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: Re: Re: Mouchette?
camera, forgot it at home, so i can't post the pics :-(
i didn't take any photos of mouchette however. it will be nicer when
i can post with the photos and make one overall report of the net art
happenings in nyc.
take care
>thanks t.whid, I thought you may have some pics but do I have to
>wait to find out who Mouchette might be? BTW, good article about
>JODI you forwarded from the Times. wish I could be there too!
>nicholas
>
>
>> I'll post some pics tomorrow as well as some of the Jodi opening
>> tonight.
>>
>>
>>
>> >would love to know what happened as well -
>> >try as i might, i couldn't get into the web broadcast
>> >was it archived anywhere ?
>> >
>> >On Monday, April 21, 2003, at 05:10 pm, nicholas economos wrote:
>> >
>> >> Ok, I went kite flying yesterday. I couldn't be in town but I am
>> >>interested in knowing what happened at PostMasters yesterday. So,
>> >>who staged Mouchette?
>> >> thanks,
>> >> nicholas
--
<twhid>
http://www.mteww.com
</twhid>
Re: Mouchette?
>would love to know what happened as well -
>try as i might, i couldn't get into the web broadcast
>was it archived anywhere ?
>
>On Monday, April 21, 2003, at 05:10 pm, nicholas economos wrote:
>
>> Ok, I went kite flying yesterday. I couldn't be in town but I am
>>interested in knowing what happened at PostMasters yesterday. So,
>>who staged Mouchette?
>> thanks,
>> nicholas
--
<twhid>
http://www.mteww.com
</twhid>
NYTimes.com Article: Deliberately Distorting the Digital Mechanism
has been sent to you by twhid@mteww.com.
read this:
twhid@mteww.com
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Deliberately Distorting the Digital Mechanism
April 21, 2003
By MATTHEW MIRAPAUL
While tinkering recently with one of the first personal
computers from the 1980's, the digital artists Joan
Heemskerk and Dirk Paesmans took a look at its technical
tutorial. As Mr. Paesmans recalled, the on-screen guide
delivered a reassuring message: "Remember, don't be scared.
You cannot do anything wrong on this computer."
Since 1994 Ms. Heemskerk and Mr. Paesmans, collaborating
under the name Jodi, have created a series of
Internet-based artworks that deliberately cause computers
to do the wrong thing. Viewers of these online works will
find their screens filled with meaningless text and
needlessly blinking graphics. Web-browser windows spawn
smaller windows that race maddeningly around the screen.
Links that appear to lead somewhere yield dead ends. Like a
sci-fi thriller, this could be delightful, except that the
underlying premise is of computers in complete control. A
terrifying thought.
Beginning tomorrow Jodi will be the subject of a
retrospective exhibition, "install.exe," at Eyebeam, a
new-media art center in Manhattan. It was organized at
Plug.In, a new-media art center in Basel, Switzerland,
where it was shown last fall before it traveled to Berlin.
The exhibit, which runs through June 14 at Eyebeam's
gallery at 540 West 21st Street, contains nearly two dozen
works. Many of them can also be viewed online at
www.jodi.org, asdfg.jodi.org, 404.jodi.org,
wrongbrowser.com and wwwwwwwww.jodi.org.
Prepare to be disoriented, if not stuck, in a World Wide
Web gone awry. The Web is less than a decade old, so it
might seem premature to declare that Jodi's works are
classics of Internet art. Yet these artists were probably
the first to use the Internet's own visual language to
create what are in effect paintings of the Internet
landscape. They did so by exposing the hidden computer code
that makes Web pages do what they do, then altered its odd
texts and strange symbols so that they became abstract art.
They also took Web features and simulated what would happen
if they ran amok. For people who assume that a computer is
a benign dictator, these were reminders that the slightest
transgression could turn it into a deranged despot.
Like Cezanne's late works in which the raw canvas is often
part of the painting, Jodi's sites force viewers to become
conscious of the Web's appealing surface and the digital
mechanism that lurks below.
Annette Schindler, the director of Plug.In and the
co-curator of "install .exe," said, "You think you know
your computer, but really all you know is a surface on your
screen." This state of affairs is based on the foolish hope
that our technology, like our cars, will always operate
properly, so that we never have to look at the oily, gritty
bits under the hood. But Jodi subverts this notion.
