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
Brush-off
Meaning, from artists individual POV a negative public crit of a current show could be worse for the artist, on a whole, than whatever enlightenment they might get from the crit. I understand the original might not be as clear as I intended, but for all the comments that came after and before, anyone that wanted to honestly construe my true meaning could have done so. But you continue to intentionally mis-characterize and quote it out of context.
Plus, even as you intentionally misread it, I tried to clarify with this: "I think there should be more objective criticism in the art world."
But you continue to harp on that one phrase.
Why do start this supposed discussion with an insult if you really want an honest conversation?
Brush-off
There's you trying to mis-characterize my remarks out of context and me vigorously setting you straight.
You said "[t.whid says] the negative effect of criticism on an artist's market outweighs the positive effects of criticism."
No I didn't. I said "I think there should be more objective criticism in the art world."
You toss out a snarky comment and then try to pretend there's a discussion taking place at some loftier level. There isn't. I see your remark about my comments on your blog as a deliberate misreading intended to make it look as if I'm against healthy discussion in the art world. It's an insult.
Why you do this, I don't know. But don't pretend that you weren't flinging some feces in my direction and act above it.
Brush-off
But if a negative review is directed at me, I'm not going to like it. So yes, of course it depends on who's smacking and who's getting smacked. I don't see how an artist could see it any other way.
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At no time did I say that critics should shut up in order to protect an artist's market. That is total bullshit.
I'm angry that you forced me to go back through your very unorganized blog to find the comments you are characterizing negatively here.
Here's the thread:
http://www.digitalmediatree.com/tommoody/comment/41091/
People can make their own decision about what I said, but here's some actual quotes not the BS you're trying to put in my mouth:
"Everyone should feel free to publicly give their opinion on an artist's work. But be prepared to defend your remarks and don't expect the artist to be happy about it. I'm just stating the obvious..."
"The critic's purpose is to crit & publish those crits. The artist's purpose is to create and exhibit those creations (and sell them). The critic may hinder the artist's purpose. When that happens, the artist isn't happy... is that a surprise?"
"Of course critiques can sometimes be helpful, but public critiques of an artist attempting to market their work? The negative probably outweighs whatever positive comes of it. I suppose that's to be judged on an individual basis. I'm not accusing critics of being hostile, just doing what they do. To me it's similar to the legal system -- it's adversarial. Both critics and artists have their jobs."
At the time you tried (and failed) to characterize my remarks as somehow being against criticism. Artists are pissed by bad reviews (is this a surprise to anyone?). That's all I was saying and am completely mystified as to why there is any discussion about it.
You seem to naively think that every artist should be happy to hear everyone's opinion about their work all the time.
