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: Mirapaul on Dietz Departure
>
>"The Walker Art Center in Minneapolis, which has been a strong
>supporter of Internet art, has dismissed the curator for its online
>art projects... the center's director, Kathy Halbreich, said plans
>to build a digital-art gallery would be deferred for at least five
>years... Under Mr. Dietz, who joined the Walker in 1996, the center
>has vigorously supported the notion of the Internet as a creative
>medium by commissioning a series of online-only artworks and
>organizing several Web-based exhibitions... Ms. Halbreich said she
>intended to keep the projects online but could not commit to doing
>so until the cost was determined."
>
>Full story at http://www.nytimes.com/2003/05/13/arts/13ARTS.html
SAY WHAT!?
"Ms. Halbreich said she intended to keep the projects online but
could not commit to doing so until the cost was determined."
Then they should transfer all the files to someone who will keep them
online. THIS IS TOTALLY UNACCEPTABLE!
--
<twhid>
http://www.mteww.com
</twhid>
Re: Re: [thingist] Steve Dietz Out at Walker Art Center
>At 12:37 PM 5/12/2003 -0400, Eryk Salvaggio wrote:
>>The archive is clearly not stealing anyones work, but let's be honest,
>>Rhizome benefits from having and maintaining the archive whereas artists can
>>simply make back up cds and keep the sites up independantly if they wanted
>>to. The proof of this is the ratio of cloned objects compared to linked
>>objects- almost nothing is cloned. [The one piece I personally gave to the
>>artbase is cloned.]
>
>The Rhizome ArtBase currently contains 270 cloned art works and 716
>linked art works.
>
Each artist, if they're even mildly diligent, is backing up their
projects keeping their web sites more or less up-to-date.
This piecemeal approach doesn't address the needs or future curators,
viewers, researchers who will need a centralized database of this
work for them to be able to get any sort of historical perspective at
all.
Also, i wasn't critting the rhiz's artbase in my last post. I wanted
to point out that it seemed that some folks were afraid for the work
in the Walker's collection but there is a system running presently to
address the archival issue.
Rhizome should be more proactive in my opinion. If artists don't
submit work that the admins feel is important than rhizome should
make copies/mirrors of the work without permission. But then of
course, they might not want to charge for access if that's the policy.
--
<twhid>
http://www.mteww.com
</twhid>
Re: [thingist] Steve Dietz Out at Walker Art Center
assume everyone's kept up with this thread.
I'm all for a letter or petition. The admin may have no clue how many
people are out 'here' who support this medium. We need to build a web
site for people to sign-up on, names, addresses, etc can simply be
written to a file on a server (no need for a db), then we need to
hard copy it to the Walker admin. They need to understand that there
are lots of people out in the world who are advocates for this field
at the very least.
If Sarah writes the letter, I'll build the web site for the sign-up
and we can coordinate from there.
++
Beyond that, we do need to find the silver-lining. We've lost
curators and advocates over the past couple of years, but in america
we've gained an institution, Eyebeam. The closed nature of such
museum-like institutions can be very frustrating, it's true, but
they've been doing some decent work over there so far.
++
The funny thing about the work possibly being lost from the Walker
servers is that rhizome had set-up a system where they would archive
work... the artbase clone feature, do they clone any longer? and
people were angry that rhizome didn't pay them for the privilege of
archiving their work. If any other sort of grassroots org or Eyebeam
offered this service, would people take advantage of it? Or would
they complain that this org was 'stealing' their work? 'using' them
for the org admin's advantage?
it would be nice if someone, The Thing or Rhizome, could organize a
huge archive of the web/internet work, Rhizome tried and people
bitched and moaned about it. Perhaps it was the way Rhiz went about
it?
So maybe a new grassroots org could rise to handle just archiving,
storing work. It ain't cheap, the disk space, bandwidth, searchable
index, interface development might cost you more than 5 bucks a year.
Rhizome has all of this going on already of course, but they don't
push the cloned art objects much anymore, people didn't want to
'give' away their files.
--
<twhid>
http://www.mteww.com
</twhid>
Re: Steve Dietz Out at Walker Art Center
> This is a real loss for the Walker and for the field. Steve did
> terrific work. Interesting to note that Jon Ippolito (Guggenheim) and
> Benjamin Weil (SFMOMA) have both transitioned from full-time to
> part-time in the past year or so. Taken together, these three changes
> represent a major reduction in the commitment of American museums to
> new media art. I may be forgetting someone, but I think no American
> museum now has a full-time new media art curator. This comes as no
> surprise--during tough economic times, institutions focus on their
> core activities. It will be interesting to see what happens as the
> economy recovers.
perhaps not 'when', but 'if' the economy recovers. hhhmmm, i wonder...
new media curators as the canary in the coal mine of US culture?
Japan has been in bad times for, what? almost 10 years now. the way
king george is running things we could see an economically and
emotionally depressed US populace whipped into fear by the republican's
machinations to hold onto power. politicians colluding with last
century businesses like bechtel and halliburton could strangle
innovation; gray times that could last for years.
but then, i guess new media curators in the american art institutions
will be low on our priority list at that point :-)
>
> At 11:06 AM 5/9/2003 -0400, Rachel Greene wrote:
>> Well, I know art orgs are suffering, but Steve was doing such
>> interesting,
>> varied work -- for a long time. Totally sucks!! Steve was really one
>> of the
>> first museum curators who was a pillar of net art culture. I hope he
>> can
>> keep up some of his projects as an independent, or maybe he'll hop to
>> another institution....
--
<t.whid>
www.mteww.com
</t.whid>
Re: Re: dream7 piece
>>produced for the web as an extension of Video and Film.
>>
>>i suspect that part of the problem is that this art movement was
>>"academized" BEFORE it actually existed as a movement. and that a
>>lot of these academics were coming straight out of video and
>>performance studies. it could be also be that people are so used to
>>seeing a screen and "reading" it as TV that they do not have any
>>other way to apprehend this new media.
>>
>>all in all, i object to the art world taking Video, and using it
>>as the measure for ALL digital art.
>>
>>best,
>>/ l i z a
>
>
>I agree, but this is my problem with a lot of conceptual art (no
>matter what anything is about, it's always about my problem with
>conceptual art). If I have to read an artist statment to know that
>what seems to be video is actually randomly generated,
>database-derived, real-time compiled new media with video data
>components, then it just as soon be video. Video is as video does
>(or behaves, or seems).
++
my problem with curt's (general) crit is that he's always bringing up
this duality: gallery vs. web, conceptual vs. visual, elitist vs.
populist, etc.
this duality doesn't exist. we're not in a pint glass. more
conceptual or gallery or museum oriented work doesn't mean less
cool-ass design/visual/punk-tude (or whatev you wanna call it) work
that can fit, it's an ever expanding sphere of stuff.
but, curt's args have worked on me a bit. i really want to bring this
stuff all together, hopefully MTAA will be bringing some projects out
soon that can combine visual concerns with a conceptual framework.
it can be brought together (as i think curt does in practice, but his
rhetoric seems to be different).
--
<twhid>
http://www.mteww.com
</twhid>
