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
**NYC job opportunity**
there ARE new media jobs in NYC! (at least one anyway)
fringe benefits include health, dental, and the privilege of working
with yours truly ;-)
blurb below, this is my own comment: this is a very technical job for
someone with major skills, if you think you *might* be able to do it,
you probably won't be able to do it.
blurb:
Wavexpress is looking for an experienced and very technical web
programmer to work as part of a small team on advanced multi-media web
applications. This job requires expert knowledge of DHTML, XML, ASP, CSS
and scripting. Applicants should be self-motivated and very creative. A
background in programming methodologies and architectural analysis is a
plus.
Wavexpress delivers secure broadband content and services. The
company enhances the high-speed data experience with high-quality
video, games, and music. More info: http://www.wavexpress.com
++
if you're interested email your resume and a short introduction
statement to Michael Sprague msprague@wavexpress.com.
feel free to forward/post this to appropriate individuals, lists,
BBSs, newsgroups, etc.
--
<twhid>
http://www.mteww.com
</twhid>
Re: net/text
>> Thanks.
>>
>> http://tinjail.com/kaufmann/index.html
>
>
>I love this. I love the MTAA art process. I love MTAA's honesty and
>integrity. What brand of beer do you drink?
>
>-Cf
m.river drinks budweiser in bottles at the union pool.
m.river drinks brooklyn lager at galapagos (you don't have to go all
the way to manhattan for manhattan prices :-)
m.river drinks marguerites at vera cruz
i drink marguerites at vera cruz
i drink vodka tonic at galapagos (you don't have to go all the way to
manhattan for manhattan prices :-)
i drink stella artois at the union pool and, sometimes, scotch and soda.
(note: that's mostly mriver's honesty and integrity yer witnessing,
i'm a lying, cheating asshole)
--
<twhid>
http://www.mteww.com
</twhid>
alex is gone
>> alex appoint
>
>oooh yes please, can I start today?
hey jess,
alex doesn't work here anymore
you need to ask rachel now :-)
--
<twhid>
http://www.mteww.com
</twhid>
Re: Re: Not for the Squeamish
JOY writes the first quote, JAMIESON writes the blurb on the "Bomb
Project" which is moralizing in tone. i don't remember joy
specifically endorsing this review as correct therefor she's not
being inconstant. *unless* one reads her silence on the review as
endorsement; an unreasonable conclusion imo. *or* there is moralizing
happening on the bomb project site (which i didn't notice after a
quick look-see). *or* one concludes that the bomb project ITSELF is
somehow placing "moralizing" judgements on non-politically engaged
artists (tho it makes no explicit judgements) which is also an
unreasonable conclusion.
since joy has said nothing regarding the review, it's unreasonable
for you to assume she thinks it's "moralizing judgements" are OK. if
you simply wanted to ask joy her response to the blurb you could have
done so without the accusatory and (imo) aggressive stance.
(aggressive in that you presuppose she is in agreement with the blurb
and *foist* that upon her for no good reason)
On July 12, 2002 Joy Garnett wrote on a Rhizome Post:
It's important to deal with the full spectrum of responses here, and to
refrain from moralizing judgements-- they only serve to inhibit, and to
produce more shame.
JG
A review on Joy Garnett's "Bomb Project" on September 6, 2002:
The data, debris and aesthetics of the nuclear arms race considered
in an art context points at issues of information decentralization,
and certainly serves as a reality check to any overly idyllic or
politically disengaged artists. - Helen Varley Jamieson
<http://www.thebombproject.org>http://www.thebombproject.org
The review seems contrary to an earlier statement made by Joy Garnett
on the Rhizome list. Please explain why its OK to make a "moralizing
judgement" in one case and not another. Thanks.
--
<twhid>
http://www.mteww.com
</twhid>
Re: Re: Not for the Squeamish
on joy's part. my apologies, i didn't read the NAN item as aggressive
towards joy.
in the meantime, seth's made clearer the point of this original post.
and where is the mysterious joy today? hiding out somewhere? let's
hear from her ;-)
At 10:55 -0400 9/6/02, Rachel Greene wrote:
>i am involved here. i didn't see joy's declaration of intent about her
>work... but i edited helen's NAN and rewrote the closing sentence.
>
>please feel free to disagree with what i wrote -- i did write that last
>sentence -- helen was much more struck by aspects of the project she found
>"beautiful" -- she had a different register of interpretaion, a more
>aesthetic one. but my reaction differed -- i didn't see how one can avoid
>the extremity of the project, of its contents and despite its casual format
>-- that is why i talked about it as a 'reality check.' which to me isn't
>super moralizing... tell me why you think i took an aggressive stance?
>
>or am i confused... is all this directed at another post? or at rhizome NAN?
>between web and list, i am not sure what/who all these subjects refer to...
>thanks, rachel
>
>
>
>
>> not following the logic here..
>>
>> JOY writes the first quote, JAMIESON writes the blurb on the "Bomb
>> Project" which is moralizing in tone. i don't remember joy
>> specifically endorsing this review as correct therefor she's not
>> being inconstant. *unless* one reads her silence on the review as
>> endorsement; an unreasonable conclusion imo. *or* there is moralizing
>> happening on the bomb project site (which i didn't notice after a
>> quick look-see). *or* one concludes that the bomb project ITSELF is
>> somehow placing "moralizing" judgements on non-politically engaged
>> artists (tho it makes no explicit judgements) which is also an
>> unreasonable conclusion.
>>
>> since joy has said nothing regarding the review, it's unreasonable
>> for you to assume she thinks it's "moralizing judgements" are OK. if
>> you simply wanted to ask joy her response to the blurb you could have
>> done so without the accusatory and (imo) aggressive stance.
>> (aggressive in that you presuppose she is in agreement with the blurb
>> and *foist* that upon her for no good reason)
>>
>> On July 12, 2002 Joy Garnett wrote on a Rhizome Post:
>>
>>
>>
>> It's important to deal with the full spectrum of responses here, and to
>> refrain from moralizing judgements-- they only serve to inhibit, and to
>> produce more shame.
>>
>> JG
>>
>>
>> A review on Joy Garnett's "Bomb Project" on September 6, 2002:
>>
>>
>> The data, debris and aesthetics of the nuclear arms race considered
>> in an art context points at issues of information decentralization,
>> and certainly serves as a reality check to any overly idyllic or
>> politically disengaged artists. - Helen Varley Jamieson
>>
>> <http://www.thebombproject.org>http://www.thebombproject.org
>>
>>
>> The review seems contrary to an earlier statement made by Joy Garnett
>> on the Rhizome list. Please explain why its OK to make a "moralizing
>> judgement" in one case and not another. Thanks.
>>
--
<twhid>
http://www.mteww.com
</twhid>
