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
When you go surfclubbin', don't forget your hat.
Who's angry? I'm afraid.
I'm afraid that all my time spent working on net art in the 90s/00s is going to be ultimately meaningless, somewhat interesting but ultimately as irrelevant as mail art. So, my "mail art:net art as grafitti art:surf clubs" analogy is just a friendly heads-up to the surf clubbers. Graffiti art was fucking hot in the 80s, but ultimately a minor moment.
Obviously, I hope I'm wrong. Plus, no history revises more often than art history, so even if I'm right for while, I could be wrong eventually :-)
Net Ae 2.0 postmortem
To be clear, I'm not talking about netDOTart (net.art). My net art definition is quoted in my original post above. The link leads to the net.art section of wikipedia so I understand that it could be misinterpreted.
I didn't mean 'don't worry' as in 'be ignorant of.'
There was a point where it became clear that pursuing solely the rigorous definition and practice of net art didn't make a lot of sense any longer. My point with "don't worry" is that this point is past, so you don't need to worry about coming to that realization, you got on the train after that stop. But I'm not trying to be prescriptive, I'm just describing what I'm seeing. The majority of artists dealing with the net currently, aren't making net art (as I've defined it) their sole practice.
Even though I proclaimed "it's over" many times, I would be very happy to be proven wrong.
Net Ae 2.0 postmortem
re: graffiti
Oops. Yeah, that was my own little analogy, a bit pessimistic of course. I guess we'll see :)
Net Ae 2.0 postmortem
Yeah, in hindsight it's pretty easy to dismiss. But at the time we were very excited about a truly new medium -- not video, not photography -- something new. We wanted to explore that medium and part of doing that was to cut everything else out, give oneself some restrictions to develop a rigor around that medium.
Plus, you have to remember how much confusion there was about it, especially in the art world. One way to drive home the differences from other media was to have such a (pure is a bad adj) rigorous/severe definition and work to that definition.
That was my point in saying net art is over -- you and your peers are ample proof that it's over -- net art 2.0 doesn't need to worry about that sort of thing.