Visitors to the duo's Web sites, Ms. Schindler said,
"immediately have the experience that Jodi wants to give
them, which is, `What if everything goes wrong?' "
In questioning the Internet's rules, Jodi has had a huge
influence on digital artists.
"They are the only Internet-based artists that have created
a truly new aesthetic," said the male half of the anonymous
digital-art duo known as 0100101110101101.org in a recent
phone call. "They have influenced almost everything on the
Internet that is related to art," he said. "It's like
trying to find a painter who was not influenced by
Michelangelo."
Ms. Heemskerk and Mr. Paesmans were resident artists at San
Jose State University in the heart of Silicon Valley in
1994, at the start of the dot-com era. One day while
working on a Web project they accidentally omitted a
bracket from the computer code, and the resulting Web page
was a messy jumble of text and characters. They liked what
they saw and began to experiment.
Mr. Paesmans said they initially wondered if it was ethical
to transmit the "wrong" code to others. "But we found out
quite fast that when you make mistakes in this code, it
doesn't affect anything other than the image it creates,"
he said. They began to put their works online, where the
results were intensely perplexing to those expecting clear
information and helpful links. They became even more
interested in the Internet once they realized that they
were "disillusioning the beliefs of people," Mr. Paesmans
said.
They called themselves Jodi, a combination of the first two
letters of their first names. Each new project attracted
greater attention and not just in Internet-art circles.
Their dark, impenetrable works contributed to the early
Web's spirit of coolness. Ms. Heemskerk, from the
Netherlands, and Mr. Paesmans, from Belgium, moved to
Barcelona and gave few interviews, making themselves even
more mysterious.
Like many digital artists they have started to work with
computer games. But while others' projects typically keep a
game's realistic setting while making minor modifications
to its scenery or characters, Jodi is again making abstract
art. For its version of the Wolfenstein game, for instance,
the dog becomes a black square and a dwarf the white one.
And in their adaption of the first Quake game, the viewer
sees only a white screen and must navigate through the 3-D
spaces on sound alone. In an art form where excess is the
rule, Jodi has stripped games to digital skeletons.
All of these works, along with several recent game and
video projects, will be shown in the "install.exe"
exhibition. Installing screen-based work, usually viewed in
private, in a vast public gallery like Eyebeam's will
certainly be a different kind of challenge to Jodi, but it
may also attract a larger audience.
Benjamin Weil, Eyebeam's curator, said that for most people
the gallery was "an interface that's a lot more accessible
than the Internet." But Jodi is still seeking fresh ways to
disorient. Visitors who want to view the online works must
carry one of the gallery's laptop computers to a foam-cube
seat. When they open the computer, its screen shows a view
from the seat, as though the computer were functioning as a
live camera.
Tilman Baumgaertel, the exhibition's co-curator and the
editor of its catalog, said Jodi's vision was "about the
deconstruction of technology, the abuse of technology and
looking for different opportunities within the technology."
Mr. Paesmans put it this way: He wants people to understand
that they "have the freedom to be irresponsible in front of
your computer."
http://www.nytimes.com/2003/04/21/arts/design/21MIRA.html?ex51939028&ei=1&en 4953e11c5b21b1
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Obituary For An Artwork
http://www.mteww.com/cgi/mtaa-rr.pl/twhid/obit\_onKupdate.html
Obituary For An Artwork
On December 10, 2002 an automated net artwork by MTAA and P.Erl (AKA
Alex Galloway) entitled onKawaraUpdate ceased to live. The work,
created as a splash page for Rhizome.org, was launched on April 27,
2001. During its brief life, the onKawaraUpdate spawned a new web page
each day mimicking the aesthetic and process of conceptual artist On
Kawara
Re: complex net art diagram
MTAA fully supports any satire, pastiche, homage, sampling, or any other responses to any of work.
Thanks abe linkoln, it rox.
just a reminder, yer domain looks like it may expire soon:
Record last updated on 08-Apr-2003.
Record expires on 02-May-2003.
Record created on 02-May-2002.
c-ya
> complex net art diagram: a remix of mtaa's simple net art diagram
>
> now up at
>
> http://www.linkoln.net/complex/
>
> abe
