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
Re: Naked Code
I'm curious what grants made this a requirement... I think Eyebeam
does for their residencies, are there others?
I think it's a great thing. I've never been a funder of art, but I
would guess that folks that run organizations that fund art see their
mission as a sort of way to make a gift to the culture at large. They
fund artists, dancers, writers and etc so that works get made and
enter the culture. If one is funding new media, one way to have this
gift make even more of an impact is to require that any software
developed for the project becomes open source.
There is a downside however. New media artists are a crafty lot.
Sometimes their work has multiple purposes; software developed under a
grant from a cultural institution could be a seed to build a business
venture or vice versa. Perhaps this business venture would require
that the code be closed, if that is the case then you could exclude
some very talented programmers and artists from the grant procedure.
It's good that some new media funders are requiring it, but it
shouldn't be everyone. Creative Capital doesn't require it and I don't
think the Rockefeller new media grant requires it either.
On 2/22/06, Jason Van Anden <jason@smileproject.com> wrote:
> Does anyone else get a bit creeped out by being required to expose their
> code in order to receive financial support?
>
> I recently decided against applying for a few new media grants because of
> they required that the code/technology be open sourced. Please don't assume
> that I am suggesting that open source is a bad thing. Its the requirement
> that I find a strange and upsetting trend.
>
> Jason Van Anden
> http://www.smileproject.com
--
<twhid>www.mteww.com</twhid>
ajax redux
Found this recently:
http://tinyurl.com/a2t59
Which has a really concise definition of Ajax:
Asynchronous JavaScript And XML, or its acronym Ajax, is a Web
development technique for creating interactive web applications. The
intent is to shift a great deal of interaction to the Web surfer's
computer, exchanging data with the server behind the scenes, so that
the entire Web page does not have to be reloaded each time the user
makes a change. This is meant to increase the Web page's
interactivity, speed, and usability.
Just thought it might be helpful for people.
Best,
--
<twhid>www.mteww.com</twhid>
Re: Fwd: Wappening #2
Good point.
But I would say that a wappening (web happening) would be a sub-genre
of this larger networked fluxus thing. Maybe we should just call it
Fluxus Praxis v11 (pulled that version # out of my lower hole).
On 2/10/06, Sal Randolph <sal@highlala.com> wrote:
>
> I actually liked Lee's term for it just fine: web happening
>
>
> On Feb 10, 2006, at 1:51 PM, Marisa Olson wrote:
>
> > Hmmm.... I think the term "net.flux" (aside from using the ill-fated
> > middle-dot--very 1.0:) also requires "'special' knowledge some contend
> > one needs to appreciate some forms of contemporary art," in order to
> > be appreciated.
> >
> > What's wrong with "net performance"? To me, that's what this is & what
> > MTAA has done, in same/different ways. It's open & clear. And I love
> > that it points out the fact that the internet can be used in online &
> > offline performance...
> >
> >>
> >> Also we need to coin a phrase for this type of work (MTAA has also
> >> made work along these lines): net.flux anybody?
> >>
> +
> -> 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: Fwd: Wappening #2
On 2/10/06, T.Whid <twhid@twhid.com> wrote:
>
> >
> > I can feel the heroic excitement you must have felt at seeing the kid.
> > Did you say something epic to him?
I said "put your coat on." He was really happy to see me and looked
like he was going in for a hug, but at the last minute got
embarrassed. We settled on a handshake.
> >
> > Marisa
> >
> >
> > On 2/10/06, T.Whid <twhid@twhid.com> wrote:
> > > Hi all,
> > >
> > > I made it. I had a strange sort of elation when I exited the subway
> > > and saw him still standing there freezing and knowing that I had his
> > > salvation bulging in my coat pocket.
> > >
> > > Lee's pieces along this line are a weird sort of flash anti-mob where
> > > only a few 'in-the-know' even know there's art happening. A sly
> > > statement on the 'special' knowledge some contend one needs to
> > > appreciate some forms of contemporary art?
> > >
> > > Also we need to coin a phrase for this type of work (MTAA has also
> > > made work along these lines): net.flux anybody?
> > >
> > > On 2/10/06, Sal Randolph <sal@highlala.com> wrote:
> > > > I'm getting ready to head over there, but is anybody closer? It
> > > > would take me 45 min or so to get there.
> > > >
> > > >
> > > > On Feb 10, 2006, at 12:34 PM, Marisa Olson wrote:
> > > >
> > > > > These are some of Lee Walton's best projects...
> > > > >
> > > > > Will someone in NY please get to the 23rd street NRW & give this dude
> > > > > an orange? :)
> > > > >
> > > > > ---------- Forwarded message ----------
> > > > > From: Lee Walton <lee@leewalton.com>
> > > > > Date: Feb 10, 2006 9:15 AM
> > > > >
> > > > > FRIDAY, FEBRUARY 10TH 2006
> > > > >
> > > > > Greetings,
> > > > >
> > > > > At this very moment Rob Bohn is standing on a corner in NYC and
> > > > > desperately
> > > > > needs your help.
> > > > >
> > > > > http://www.leewalton.com/
> > > > >
> > > > > Utilize your vast networks and resources. He is depending on you...
> > > > >
> > > > > +
> > > > > -> 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
> > > > >
> > > >
> > > > +
> > > > -> 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>
> > >
> > > +
> > > -> 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>
>
--
<twhid>www.mteww.com</twhid>
