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
lecture by media artist John Simon Jr.
For those in NYC:
School of Visual Arts
Digital Fine Art Lecture
Monday, November 21, 6 - 8pm
133 West 21st Street, 10th floor
Free and open to the public.
The MFA Computer Art Department hosts a lecture by digital media artist John Simon, Jr.
And that's all I know. Perhaps the SVA web site has more info?
MTAA
Tell Us What To Do!
MTAA's "10 Pre-Rejected, Pre-Approved Performances"
(http://www.mteww.com/approve/index.php) is a project that allows you,
the dirty mob of the unwashed Internet public, to decide what
performance we do for an upcoming show!
Break down the clean, white walls of the rarified New York gallery
world by telling us, MTAA, the elitist NYC net art snobs, what to do
(via a simple on-line form)!
It's fun! Go there now and vote! http://www.mteww.com/approve/index.php
It's easy! Go there now and vote! http://www.mteww.com/approve/index.php
It's anti-establishment! Go there now and vote!
http://www.mteww.com/approve/index.php
You get to pick from a selection of 10 titles and descriptions. Your
choice is the performance we'll complete! The curator of the show and
gallery directors have already agreed! The best part? All these ideas
have already been rejected by other curators! Haha!
MTAA's "10 Pre-Rejected, Pre-Approved Performances" will be exhibited
at Artists Space (http://www.artistsspace.org/) in a show entitled "We
Are All Together: Media(ted) Performance" curated by Marisa Olson
(http://lifeofmo.blogspot.com/), which is in turn part of Empty Space
With Exciting Events
(http://www.artistsspace.org/exhibitions/
current_exhibition_bottom.html) which is itself presented in
partnership with Performa '05 The Performance Biennial
(http://05.performa-arts.org/). (Damn the NYC gallery world is
complicated
Re: Conceptual Art
Eryk Salvaggio wrote:
> Joe and Curt,
>
> Might I take a stance in defense of conceptual art?
>
Re: Re: box car willie + cool experiment
> a cool experiment
>
> watch this only once. count the number of times the people in white
> shirts pass the ball.
> http://viscog.beckman.uiuc.edu/grafs/demos/15.html
the guy in the gorilla suit?
:-)
oops, guess i ruined it for everyone else.
>
> then continue reading this ...
>
Re: Re: Re: Re: Re: NYT review of ArtBase 101
But your response it totally off-the-wall. There is no anti-boxer arg. There is a pro-critical response arg. She didn't say enough in the review to really respond to, I'm responding to her lack of any critical approach what-so-ever and general 'lifestyle'-style of the writing.
NYTimes and any other publication: give us a serious crit damnit! Not this fluffy infotainment.
As I wrote to Lewis (which he seemed to misunderstand), I want an engaged viewer, not a viewer that might as well be browsing t-shirts at the mall. I'll take what I can get as far as an audience goes, but a reviewer? At least a reviewer should be engaged.
Plasma Studii wrote:
> philip
> >> I suppose one can be an artist and do the work and not care a whit
> >> for the audience's experience. But don't blame the audience, or
> the
> >> critic, if they click a few times and then walk away. It's not
> their
> >> fault. It's yours.
>
> others
> >both [pieces] expect you to keep running the concept in your head
> long after
> >you're gone, something I'm not sure the reviewer is capable of.
>
>
>
>
> philip gave a mature answer. the reply isn't at all unique to any
> individual but hardly a useful attitude. who knows why there is a
> faction of computer artists bent on self-destructive (and thus
> destructive to the rest of us) pouting. but after 10+ years of
> computer art, it's pretty clear why it still isn't ubiquitous. cell
> phones, GPS, iPods, ... all took off after about 3 years, and we're
> still here bickering with some sort of teenage angst ("they just
> don't understand!"), rather than fixing what we do.
>
> pretend the anti-boxer argument is right for a moment. pretend boxer
> really is dumb. audiences really can't handle these heavy concepts.
> where does that leave us? still with no one but ourselves
> interested. art funding diminishing anyway, ours being a
> particularly expensive practice, we're looking at a potentially
> dismal future, as long as we keep it up.
>
> instead of arguing against these critiques, focus on improving our
> situation.
>
> boxer's review has some helpful ideas philip clearly found in it. if
> you just can't find anything useful in the review yourself, no reason
> to dwell on it. drop it. but submit a constructive idea from
> somewhere else then. he can't be the only adult on this list?
>
