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 Ae 2.0 postmortem
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I was more obnoxious than I meant to be and I came off old and cranky.
All around a fine evening.
It was a bit of a set-up between artists of the older generation (T.Whid, <a href="http://www.mccoyspace.com/">the McCoys</a>; artists who took part in 'net art 1.0') and artists of a younger generation (<a href="http://www.petracortright.com/">Petra Cortright</a>, <a href="http://www.damonzucconi.com/">Damon Zucconi</a>) with Tom Moody thrown in to prove that you can be over 30 and also a member of a surfing club.
But seriously, I was fairly bombastic at one point and it went something like this: "It seems like the artists that were involved in earlier stage of net art have given up on it to a certain degree, my question to the younger artists on the panel: why haven't you figured out that it's a dead end?"
This little rhetorical bomb was tossed specifically to spice up the discussion a tad. I'm going to try to expand and clear it up.
Before I get into it I need to make clear that when I talk about net art, I'm using the <a href="http://en.wikipedia.org/wiki/Net.art">classic definition</a>: "art that uses the internet as its medium and that cannot be experienced in any other way." To me, this definition shouldn't be diluted, it just leads to confusion. I use the term web art for art on the web that can exist entirely in one browser session. Note that I think blogs (including photo, video, or other media blogs) fulfill the classic definition of net art.
First, MTAA hasn't given up on net art entirely. We're working on a small piece currently that fits the classic definition of net art and our latest large piece, "<a href="http://mtaa.net/want/">Want</a>", has, at the very least, the possibility of fitting the ole skool definition. So my assertion that we've 'given up' on net art isn't really true. Jenn McCoy also mentioned after the panel that she and Kevin haven't given up either, she likened it to trying to get pregnant but it just won't happen for whatever reason.
What we're 'giving up' is the idea that this 'pure' sort of net art will ever enter the gallery in a way that makes any sense. Many net artists have come up with hybrid net art that does make sense in the gallery space. Examples of MTAA's efforts in that direction are "<a href="http://endnode.net/">Endnode (AKA Printer Tree)</a>" and "Want."
Second, the 'dead end' comment is a red herring. The younger generation never entertained these grand and flawed ideas of a 'pure' net art. The artists on the panel made it very clear that their work comprises video, looping animations, photography, holography(!), web sites, etc. I believe that Damon's first comment was that his work is multi-disciplinary. The earlier generation of net artists learned the hard way that transitioning the 'pure' form of net art into the gallery is very problematic. The current generation of digital artists seems to have side-stepped this problem entirely.
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A few words on surfing clubs (<a href="http://www.ramocki.net/surfing-clubs.pdf">PDF link</a> to Marcin Ramocki's thorough essay on the genre)...
Mail art is to net art as graffiti art is to surf clubs.
The panel discussion bogged down considerably during the surfing club portion in my opinion. I'm guessing that since the clubs are by their nature somewhat insular and 'insider-y,' the audience felt it. There were 3 practitioners of the genre discussing it without a real thought to making it very accessible to the audience. During my live-twittering of the panel, I made a couple of comments to this regard (<a href="http://twitter.com/twhid/statuses/828772963">1</a>, <a href="http://twitter.com/twhid/statuses/828772277">2</a>).
Apologies to anyone that was insulted by my tweets. It was a rather rude way of offering my criticism.
Announcing: Net Aesthetics 2.0 Webcast
re: Net Ae 2.0 panel webcasting...
I'm going to live twitter it as much as possible (multi-task much?). That's right! Liveblogging (ok, twittering) while I'm on the panel! Yikes! Of course, twitter is extremely slow right now, so we'll see...
I'm here: http://twitter.com/twhid
