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: Fwd: Wappening #2
> 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...
We really need something more catchy. Buzzwords and buzz rhetoric
(like labeling things other than software with version #s) are good
because folks get the meaning and understand them in a way that's
exciting to them. OK, i know, net.flux sounds like some sort of
software you run on your server to clean out viruses or something. But
I see lots of Lee's stuff to be very much based in the particular area
of performance embodied by fluxus.
BTW, does anyone have the flux.us domain yet....?
BTW2, M. mentioned on the mtaa-rr that Lee calls them 'micro performances'
>
> I can feel the heroic excitement you must have felt at seeing the kid.
> Did you say something epic to him?
>
> 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>
Re: Fwd: Wappening #2
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>
Re: Net Aesthetics 2.0 Panel
On 2/8/06, Sal Randolph <sal@highlala.com> wrote:
>
> Some interesting things that came up during the panel:
>
> -- Outsider Imagery -- The widespread influence of what one of the
> artist's (Michael Bell-Smith) called 'internet folk art' -- animated
> gifs, avatars, personal blogs, home pages, mashups, game sprites,
> etc. All of the individual quirky production of gazillions of
> internet users. If you include webcams in that list, then all of the
> artists on the panel used some of these elements and aesthetics.
>
> -- Nostalgia -- Caitlin Jones brought up the question of whether most
> of the work had an aspect of nostalgia for earlier (more utopian?)
> technological times (sometimes just a few years ago) -- all the
> artists resisted this idea, saying pretty much that it was just too
> hard to keep up with the absolute now of the internet, and that using
> aesthetic elements which were a few years in the past was just a side
> effect of this. Despite that, once the idea of nostalgia was in the
> air, it was hard to dismiss.
>
> -- The Sublime -- interestingly the Sublime was somehow connected
> (during the discussion) with being in a gallery (as opposed to being
> online -- is that the mundane?) -- And as MTAA mentioned on their
> blog post ( http://www.mteww.com/mtaaRR/news/mriver/
> rhz_field_trip.html ) there was an amazing mashup on the projector
> for a good long time with the wikipedia entry for the sublime
> interrupted by manic (and gorgeous) jodi.org black and white pop-up
> windows. Sublime indeed. Other candidates for the sublime were
> Marisa Olson's & Abe Linkoln's universal acid videos (which you can
> see at http://www.universalacid.net/ ) , Michael Bell-Smith's video
> Continue (not online, but there's a still at http://
> www.foxyproduction.com/artist/workview/5/169 ) and Cory Archangel's
> classic Super Mario Clouds.
>
> -- Memes -- on the internets, no one can hear you unless you meme.
> Cory Archangel brought up the need for his online work to be meme-
> able, and also the idea that he keeps his internet work what he
> called 'fey' -- meaning that it has to function in the non-art
> context of someone running across it while at work etc. where it's
> "just a website". Internet artworks have to survive without the
> hushed chapel of the gallery, competing with all the other
> information & detritus, and amusement online. One of the strategies
> internet artworks use as a survival tool is to be meme-able.
>
> -- The Game -- to roughly quote Michael Connor "The last thing you
> want to tell somebody is that the Superbowl is just a game -- 'turn
> that off, it's just a game'. Art isn't just a game. It's a
> *game*." Meaning that the fact the art world is a play space, and
> that art is a kind of game doesn't make it any less serious, if
> anything it makes it more serious. I believe he used the word
> 'transcendent'. There's that sublime again.
>
> -- 2.0 -- No one on the panel really thought we were at a 2.0 moment,
> but I wonder if we might be without knowing it. To me the
> interesting element of what's usually called web 2.0 is the shift
> from websites as spaces of presentation towards websites as genuinely
> social spaces. Most of the panelists worked in the (very extended)
> tradition of video, so we didn't really see the other side of net
> art, the really networked, collaborative end of things which is a
> much a part of net art as what might be visible on a screen.
>
>
> >
> >
> > On 2/8/06, Lee Wells <lee@leewells.org> wrote:
> >> Curious to hear what people thought about the Panel at EAI on Monday?
> >>
> +
> -> 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: Rhizome Commissions Program call for proposals
Are there residency requirements?
On 2/8/06, Lauren Cornell <laurencornell@rhizome.org> wrote:
> Please submit, and help us spread the word!
>
> Information on how to submit can be found at the following link:
>
> http://rhizome.org/commissions/
>
> Thanks and best,
> Lauren
>
>
>
> +
> -> 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: Net Aesthetics 2.0 Panel
very good, I would have liked to hear more from Caitlin Jones -- her
co-part, though good, was a bit too talkative, he could have been a
bit more gracious and let CJ talk.
The artist panelists were also good. They all kept it very succinct in
showing highlights of their work. I had one quibble with the panel
makeup in that 3 of the 4 artists had very similar approaches to
making art on the web. I felt there could have been more of a range of
artists.
On 2/8/06, Lee Wells <lee@leewells.org> wrote:
> Curious to hear what people thought about the Panel at EAI on Monday?
>
>
> --
> Lee Wells
> Brooklyn, NY 11222
>
> http://www.leewells.org
> http://www.perpetualartmachine.com
> 917 723 2524
>
> +
> -> 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>
