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: PDPal and the continual nature of digital art
wrote:
>
>
>> Isn't this just old-fashioned avant garde-ism? Once an aesthetic
>> becomes "conventional" (even though it all must be in some respect to
>> be recognized - if it gets called "Art" in the first place) it's no
>> longer self-critical, expansive, progressive, pioneering (take your
>> pick)?
>
> "It don't mean a thing, if it ain't got that swing" -- Duke Ellington
> -- replace 'swing' with ; mystery or evocative
so.. what do we replace 'thing' with? ;-)
>
>> but i don't get the pomo argument. despite douglas crimp's assertion
>> that institutional critique represents the apex of pomo rationality,
>> i would say the evidence points the other way. institutional critique
>> (and most "socially engaged" art), seems to engage some pretty
>> modernist ideals (even if it tries to be cynical about it). This is
>> not a negative criticism of the practice, which i find extremely
>> useful and needed. but i would root the debate in "committment"
>> (adorno/brecht/lukacs) rather than mod/pomo. the postmodern turn, in
>> my opinion is better represented in the anti-social, or superficially
>> social, surface orientation of a lot of new design and 'old school'
>> art (painting and scultpture), not the theories of social
>> construction (as laid-on as they often are) in new media. socially
>> concerned art seems more akin to what adorno called "committed" art,
>> relegating it's autonomy to a particular ideology, even though he
>> knew all art represented an ideology.
>
> What ideology would you say an Ansel Adams photograph of Yosemite
> represents?
BAH!!! you can't be serious...? I'm speechless -- can't believe
someone just dropped that on Rhizome. We're not in an undergrad class
here. Ya know? Talk about normative (and I don't even know what
normative means really, but as some unwise but powerful american said
long ago, 'I know it when I see it".)
Let's replace 'an Ansel Adams' with 'a Paik' and 'photograph' with
'stack' and 'Yosemite' with 'TVs'
~~and it don't 'swing' it 'bling-bling'~~
:-)
> For an example of socially engaged art that does (IMO) "swing", I'd
> recommend Michael Moore's film "Bowling for Columbine". Between the
> use visuals and sound, the cutting between multiple threads of the
> story, and Moore's sheer chutzpah, the movie definitely "swings", at
> the same time it made me more aware of the details of some important
> social problems.
If the american left has only that mesh-backed oaf speaking for it,
then we are in serious trouble.
--
<t.whid>
www.mteww.com
</t.whid>
Re: On New York, gaps in toilet seat and a bit of art
Thanks for the account of your visit to our fine city. It's nice to see
it through eyes that don't take it all for granted.
On Tuesday, March 4, 2003, at 07:58 PM, jess wrote:
>
>
> I love New York. A cliche but true.
one of the best ways to see New York IMO is from a cab as you go home
late and a little drunk. I like going from the west side to my place in
bklyn. you go through all the different neighborhoods, see all the
different people in the different neighborhoods, then hit the
Williamsburg Bridge. The Billyburg bridge is being spliced together
with a suburban freeway overpass somehow. It's industrial age New York
meets the I-95 overpass. it's a strange combination. It was about to
fall down so the city had to fix it.
I love coming over the bridges into Manhattan as well; from car, bike,
or foot it's grand.
>
> Coming home the next day (with a stomach full of the best pesto in
> NY
PROTESTING THE MONKEY KING WITH THE TRUE PATRIOTS by Ebon Fisher
Ebon helped organize a big warehouse happening in Brooklyn called
'Organism' back in '93. First time I had ever heard the term 'Web
Jam'.
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\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_
PROTESTING THE MONKEY KING WITH THE TRUE PATRIOTS
Ebon Fisher, March, 2003
ebon@olulo.net
"We spread disproportionate terror and confusion in the public mind,
arbitrarily linking the unrelated problems of terrorism and Iraq. The
result, and perhaps the motive, is to justify a vast misallocation of
shrinking public wealth to the military and to weaken the safeguards
that protect American citizens from the heavy hand of government...
When our friends are afraid of us rather than for us, it is time to
worry. And now they are afraid."
--John Brady Kiesling, Political Counselor in U.S.
Embassy Athens, in his letter of resignation to Secretary of State
Colin Powell, Feb. 27th, 2003
I've been too busy struggling to feed a family to fully realize what
has happened since King George took power. "Took power" is the
kindest phrase I can muster for that down-right shadey election. I
thought I had kept abreast of the unelected-one's pro-corporate,
pro-billionaire agenda, but I hadn't realized how deeply the
corporate "royalty" and their military attachments had slipped in and
taken over our culture and infrastructure. We're living in a branch
of history that wasn't supposed to happen. Even the most alarmed
among us is sleep-walking through this strange aftermath of the
presidential elections. We are all numb from years of peace and
potato chips to realize the extent of the danger we are in.
