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…
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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: Dia article in NYTimes Mag
> > > OK, that's what I was thinking. This goes back a bit to my
> google/net
> > > art masterpiece post. It's practically impossible to make
> something
> > > that competes with the industrial world on a technical level.
> > >
>
> The Open Source model, such as Linux has proven capable of competing
> on the
> technical level. You need to get a few dozens or hundreds of net.art
> programmers to cooperate.
>
I don't think that the open source model of software engineering is going to work for artwork. the purposes of an artwork aren't usually as easily defined as a software project. you can argue about how best to implement a web server, but everyone is in agreement that what you're building is a web server. One doesn't have this sort of certainty when it comes to making art and who wants to freely follow a tyrant that wants everyone to toe the line re: subject and content of an artwork. an artwork is less objective and it's goals aren't as quantifiable as software programs built to perform certain tasks. it's easy for meritricious code to bubble to the top on the strength of it's logic, it just works better. obviously these sorts of distinctions are harder to make when it comes to creating a piece of a whole in an artwork.
having said that, there are artworks which are massively collaborative that are interesting, but they're a genre, they all end up being very similar: the collaborative story, the collaborative sentence, etc. the only way these collaborations work is to make them very open and unfocused, the subject is always partially the collaboration.
but who knows? maybe an open source 'toy story' or 'doom 3' is possible? it has yet to appear.
altered photo in LATimes
the final altered one:
http://www.latimes.com/news/custom/showcase/la-ednote_blurb.blurb
is this proof that this sort of manipulation isn't common or proof that it is?
--
<twhid>
http://www.mteww.com
</twhid>
Re: Dia article in NYTimes Mag
>> visionary who understood that there were
>> some artists doing something new that needed
>> major backing and gave it to them. I wonder
>> what net, web new media artists could do with
>> that sort of backing.
>>
>> do we have ideas of 'heroic' scale that need
>> that sort of backing
>
>Do we? Hell yeah. I've got a shitload of net art projects that I can't
>even begin to work on without $50,000-$1,000,000 in funding. Games,
>multiuser virtual performances, generative animation, information
>recontextualizations, social networking, etc, etc.
OK, that's what I was thinking. This goes back a bit to my google/net
art masterpiece post. It's practically impossible to make something
that competes with the industrial world on a technical level.
So...
How do we find a funder on that level? John Johnson is doing
something over at Eyebeam, but they don't have the kind of dough
we're talking about. Creative Capital is too broad in scope, they're
not really a net/web/new media funder.
Is it something we can prod along? or do we have to wait for the
patron to fall out of the sky and hope she lands on us?
>
>By the way, it's interesting that t.whid's used the word 'heroic' to
>describe a kind of big-budget net art that is the polar opposite of the
>home-brewed DiY cobbled-together stuff from the mid 90's that has been
>referred to on this list in recent weeks as the 'heroic era' of net art.
>
well, the 'heroic' era of net art is tongue-in-cheek.
--
<twhid>
http://www.mteww.com
</twhid>
'free' software
work at an acceptable level of professionalism IMO.
don't get me wrong, Apache? rox. Gecko or KHTML? rox. GIMP? i don't
think so, i'm sticking with Photoshop. is there a decent open source
vector program out there (along the lines of illustrator?) I haven't
heard. SVG is great but it hasn't made a dent in Flash (any decent
open source flash authoring environments? not really). and don't even
talk about video.
as far as server software goes you can get what you need from open
source and free software. when it comes to professional graphic and
video editing, manipulation, and etc one still needs software
licenses or not be bothered by 'borrowing' software for unlimited
amounts of time.
i'm not holier than thou however. i've been known to use software
obtained via the ole five finger license.
At 19:07 +0100 4/7/03, marc.garrett wrote:
>lots of software licenses?
>
>Nooooooo..........
>
>marc
>
>> do we have ideas of 'heroic' scale that need that sort of backing or
>> do all we need is a t1 line, a phat server, a screaming workstation
>> and lots of software licenses?
>>
--
<twhid>
http://www.mteww.com
</twhid>
Re: Dia article in NYTimes Mag
>> of Dia's twenty net art commissions
>> (http://www.diacenter.org/rooftop/webproj/index.html), nine
>> of them are the first web-based projects by the artists. that's
>> a yawn of a curatorial strategy. Olia & Dragan and Jim
>> Buckhouse are the only names on the list that have any
>> experience with the net art scene. hmmm. Lynne Cooke,
>> let's do lunch. we need to talk.
>
>That's for sure. My jaw dropped to the floor when I read this in
>Mirapaul's article:
> Lynne Cooke, the Dia's curator, said the center
> favored artists unfamiliar with the Internet. "Artists
> who work with something where they don't know
> the rules beforehand are more inclined to push the
> envelope than those who are already very dextrous,"
> she said.
>
>I wouldn't know where to begin punching holes in the logic behind that
>statement. Maybe it's just a fancy way of saying "we don't really know
>any net artists", but it felt like a big fat middle finger to all the
>hard-working, mega-innovative, and mad-skilled net artists I know.
truth. i think it's a way of saying, "we don't understand the net art
that pushes the envelope so we'll give a commission to someone who is
safe to make net art which seems to push the envelope if you don't
understand the medium."
anyway, my point was that at the time the Dia was founded they had a
visionary who understood that there were some artists doing something
new that needed major backing and gave it to them. I wonder what net,
web new media artists could do with that sort of backing.
do we have ideas of 'heroic' scale that need that sort of backing or
do all we need is a t1 line, a phat server, a screaming workstation
and lots of software licenses?
>like some of the Dia commissions, but as a whole they're not really
>envelope-pushing to anyone who gets around the web much.
>
>Also, it seems like many of these 'traditional-artists-cum-net-artists'
>seem to end up having a bunch of assistants and volunteers build the
>projects for them anyway. I don't have a problem with that per se (I
>look forward to the day where I can hire better programmers to help
>build my net art for me) but it makes Lynne Cooke's statement that much
>more difficult to swallow.
>
>I don't think I know the 'rules of painting'. Maybe I should apply for a
>painting commission and hire 'dextrous' young painters to build my
>'envelope-pushing' painting ideas.
i see a whole new career for you chris.
--
<twhid>
http://www.mteww.com
</twhid>
