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: runme.org software art repository
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and they even have an rss feed, kewl ;-)
on Mac OSX i suggest the free NetNewsWire Lite to get the best in xml news (get NetNewsWite here http://ranchero.com/)
Fwd: Eyebeam AIR Spring 03 open call
2003 cycle of its Artists in Residence Program, a multidisciplinary
initiative that supports the development, creation and presentation
of outstanding new works of art made with digital tools. The AIR
Program offers five-month residencies to exceptional artists in three
different areas: Education, Emerging Fields and Moving Image.
Residents receive a stipend, access to cutting-edge tools, expert
technical support from Eyebeam staff, production help from
apprentices, and the option to participate in an annual group
exhibition.
The wide-ranging annual AIR exhibitions mirror the interdisciplinary
studio environment by presenting a constellation of other events,
including open studios, demonstrations of research in progress, panel
discussions, on-line projects, and multimedia performances. The
twelve artists who participated in the program's '02 pilot year were
featured in Beta Launch: Artist's in Residence 2002:
(http://www.eyebeam.org/artists/air02.html).
The open call for applications begins January 10th. Applications are
due February 10th. For more detail about the different residency
programs, deadlines, applications and instructions, please refer to
the information on Eyebeam web site:
(http://www.eyebeam.org/artists/index.html).
--
<twhid>
http://www.mteww.com
</twhid>
RHIZOME_RAW:Re: One Day Left
>Re: 1/15/03 1:34, "m e t a" <meta@meta.am>:
>
>> i would be happy to pay for rhizome membership, provided :
>>
>> 1. those whose works are included in the artbase are paid a commission.
>>
>> 2. those whose works, writings, and commentaries are included in the weekly
>> digest are paid for their inclusion.
>>
>> 3. those whose works, writings, or projects appear on the rhizome
>>website are
>> compensated as well.
>>
>> my work has been included in a number of books and magazines.
>> it is customary that when this occurs i am either paid,
>> or at the very least receive a free copy of the publication.
>>
>> this is only fair - considering they are profiting in part from my work
>> regardless of whether it was created especially for their
>>publication or not.
>>
>> it is most unfair that you are being paid,
>> while those who generate your content are not.
>>
>
>One can not disagree with the above, on any share and share alike level, but
>when one is talking economy and art there is usually more than one side to
>every coin.
it's very simple to disagree with the above when we stop thinking of
rhizome as 'they' and start thinking of it as 'we'. meta's post and
eryk's posts are good at pointing out what rhizome seems to be
failing at: creating a true community.
if we truly felt like a community then we wouldn't mind a small fee
to maintain our clubhouse. we would all feel that we were
contributing to something we collectively own. instead of meta
feeling that the work is being taken for profit but without sharing
the profit, meta would see that we're all collectively sharing our
work and effort.
but we don't feel like a community. why? i have my own answers, as
well as suggestions on building a stronger community but i would be
interested in hearing others before i go into it.
--
<twhid>
http://www.mteww.com
</twhid>
Re: Re: One Day Left
>Two matters;
>
>Acceptable use
>Actually I think Tim has a good idea, but an AUP is the reason why my
>Polyhydra.com site has little more on it than pictures ofme in a Klingon
>uniform. (oh yes, you should see THAT.) Many ISP's now disallow streaming
>media, media of any polemic, etc. Pretty ridiculous. However, I think that
>there have been clear and substantial abuses of the list that could be
>eliminated by a very loose AUP without endangering free speech whatsoever.
>The argument about free speech is so horribly flawed that I am always
>shocked to see it taken for granted.
>
AUPs can certainly be abused as in what's happening to the THING
presently. but RAW's could be voted on by a majority of RAW members
and be reviewed periodically. i'm sure we could come up with
something that allows free discussion, mail art, interventions etc
but keeps disrespectful and abusive shenanigans to a minimum.
--
<twhid>
http://www.mteww.com
</twhid>
Re: Words on the Rhizome Artbase
there is plenty of exclusiveness in the art world. i have always
tried to make rhizome an exception, to keep it open. that's why we
have not bowed to pressure to moderate raw. that's why our
commissioning program is based on a call for proposals (most
commissioning programs are invitational).
hey mark,
moderation and inclusiveness are not antagonistic. you may include
anyone who plays fairly by agreed on rules. RAW has no acceptable use
policy, that's the problem. so anyone may use it and abuse it (and
it's members) however they wish. as long as you keep this imo flawed
policy RAW won't reach it's full potential.
--
<twhid>
http://www.mteww.com
</twhid>
