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
holy shit: MASS MoCA - it ain't art but if it is, we're co-authors
http://www.clancco.com/art_law/mass_moca_counterclaims_arguing_buchel_proje=
ct_is.html
The most elucidating part of MASS MoCA's defense is predicated on
affirmative defenses that should arouse suspicion and distrust on the part
of any visual artist toward any cultural institution. Out of the twenty-nine
affirmative defenses, MASS MoCA is claiming that Buchel's counterclaims a=
re
barred because "the materials that are the subject matter of [Buchel's]
Counterclaims do not contain sufficient original expression on the part of
Buchel to be protected under the [U.S.] Copyright Act."
Alternatively, MASS MoCA argues that Buchel's counterclaims are barred
because MASS MoCA is "a joint owner of any copyright in the Materials which
are the subject matter of Buchel's counterclaims."
More alarming is MASS MoCA's argument that they are the lawful owners of the
materials which are the subject matter of this dispute, and thus allowed to
display them publicly.
But this isn't the end of this wonderful yarn of fiction. MASS MoCA further
argues that Buchel's work is not even art, but simply a compilation of
materials which, if accepted by the Court, would not be granted protection
under the Visual Artists Rights Act of 1990 (VARA). If in fact the Court
decides that VARA does apply, MASS MoCA argues that any modification to the
"materials" which may have happened is allowed by VARA under the
"conservation or placement" exception, and/or that the doctrine of "fair
use" would allow MASS MoCA to display Buchel's project without infringing
the Copyright or VARA Acts.
anybody else seen this: http://www.mrpicassohead.com/
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<twhid>www.MTAA.net</twhid>
Rushkoff on 'crowdsourcing'
*Douglas Rushkoff:* Well, I haven't used the term crowdsourcing in my own
conversations before. Every time I look at, it rubs me the wrong way.
*Q: Why is that?*
*A:* I understand crowdsourcing as kind of an industrial age, corporatist
framing of a cultural phenomenon. There's human energy being expended here.
A company can look at that as either a threat -- to their copyrights and
intellectual property or as some unwanted form of competition -- or, if they
see it positively, then they see it as almost this new affinity group
population to be exploited as a resource.[...]
*http://www.wired.com/techbiz/media/news/2007/07/crowdsourcing*
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<twhid>www.MTAA.net</twhid>
(Q&A) Your Assignment: Art
A curator of crowdsourced art talks about new media projects and how crowds
produce and present art.
Eyebeam featured on Microsoft's Channel 10
"Channel 10 is a place for enthusiasts with a passion for technology.
Through a world-wide network of contributors, Channel 10 covers the latest
news in music, mobility, photography, videography, gaming, and new PC
hardware and software."
They also happen to cover a lot of MS tech... ;-)
See the Eybeam bit here:
http://on10.net/Blogs/laura/eyebeam/
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<twhid>www.MTAA.net</twhid>
