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 2.5 private beta
Hey Lauren,
I seem to remember that the first 2.0 panel was named with a bit of tongue in the cheek, but since then it seems to have been take seriously. I wasn't directly referring to the panel, just to the fact that it's common in net art circles to call the current state of net art "2.0."
I was thinking that we should be peg the net art version to the current version of the Flash player. That would make it Net Art 10.0 :-)
Net Art 2.5 private beta
Having said all that, I'm more or less resigned to it as well -- mostly because I can't think of anything better :-)
It is just a quibble after all. I've officially lodged my complaint and am hoping it'll be noted.
Net Art 2.5 private beta
Perhaps Net Art 2.5b or Net Art 2.5 RC1 :-)
I understand that there is a shift in techniques, forms, subject and content, I just don't like the label. And it does imply progression just as it's business practice counterpart (Web 2.0) does.
The metaphor is broken so I argue against it.
Net Art 2.5 private beta
Please don’t version art periods…
Oh, alright. I’ve resigned myself to using the term “Net Art 2.0” to refer to the current state of net art. But before I completely give in, I need to put up a bit of a fight.
The main problem with using a software versioning paradigm to distinguish art periods is the implied progression. When a developer delivers new versions of their software new features are added or enhanced, bugs are fixed, new problems are identified and addressed, formats are upgraded and interfaces are streamlined.
Some will say that the progression, though implied, isn’t what people mean when they use the term “Net Art 2.0.” But, when O’Reilly versioned the web with their Web 2.0 conference in 2004 (would there be a Net Art 2.0 without Web 2.0?) it was done specifically to denote that an improvement was happening in regards to business practices on the web. “The pretenders are given the bum’s rush, the real success stories show their strength, and there begins to be an understanding of what separates one from the other” (What is Web 2.0?). So when we describe the current state of net art as Net Art 2.0, the idea that it’s somehow an improvement to artistic or aesthetic practices on the net follows.
But, is so-called Net Art 2.0 a progressive upgrade? Does it add any new features? Does it solve problems that previous net artists ignored? Are there hidden regressions? Is it correct to even think of art history in terms of progression?
If we really want to give net art a number, just call it Net Art 2 — as in the sequel. Otherwise, M.River and I are going to launch Net Art 2.5 in a private beta, and you’ll need to email us for an invite.
(note, there's already a touch of discussion about this over on AFC)
