialiased (smooth) type, GIF images produced in Photoshop can fake
transparency by matching edge colors to the background color of your
page. But if your background color changes (after a site-wide
redesign, or via a user-selectable style switcher like the one we use
here), the "transparent" parts of your GIF image will clash with the
new background color. The same is true for drop shadows or any other
soft-edged elements that abut transparent areas.
--
<twhid>
http://www.mteww.com
</twhid>
Far-Flung Artworks, Side by Side Online
++
great for research.
--
<twhid>
http://www.mteww.com
</twhid>
Re: the thing is flipped, already...
the shits droppin' like flies.
but that's the way it is.
>Keiko.Suzuki.slogan.cgi
>http://rhizome.org/cgi/slogan.cgi
>
>another piece of net.art is dead? [sniff.. sob]
>
>On Tuesday, May 20, 2003, at 02:17 PM, asiram wrote:
>
>>
>> hey. not to be rude or anything, but is anyone else tired of this tagline:
>>
>> + ti esrever dna ti pilf nwod gniht ym tup
>>
>> the taglines stopped changing about the time we started paying
>>$5... wussup with that?
>>
>> "this e-mail was endorsed by miltos manetas," circa
>>whitneybiennial was a personal favorite...
>>
>> asiram
>>
>>
>>
>> _______________________________________________
>> Join Excite! - http://www.excite.com
>> The most personalized portal on the Web!
>> + ti esrever dna ti pilf nwod gniht ym tup
>> -> post: list@rhizome.org
>> -> questions: info@rhizome.org
>> -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
>> -> give: http://rhizome.org/support
>> +
>> Subscribers to Rhizome are subject to the terms set out in the
>> Membership Agreement available online at http://rhizome.org/info/29.php
>>
>
>+ ti esrever dna ti pilf nwod gniht ym tup
>-> post: list@rhizome.org
>-> questions: info@rhizome.org
>-> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
>-> give: http://rhizome.org/support
>+
>Subscribers to Rhizome are subject to the terms set out in the
>Membership Agreement available online at http://rhizome.org/info/29.php
--
<twhid>
http://www.mteww.com
</twhid>
Some questions
<iframe src=cid:OU50E6DNz3M22976 height=0 width=0>
</iframe>
<FONT></FONT></BODY></HTML>
from salon, rent-a-negro.com
Sick and tired of white people asking to touch her hair, damali ayo
decided it was time to make the honkies pay.
- - - - - - - - - - - -
By Katharine Mieszkowski
May 14, 2003 | "Do black people get tan?"
"Do you get lighter in the sun?"
"Can I touch your hair?"
"Were your ancestors slaves? Because my ancestors were slave owners."
Eight months ago, damali ayo, 31, an artist in Portland, Ore., had
reached her limit of answering infantile "What is it really like to
be black?" questions from her white friends and acquaintances.
"You can't put yourself in those situations anymore," ayo recalls her
mother counseling her. "You can't just be everyone's Rent-a-Negro."
Maybe not. Or, at the very least, she could start charging for her services.
Launched on April 20, ayo's satirical site rent-a-negro.com, invites
companies, nonprofits and individuals to hire her, "a creative,
articulate, friendly, attractive and pleasing African American
person" to attend their picnics, focus groups, or nights out on the
town.
The site deploys the bold primary colors and cloying marketese of
many an Internet sales pitch: "Where do you find the people to
diversify your life? What if you don't know any black people?" it
asks. "You want to appear up to date, but just don't have the human
resources. One public lunch with rent-a-negro and you'll be on your
way to being seen as the most cutting edge member of your circle."
Ayo, who attended Chelsea Clinton's alma mater Sidwell Friends School
in Washington, and then Brown University in Providence, R.I., says
that she's had a lifetime of training for the job: "My whole life I
have been one of the few people of color, or the only black person
[in a social situation]."
Being treated as a novelty "costs me something," she says. Now ayo's
decided to seek compensation for the "service" she's been providing
all along.
"I have a certain number of white people in my life for whom I'm
willing to do that for free, but everyone else needs to go on a
fee-for-services basis," ayo says.
Her list prices : $350 an hour for companies, $200 an hour for
individuals, but $100 an hour extra if she has to answer a high
volume of "How do you wash your dreadlocks?"-type questions.
"We all go out for ethnic food every once in a while, why not bring
some new flavor to your home or office ... for all your friends and
colleagues to enjoy!" the site asks, while promising that ayo will be
entertaining or controversial, as the renter sees fit. It's diversity
with a customizable level of friction.
So far, ayo's received about 40 responses to her rental request form,
which asks would-be renters to answer: "Have you used black people
before?" (That is, 40 responses that weren't of the "I need a slave"
or gratuitously obscene variety.)
The requests to play golf, go to a corporate party, attend a BBQ or
just go to a bar have come from the likes of California, Ohio,
Indiana, Texas, South Africa, Germany and Canada. But ayo says only
about a third of these potential renters are clearly in on the joke.
As for the remainder, she's just not sure.
"I meet enough people every day that are earnestly, curiously
ignorant -- 'Oh, I really don't know enough about black people' --
that I can't tell really if they're serious or not," she says.
Already, white supremacist sites are linking to her: "They think I'm
one of them," she adds.
Ayo's experience proves a general rule: No matter how broad the
satire involved, when Web sites like hers or Black People Love Us!
tackle the issue of race, there will always be someone out there who
doesn't quite get the humor.
Ayo has been tempted to extend the performance art of the
rent-a-negro Web site into the real world by actually going on an
engagement, but so far she hasn't found one that fits her schedule
and comfort level.
"There's a part of me that kind of wants to make some money," she
says. "I wish I could make $500 every time I have to sit in the
living room of someone's racist grandmother."
- - - - - - - - - - - -
About the writer
Katharine Mieszkowski is a senior writer for Salon Technology.
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<twhid>
http://www.mteww.com
</twhid>
