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: Re: Re: Re: NYT review of ArtBase 101
On Jul 1, 2005, at 12:20 AM, Lewis LaCook wrote:
> So we only make art for other artists?
>
>
>
> --- "t.whid" <twhid@twhid.com> wrote:
>
>
>> Lewis LaCook wrote:
>>
>>
>>>
>>> If the art can't engage a casual user, what's the
>>> point?
>>>
>>
>> To engage an engaged viewer.
Re: Re: Re: NYT review of ArtBase 101
>
> If the art can't engage a casual user, what's the
> point?
To engage an engaged viewer.
Re: Re: Re: NYT review of ArtBase 101
I think that Marisa's initial post summed up my thoughts on the review fairly well. But Philip's points are a bit off-base IMHO. below:
Philip Galanter wrote:
<snip>
>
> Boxer's focus on time is, I think, quite telling. I suspect that a
> good number of internet artists started out as primarily visual
> artists, and have somehow underestimated how much internet art is in
> fact a *time* art, and how important that is.
>
> You can see this in the classroom everyday. Student painters or
> photographers who decide to take up video are usually (at least at
> first) bad at editing. By bad I mean really terribly awful.
> Narrative is fragmented and incoherent and then defended in class
> critique as some kind of "higher" fine art aesthetic rather than
> being called what it is...bad filmmaking. Interminable static shots
> are the norm. Fade to credits never comes soon enough. And so on.
> The artist's infatuation for his/her own images becomes the audiences
>
> burden.
I can't argue with your point that many video or other time-based artists have a horrible sense of time in their work. There was one of the Cremasters, can't remember which one, that made me want to murder Mr. Barney. But equating the work in the ArtBase show with innane student video does a whale of a whopping disservice to the work in the show.
Two of the artworks she takes to task for consuming too much of her time are "Every Icon" and MTAA's "1 Year Performance Video." Both of these pieces have time as a significant element in the work in very deliberate and (if I do say so myself) effective ways.
To brush off Simon's "Every Icon" with, "I don't know about you, but I don't have that kind of time," isn't just dismissive, it's just plain ignorant. Yes I suppose we can all have a chuckle over her oh-so-sparkling bit of snark, but Simon's piece is a sublimely beautiful conceptualization of computational time; it's gets to the very core of how computers and humans are different in a very physical way. It deserves a serious observation but its essence seems to have completely flown over the airhead reviewer.
>
> These problems become multiplied when fine artists turn to the
> internet as a new medium. That time counts shouldn't be a surprise.
You seem to be making general points that you might make to your students. It comes off a bit condescending since you're referencing a specific show and a specific review of it.
I can't think of one artist in the show that seems to have been caught off-gaurd by that whole time thing. If there is one, please clue me in.
>
> It is the rare work of music or film or stage that asks the audience
> to take a leap of faith, to struggle through the entire work without
> satisfaction along the way, just to get to a big payoff at the very
> end. Music frequently begins with the introduction of compelling
> themes that give the listener an incentive to go further. Good films
>
> not only end well, but give the viewer rewards all along the way.
> How much internet art does this?
Short answer: lots. But using cinema as an example misses the point of most of the work.
>
> I've seen far too many examples of internet art that seem to
> disregard the element of real time, and thereby ignore or
> miscalculate the experience of the audience. To be sure the
> nonlinear nature of much internet art makes the compositional
> problems of pacing exponentially more difficult. But that's no
> excuse...that's exactly the challenge the artist has willingly taken
> on.
>
> 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.
As a general point, of course you're right. But as a specific point to this specific exhibition it just doesn't hold up. Most of the work isn't particularly musical or cinematic in the show. "Every Icon" and "1 Year Performance Video" are more or less linear in their time-based component, but neither of the pieces expects a viewer to keep watching.. and watching.. and watching. Both expect you to get the idea and then move on. *But* both 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.
NYT review of ArtBase 101
http://www.nytimes.com/2005/06/28/arts/design/28rhiz.html?
Please discuss...
===
<twhid>http://www.mteww.com</twhid>
===
