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
phat qtvr
some of the subject matter is cheesy but these are some very cool web
images.
need quicktime 5 and good bandwidth i suppose.
--
<t.whid>
www.mteww.com
</t.whid>
Re: Live Query and the fallacy of relevance
toss this in:
i had a talk with napier the other night re: Google as net art
masterpiece. i was kinda drunk on Jack Daniels and ginger ale but i
think i came up with a decent analogy.
Mark N.'s POV (if i can paraphrase..) was that he sees Google as (or
maybe not Google but the data or information that it represents or
reveals) a thing of nature. it's comparing art to a sunset in his
opinion.
but i don't see it that way. the information or data that Google
reveals through it's net engineering can't be separated from Google
itself. and my analogy was this: if you're an architect you have the
Brooklyn Bridge* to deal with. You may not design bridges but you
have this icon of art and engineering to consider and measure
yourself against no matter what field of architecture you practice.
as net artists we have Google to consider; Google uses our medium in
a very successful way. it doesn't mean that artists need to respond
literally to Google (as googlefight does) but it should be considered
as you make your net things.
(*this example came to mind because i was admiring the Brooklyn
Bridge last week as m.river and i drove over the Manhattan Bridge in
a u-haul on our way to storing endnode)
>It might be helpful to jump over the public/private
>argument here. My first conversation with Tim after
>reading his post started with an "if, then" scenario
>that held up personal narrative as a method in which
>net art succeeds in relation to a corporate
>programming. A week or so later, I'm not sure if this
>stance holds up. The reason? - the(brief)history of
>net art itself. Interesting hybrid artworks that look
>at society or segments of society are part of net art.
>Rhizome, your day job, may be an example of this.
>
>So, to answer your question: "Maybe people searched
>more for "Jessica Simpson" this month than "Britney
>Spears" -- so what? Why should I care? Why should I
>let such anxious, trifling factoids into my heart?"
>
>You should care because one of the things that art can
>do is look at society or sections of society at large
>and attempt to locate meaning. Computers, information,
>data and "factoids" can help us do this. Is this a
>better method than personal narative? I'm not sure.
>Narative is my choice for working. To say it is the
>true path limits the posiblites of art.
>
--
<twhid>
http://www.mteww.com
</twhid>
soy sauce and diet coke
>http://yoga.tripod.co.jp/flash/kikkomaso.swf
>
this is great :-)
it reminds me of a comic i did years ago called 'diet coke' which was
about a schlubby little guy who could remove the top of his head and
poor diet coke directly onto his brain thereby giving himself magical
powers.
i was extremely addicted to diet coke at the time. diet coke is much
more addictive than the regular kind because you don't get the sugar
crash but you do get all the caffeine causing you to get extremely
wired.
;-)
--
<twhid>
http://www.mteww.com
</twhid>
Re: Re: when Google has achieved the net art masterpiece, what are the artists to do?
>
>I just read your article and haven't been following the subsequent
>dialogue, so if I say something someone's already said before, just
>chalk it up to the fact that I'm a dumb lazy redneck.
>
>Yoshi Sodeoka did an front-end interface to the google search querry
>stream here:
>http://www.whitney.org/artport/gatepages/february02.shtml
>He's adding a personal fascination with lo-fi interfaces to the data
>stream, which I think brings something to the raw data stream. So
>you can dig the piece on two levels. I think it's cooler than the
>carnivore model (although I like other things about carnivore like
>its open invitation for collaboration).
t:
this would be the 'tweaking' and 'commenting' i complained about in
my post. yoshi sodeoka is very talented (word.com had the best design
:-) but sticking an interface on the meat of Google doesn't equate to
something as awesome in scope as Google itself.
>
>Then there are the following novel uses of google's database that
>aren't calling themselves "art," but could be considered art given
>the right bullshit artist statement:
>http://www.googlism.com/
>http://www.googlefight.com/
>http://www.googlewhack.com/
>
>It seems the "art" of database art lies in the cleverness of the
>interface paradigm, which makes database artists akin to information
>architects. Examples:
>http://www.textarc.org/
>http://manovich.net/cinema_future/toc.htm
t:
ah, that's were i would differ. interfaces are interchangeable (tho,
you could make one set of data seem like numerous sets depending on
the interface) it's the scope and definition of the data that makes
net art interesting. when i come across a 'net thing' like Google
(lets call it art) with such a monstrous scope and 'heroic' scale
(Google truly defines the heroic period of net art) i can't help but
seeing the rest of the net art canon as a bit thin.
>
>In experimental web design circles, I'm observing a trend toward
>hand illustration. When everybody can use 3dsMax, then how do you
>distinguish yourself from the crowd? You return to actual craft, a
>hand moving a pencil across a piece of paper.
>
>Likewise, in net art, you're asking a pertinent question -- when all
>is about tech, and corporations have the tech, what's left? Some
>might then say what's left is to conceptually recontextualization
>the existing tech. But if you mean to approach conceptualism
>minimistically, you rightly observe that there's not much to add to
>google's live querry.
>
>I think the best net art is still narrative in some way, and
>personal. The work to which I'm referring is what you're calling
>web art, but that doesn't demean it any to me.
t:
i don't think web art is lesser than net art. they simply seem like
two completely different thing to me. why would i call a chair a
table? because they both have four legs and a flat surface to put
things on? web art and net art share many features but are completely
different. one isn't better than the other. actually i think it might
be wiser for artists working with these technologies to focus *more*
on web art because in that field at least they can achieve
technological parity with their commercial cousins.
not to say there isn't a lot of ground to cover in net art, we simply
need to keep Google in mind as we go about it.
c-ya
--
<twhid>
http://www.mteww.com
</twhid>
