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
Net Art Versioning
One more thing, let's not conflate Web 2.0 with the so-called net art 2.0. The original net artists were much smarter about the net than the commercial concerns, ie, the Web 1.0 companies were stupid about the web, the original net artists weren't (see eToy vs eToys for an example).
We were into creating social systems/processes/experiences long before the trendy two-point-oh starting getting tacked on to everything. We never forgot that there's actual human people at the endpoints.
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Net Art Versioning
"The technological base of (the content of) the network determines the cultural superstructure of (the content of) net art."
In a comment on a previous post I started to refer to the content layer and technological layer of the internet. I got it from Zittrain's latest book, The Future of the Internet. He uses the model to talk about the ingenious design of the 'net as an hourglass (with hardware at the bottom, IP (Internet Protocol) as a small, completely agnostic middle layer, a tech layer above that, a content layer above that and even mentions a social layer above the content layer.
Here's the diagram:
http://yupnet.org/zittrain/archives/13
The book is mostly about the law and the generative nature of the net (meaning it's open, not proprietary) so I'm not sure it has much application when discussing art on the net. But conceptualizing the net as these different layers I find handy. Which brings me to my question to Rob...
Do you think the same could be said for older art-making technologies (paint, marble, video)? Or is the net somehow different. Does it's technical complexity somehow make it special? For film, it seems to me that the answer is YES. For painting, I'm not so sure...
When you go surfclubbin', don't forget your hat.
"Double negative stack overflow!"
OK, howz this:
Net art did include lots of work that functioned within the content layer of the net without diving into the deep end of the technological layer.
When you go surfclubbin', don't forget your hat.
"I think what may have upset some of the more process oriented artists who see computer language knowledge as a key to expression [snip]"
There's an entirely mistaken assumption being propagated on this forum that net art (as opposed to the current period: post-net art) did NOT include work that did NOT dive into the deeper sections of the technological layer of the net. (the previous is one confusing sentence...)
Unless you count some simple HTML as being part of the tech layer of the net (which I suppose it technically is, but please) there was lots and lots of 'user-generated' net art. None of use knew what we were doing in the beginning. We just hacked some crappy HTML, JPEGs and GIFs together. Server-side databases and scripting languages weren't common and weren't cheap. Those technologies started to be common and cheap in the early 00s, most (if not all) early net art were static pages sitting on servers and most decidedly 'user-generated' including JODI, Olia Lialina, et al.
Some other (admittedly self-serving) examples:
MTAA's TIME!® http://rhizome.org/object.php?1691 (1997-1998)
MTAA's Direct To Your Home Art Projects http://mteww.com/dyhap/index.html (1997-1998)
MTAA's vieweratstar67@yahoo.com http://www.mteww.com/3mb/ (2000)
and there's lots more by many diverse artists, check M.River's X and XX for other examples.
Working on Discuss
1 more thing before you go... it would be great if there was a way to mark all stories as not new.
best,
Tim