My own alarm is now quickening to such an extent that I can barely
focus on the mounting evidence of the Bush Administration's
omni-directional hatred. US Diplomat, John Brady's resignation has
just come to my attention and the stepping up of attacks in the
no-fly zone is all over the airwaves. CNN's jargon has switched from
"war preparations" to "war" with nary a bugle or a UN vote. The
international press is up in arms over recent evidence that the US
National Security Agency has begun spying on UN Security Council
Delegates. With or without the UN, the war is likely to be pushed
through, setting the US on a collision course with the entire
law-abiding planet. Colonel Randy Gangols said on PBS tonight that
the urban war zones US soldiers are preparing to attack are "the
worst environment the military can operate in." Cold, blue-veined war
pundits are talking about preparations for a 30\% US casualty rate.
That's thousands upon thousands of dead US citizens, real friends and
family marching to devastation. It's all too horrible to
conceptualize. Thankfully, the Turkish parliament's vote to refuse US
troop deployment has given us a few days to breath. But I feel like a
certified asthmatic.
My rude awakening to our country's perilous transfiguration was at
the peace march in New York two weeks ago. My wife and I had driven
several hours with our three-year-old from the Philadelphia area to
attend the February 15th rally. It had sounded like a wonderful
chance to express our dismay over a slew of US problems --from the
lack of jobs, to the wholesale dismantling of workers' and womens'
rights, to the unaffordable and dangerously antagonistic war
build-up. Our reckless King needed to hear from the people. Or so we
thought. The reception from New York
Performance: EXTREME ANIMALZ (paperrad.org), LOVID, NAUTICAL ALMANAC -- THURSDAY!
>BEIGE and Seth Price Collective present: PSYCh OUT 2k3
>
>11:30pm Anthology Film Archives
>Thursday March 6th
>part of the New York Underground Film Festival - http://www.nyuff.com
>
>Cartoons & consumer electronics in the 70s and 80s were bigger and
>trashier than ever and they had freaked kids out to the point of a whole
>generation got A.D.D. so now they are older and freak every person else
>out using this same old throw-away trash shit culture mind warp
>reversal....MESSY. Your either with us or against us.... Never fess.
>
>PSYCH-OUT 2K3 is a one night only live performance freak out featuring
>live music & video (at the same time) by:
>
>Extreme Animalz / PAPER RAD crew,
>NAUTICAL ALMANAC, and
>LOVID.
>
>In between bands there are videos by Leif GOLDBERG and Matt BRINKMAN,
>Forcefield (from the archives), Devin FLYNN, MUMBLEBOY, Ray Sweeten, Andy
>PULS, Set PRICE/Michael SMITH WEB INFANTILISM, Jason Spingarn-koff, Billy
>Grant and Joe Grillo, US Military Games and anon. Commodore n64 video HACKERZ.
>MTV circa 1990-2, ... LAME.
>
>Tickets for films are available at the Festival Box Office day of show
>only.
>
>The Box Office opens at 12 noon daily and is located at Anthology Film
>Archives, 32 Second Ave at Second St. Tickets for films are $8.50 per
>program.
>
>Note for Rhziome: M.River on E.Animalz--->
>"i have seen the future of arena rock and they are wearing
>tube socks"
>
--
<twhid>
http://www.mteww.com
</twhid>
Re: the upgrade
>Mostly due to t.whid (who came over and introduced himself) and Doron
>(who
>has to be the most hospitable man on the planet) and an great eccentric
>artist called Nina
>
>The space is just fab and I was amazed to find out that it was going to
>all go and be replaced by something new. Give me the huge warehouse
>space anytime. I didn't know who anyone
>was either and kind of longed for badges so I could recognise names
>but it
>didn't seem that kind of gathering.
one more note on this:
usually the Upgrade is much more casual and not as many people
attend. Usually before the presentation Yael would have everyone in
the room introduce themselves (that's how i met Auria Harvey who is
just as interesting in person). She either simply forgot this time or
thought there were to many people for it to be feasible.
I agree with everyone's comments, it would have been best for some
introductions this time as there were lots of new people there.
take care
--
<twhid>
http://www.mteww.com
</twhid>
