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
Re: World of Art Award
PS, never heard of World of Art Mag but their web site is horrible:
http://www.worldofartmagazine.com/
On 9/9/06, catforster@netscape.net <catforster@netscape.net> wrote:
> I submitted to a call posted on Rizome and recieved email that I had recieved an award which included on line gallery placement for a year. Soon after this notice I recieved email regarding participation in an art book, this time a $ contribution was required. Does anyone know the publisher Peter Russu? or the publication World of Art Magazine?
> +
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
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> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at http://rhizome.org/info/29.php
>
--
<twhid>www.mteww.com</twhid>
Re: Charlie puts NMA's down...
technology. The technocrats and scientists will always be ahead...
with the technology. (Though Golan Levin is working with one of the
top people in eye-tracking and face recognition at Carnegie-Mellon.)
Anyway, the 'thought-provoking" part of his statement is complete and
utter bullshit. Google Earth is cool and thought-provoking but you
don't need gee-whiz tech to be a thought-provoking artist. I think
that would be abundantly obvious to everyone.
On 8/17/06, marc <marc.garrett@furtherfield.org> wrote:
> Wow - and now we have Charlie Gere putting us all down.
>
> "So are artists at the cutting edge of new-media technology? No, says
> Charlie. One of the problems is that other stuff on the net is so much
> more mind-blowing. A site such as Google Earth is so much more awesome
> and thought-provoking than something an arty hacktivist can knock up on
> her PC."
>
> I would love to have an open discussion with him about this stuff this
> on-line.
>
> http://feeds.feedburner.com/~r/mtaa/~3/13468813/the_times_uk_does_new_media.html
>
> Also check rhizome front page...
>
> Thanks Charlie, we love you two ;-)
>
> marc
>
> --
> Furtherfield - http://www.furtherfield.org
> HTTP - http://www.http.uk.net
> Node.London - http://www.nodel.org
>
> +
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
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> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at http://rhizome.org/info/29.php
>
--
<twhid>www.mteww.com</twhid>
New media art shouldn't suck
AFC has a good post today
<http://artfagcity.blogspot.com/2006/08/new-media-why-it-doesnt-suck-part-two.html>
about the realities of new media artists crossing-over into the larger
art world. Here's the bit that should be common sense to new media
artists (but often isn't):
+++
AFC quote:
Unlike many professions, there are a great number of people within the
art world who could give a shit about the Internet. [
MTAA in NYT
<
http://www.nytimes.com/2006/08/05/nyregion/nyregionspecial2/06njarts.html?p=
agewanted=print
>
See the last 2 paragraphs, we're referred to as Mr. Sarff and Mr. Whidden.
Our cover is officially blown... hahaha
+++
Tristate Talent Search Hits a High Note By BENJAMIN
GENOCCHIO<http://query.nytimes.com/search/query?ppds=bylL&v1=BENJAMIN%2=
0GENOCCHIO&fdq=19960101&td=sysdate&sort=newest&ac=BENJAMIN%20GENOCC=
HIO&inline=nyt-per>
Think "American Idol" meets the art world meets "The Apprentice" and you
have an idea of "Aljira Emerge." The competitive professional development
program, along with the subsequent exhibition, is sponsored by Aljira, a
23-year-old alternative gallery in Newark.
This is the seventh Emerge, and in the past the shows have sometimes been
maddeningly unfocused. This year's show, though, pops with playful and
catchy artwork by 40 artists, selected from about 200 submissions. It is
better than anything that has come before
Re: dot.com implosion killed net art?
These are very good points. They were sort of drifting around in the back of
my head as I wrote the post about the relationship of the dot.com frenzy to
net art's development.
Back in the dot.com days corps were flush, over-staffed & poorly managed.
This led to a good environment for working on one's own creative projects.
One would have lots of time on one's hands while in the office, lots of
resources (computers, bandwidth, software) and no one keeping an eye on you
:-)
On 7/30/06, Jim Andrews <jim@vispo.com> wrote:
>
> i wonder how economic factors affect art in different places. for
> instance,
> in large cities, where everything is so expensive, i wonder if the 'value'
> (in the broadest sense) of something like net art is more inflected with
> economic associations than in smaller places. if an art does not or cannot
> establish an explicit economy of the art object and, further, the economic
> culture (dot com industry in this case) tanks, people in larger cities may
> find the art increasingly difficult to fund even indirectly, and this
> diminishment in the economic value of the whole activity results in less
> involvement all round in the art. which brings about also not simply a
> diminishment in the economic 'value' of the activity but a subjective
> change
> in the perceived 'value' of the art or activity.
>
> whereas in smaller places, where it's sometimes more possible to do things
> that aren't necessarily funded (if anything at all is to be done), the
> economic state of the art is not as influential. and people in smaller
> places can mistake the influence of economic imperative in larger cities
> for
> shallow, fickle fashion-mindedness whereas it's mostly people going where
> there are at least a few dollars to pay the rent and get paid for work in
> places that are outrageously expensive and, even at the best of times,
> artists have to spend more time paying the rent than making art.
>
> and, in smaller places, the big city collectors, curators, publishers,
> patrons and gallerists etc are more or less out of reach anyway, ie, that
> 'economy' is 'irrelevant' to getting on with things, is no help. and,
> similarly, in the big cities, notions of the value of art that are not
> predicated on some sort of pseudo economic market value are insupportable
> by
> the above logic.
>
> or am i all wet on this?
>
> also, compare the 'economy' of visual art with literary art. ezra pound
> once
> remarked 'It's true there's no money in poetry. But, then, there's no
> poetry
> in money, either." the ragged 'economy' of poetry trades in things like
> teaching positions and who publishes your work and who writes about it,
> not
> at all in the monetary worth of the work itself, because everybody is
> penniless in that regard.
>
> ja
> http://vispo.com
>
>
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>
--
<twhid>www.mteww.com</twhid>
