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
What?
To expand...
There were lots of arguments back in the day about what net art should mean. Some folks, including MTAA, argued that the web is a procedural medium -- the process of communication, collaboration and interaction with the net as the mechanism was what net art should be about. Some argued that it was mostly visual (Curt Cloninger being a good example) -- that the experience a viewer had on their computer screen was what counted and the net (or web specifically) was usually just used as a delivery vehicle (but a pretty cool vehicle in itself we'd all agree).
I preferred to call the latter web art or browser art as it usually occurred in the browser and used web technologies. Lots of folks interested in procedural net art went on to investigate other networks, not just the Internet.
The funny thing is IMHO, is that the "2.0" world has proved both camps correct. The proceduralists can look at the web 2.0 and point to how everything is networked and mashed-up, every web site worth it's salt has an API, everything is about collaboration, communication, user-gen content, etc. Whereas the visualists can look at Flickr, YouTube, etc and point to how it's all just used as a delivery mechanism for different visual & aural media.
We're both right now. Funny.
What?
After all, the simple net art diagram is even more relevant today :-)
+++
meta-notes while I'm here....
Can we not autostart videos in discussion threads? Not to say that you shouldn't do it in the Discuss section of Rhiz, but refrain in a thread that is majority discussion. It's really annoying. Just start a new thread if you want to post autostart videos.
Patrick May, preview please? please, a preview function.
What?
M.River and I are already working on Net Aesthetics 2.2 so you should really wait until we release that to upgrade BTW.
What?
Eryk makes a very good point.
Posting images to a web gallery isn't all that interesting from a new media perspective. It's nice that anyone with the proper equipment can see them, but the real value resides in each individual photo. Add an RSS feed with photo enclosures and it becomes a bit more interesting. Add multiple contributers and it becomes even more interesting. Once you reach a certain critical mass, the individual value of each photo isn't that important, the combined value of the stream is what is interesting, valuable and important.
Part of what's different in the new net art climate is that the structure of the web itself has changed pretty dramatically. In the mid-90s/early aughts the technical bars to a real collaboration were pretty high. Now with Wordpress, Flickr, YouTube, RSS, etc, etc it's the default method of working. These sites and technologies provide better mechanisms for cross-pollination, mash-ups, mixes and things like Eryk's "No One."
I wouldn't go so far as to say everyone's an artist. Everyone's a media producer, for certain. But the real thrill of this stuff isn't an individual video of some fat, lonely kid singing a techno-pop song (well... it could be for a minute). It's the fact that it seems like everybody's doing it. There's so damn much of it. It truly is the visualization of the collective hallucination that is contemporary (networked) culture. Artwork that can someone capture that gestalt I find very interesting.
