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
I like it.
've had very, very similar ideas to this -- specifically an update to L.H.O.O.Q. with the face pixeled out -- but either through laziness or some other factor never got around to making 'em. Guess I'll forget about those ideas now ;-)
DRAWING IN THE AGE OF INFORMATION
http://philip.greenspun.com/business/internet-software-patents
YES & NO
MTAA made some web art and we're saying we made it in 2008.
You can see and hear it here:
http://mtaa.net/yes_no/
Feedback appreciated, not certain the tech is up to par (might play back a tad glitchy).
Best,
T.Whid
http://mteww.com
http://mtaa.net
http://mtaa.net/mtaaRR/
DRAWING IN THE AGE OF INFORMATION
re: artistic processes
Is there an 'artistic process' ?? Something that can be used only exclusively for the making of art? I can't think of one... Even something as clearly defined as 'art' as oil painting. For example, the process of mixing pigment with linseed oil may be used to create paint that a fine artist uses or for a wall painter. If you expand the definition further: mix pigment with linseed oil and apply it to a light-weight canvas stretched over a frame -- then that's something that a fine artist could use, but a sign painter could use it as well.
I guess my point is that to speak of someone trying to patent an 'artistic process' is a bit of a straw-man. Perhaps it's just a quibble as I could see how someone could attempt to patent a process that is extremely important to artists without that process being exclusively an 'artistic process.'
But when you imagine someone trying to patent the process of oil painting -- and the enormous problems *that* would have caused -- then one can see why artists are somewhat outraged by the idea of patents on processes that could hinder their activities as artists. But as Phillip pointed out, most of us are using formats and processes that are patented. The restrictions are somewhat invisible to most of us as we get licenses to use these processes when we buy software and computers. (Except for the hardcore FOSS users -- and even that is arguable.)
I'm curious, does anyone know, if oil painting were invented today, could it be patented? (Imagine that the only prior art is what existed when oil painting was invented -- egg tempura, fresco, etc)
DRAWING IN THE AGE OF INFORMATION
re: artistic processes
Is there an 'artistic process' ?? Something that can be used only exclusively for the making of art? I can't think of one... Even something as clearly defined as 'art' as oil painting. For example, the process of mixing pigment with linseed oil may be used to create paint that a fine artist uses or for a wall painter. If you expand the definition further: mix pigment with linseed oil and apply it to a light-weight canvas stretched over a frame -- then that's something that a fine artist could use, but a sign painter could use it as well.
I guess my point is that to speak of someone trying to patent an 'artistic process' is a bit of a straw-man. Perhaps it's just a quibble as I could see how someone could attempt to patent a process that is extremely important to artists without that process being exclusively an 'artistic process.'
But when you imagine someone trying to patent the process of oil painting -- and the enormous problems *that* would have caused -- then one can see why artists are somewhat outraged by the idea of patents on processes that could hinder their activities as artists. But as Phillip pointed out, most of us are using formats and processes that are patented. The restrictions are somewhat invisible to most of us as we get licenses to use these processes when we buy software and computers. (Except for the hardcore FOSS users -- and even that is arguable.)
I'm curious, does anyone know, if oil painting were invented today, could it be patented? (Imagine that the only prior art is what existed when oil painting was invented -- egg tempura, fresco, etc)
