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
nice: HTML as graph
I think the title is a little misleading as you think of a website as a
collection of HTML docs. What this tool does is let you look at the
structure of an HTML doc in a graph(-ical) way.
--
<twhid>www.mteww.com</twhid>
Re: Another Little ITPerson birth
On 5/24/06, nathaniel <nathaniel.stern@gmail.com> wrote:
>
> Nicole Ridgway and Nathaniel Stern had a little girl! Forward at will!
>
> http://nerdtobe.net
> Sidonie Ridgway Stern, born 23 May 2006.
>
> nathaniel
> http://nathanielstern.com
>
--
<twhid>www.mteww.com</twhid>
Re: Re: Re: Re: Re: Re: Commission Voting: Finalist Ranking
that little sentence. d'oh!
We'd like to make an uber-net.art project (just because we like the word:
"uber") but we're lazy and drink too much.
blech,
t
On 5/8/06, curt cloninger <curt@lab404.com> wrote:
>
> t.whid wrote:
> > An exploration of visual design, animation and non-linear interaction
> > within
> > the web browser with an eclectic and sometimes absurd subject matter
> > culled
> > from the vagaries of the artist's interest in pop cultural flotsom,
> > the news
> > of the day and niche science.
>
> "Niche science" is good because I don't know what it means. Sounds like
> it might have something to do with folksonomies, so I'm in. Still, you s=
ure
> you can't throw in some podcasting, blog culture, or at least a couple of
> surveilance cameras to sweeten the deal?
>
> I challenge MTAA to make the uber-net.art project -- a single net artwork
> simultaneously about all of the following topics:
> http://deepyoung.org/current/dyskonceptual/
>
> your affectionate uncle,
> screwtape
> +
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> -> 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: Re: Re: Re: Commission Voting: Finalist Ranking
Some notes below:
On 5/8/06, curt cloninger <curt@lab404.com> wrote:
>
>
>
> ++++++
>
> No pretty web visuals like http://oculart.com
IMHO pretty should never be funded, beautiful, yes; handsome, perhaps;
pretty, no.
No funky reactive softwares like http://www.re-move.org
funky? I'm unsure if it should be funded, but probably.
No absurd non-linear narratives like http://www.superbad.com
absurd should, of course, always be funded.
What would the "project description" of superbad be? "It's this place that
> links kind of like a labyrinth and there's a story about bees and turkey
> necks and Captain America and... nevermind." What would the "project
> description" of oculart be? "It feels kind of like Lautrec on
> absinthe-soaked mushrooms and... nevermind."
>
> The structure of the call for proposals acts as a major filter, which is
> unavoidable and perhaps desirable. I'm just foregrounding the kind of wo=
rk
> that gets filtered.
I really can't agree with this. If someone wanted to do a superbad-ish site
I think it could be easily described with visuals/examples/etc backing up
the bits that are difficult/impossible to describe.
Quick one sentence:
+++
An exploration of visual design, animation and non-linear interaction within
the web browser with an eclectic and sometimes absurd subject matter culled
from the vagaries of the artist's interest in pop cultural flotsom, the news
of the day and niche science.
+++
I'm no writer. Is it so hard?
best,
> curt
>
>
>
> Jim Andrews wrote:
>
> > I'm curious about what sort of art gets voted for.
> >
> > I haven't gone through the finalist list yet. Plan to, though, over
> > the next
> > few days.
> >
> > Has anybody done so and have any pithy obs on the type of things that
> > got
> > voted for?
> >
> > One may ask quite validly, as Marc has, what voting does for a
> > community,
> > but I confess I am less interested in community than I am in art, am
> > more
> > interested in what voting supports as art.
> >
> > ja
> > http://vispo.com
> >
> >
> >
> +
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> -> 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: Re: Re: Commissions
to be just a brief synopsis, aren't people supposed to go see the web site
proposals? Which could (and probably should) provide examples, images,
videos, whatev of work.
The problem is that most of the proposals aren't even intriguing enough to
click on them! If one has some visuals that are integral to the proposal
(which many probably should) then one should make it obvious in the initial
blurb: "You really need to see my visuals! CLICK HERE" If one doesn't, then
one is failing on two very basic levels: 1) understanding their own work and
2) making me understand it.
Just because one's work is overwhelmingly visual doesn't mean you can't
describe it interestingly. Make me want to find out what you do instead of
put me to sleep.
On 4/27/06, curt cloninger <curt@lab404.com> wrote:
>
> ryan griffis wrote:
>
> > i'm also wary of the "the art world favors conceptual artists who use
> > critical theory" complaint.
>
> Not the entire art world. And not grant programs (most of them) where
> previous work samples are required and integral. Just ". And not
> "conceptual artists who use critical theory." Just "conceptual art
> projects."
>
> > if you want to make work that functions in the "market" (i.e. "attention
> > economy") well, you shouldn't need grants for that. Your work is either
> > "successful" or it's not, based on its sheer ability to grab people, or
> > not.
>
> True dat. And to make outsider art, all you need are some broken shards
> of glass and/or some rusty bicycle parts.
>
--
<twhid>www.mteww.com</twhid>
