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
new membership policy
Some of us should settle down a tad.
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permenant link:
http://www.mteww.com/mtaaRR/news/twhid/suggestions\_for\_rhizome.html
First a disclaimer: I
Re: Artist Anti-Defamation League!
Thanks for your comments. A bit of stuff below:
On May 23, 2005, at 5:21 PM, Jim Andrews wrote:
> Some of the writing here is very amusing. I particularly liked the
> 'About
> Us' section.
>
> "Astrid's Work is influenced by the Vienna Actionists of the 1960s,
> who
> expressed themselves by making love in the blood and entrails of
> eviscerated
> bovines. As a Vegan and Animal Rights Activist however, Astrid works
> primarily in Tofurky, Facon, BologNo, and occasionally, Glitter Glue."
>
> The name and bio of 'Bl8antly Obtuse - Aesthetics Czar' is also quite
> amusing.
>
> The site pokes fun both at artists and 'art haters'.
>
> The site design is right, also. A bit 'sloppier' than I associate
> with your
> work, but right for this concept.
MTAA didn't do the design. Bl8antly did it.
>
> I ended up with a feeling of the depressing insularity of art, but
> perhaps
> that was part of the point.
>
> Also, the news items are well-done. They could be true.
Do you mean the blog? It *is* true :-)
Take care,
>
> ja
>
>
>> Artist Anti-defamation League!
>>
>> http://artistadl.org/
>>
>> From the manifesto:
>> Life in this society being, at best, an utter bore and no aspect of
>> society being at all relevant to artists, there remains to
>> civic-minded, responsible, thrill-seeking artists only to
>> overthrow the
>> government, eliminate the money system, institute complete automation
>> and destroy the art-haters.
>>
>> ===
>> <twhid>http://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
> -> visit: on Fridays the Rhizome.org web site is open to non-members
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at http://rhizome.org/info/
> 29.php
>
>
>
--
<t.whid>
www.mteww.com
</t.whid>
Re: New Membership Policy
Posted a bit of a reaction to MTAA-RR:
http://www.mteww.com/mtaaRR/news/twhid/
rhizome\_drops\_membership\_fee\_sort\_of.html
Quoted below:
It's not clear if things fall into the archive automatically after they
are a year old or if everything added before May 23, 2004 goes into the
archive and everything after is out. I assume the former. So there will
be a moving archive deadline I'm assuming.
I was pro-fee when it was proposed, but later changed my mind and
became anti-fee. At first I felt that if Rhizome needed the money, then
a Rhizome behind a fee firewall is better than no Rhizome at all. But
then I realized that the firewall was slowly strangling Rhizome and
urged them to ditch it. Which they've now done. Good!
A small bit of criticism: I don't like the archive idea. It's my
opinion that the text and art archives should be open forever. Rhizome
needs to figure out other services/features that people will pay a
membership fee for, but they shouldn't restrict access to the artbase
or text archives.
Putting my criticism aside, I'll say congrats to all the Rhizome staff
for getting the new policy in place. I'm sure it was a lot of work.
Good job guys!
And now that we've got a fairly substantial hole in the firewall,
perhaps we can tear it down entirely someday :-)
On May 23, 2005, at 12:35 PM, Francis Hwang wrote:
> Just to add to what Lauren said: Some of you may have noticed that the
> website is down for maintenance right now. This is because I'm
> currently doing work to move the website to the new membership policy,
> particularly in transitioning all our current members to the new
> system. Right now the website isn't visible, but email is working, the
> list is working, and all emails through the list are being archived as
> normal. I expect this process to be done by the end of the day.
>
> Francis Hwang
> Director of Technology
> Rhizome.org
> phone: 212-219-1288x202
> AIM: francisrhizome
> + + +
> On May 23, 2005, at 12:18 PM, Lauren Cornell wrote:
>
>> Hi,
>>
>> I am pleased to announce the launch of our new membership policy.
>> Every
>> individual Member should be receiving a dedicated email about this
>> shortly,
>> but I would also like to bring attention to the new policy on the
>> list to
>> get your thoughts and feedback.
>>
>> This change was prompted by a reconsideration of our current
>> membership
>> system. When we enacted a $5 membership requirement in January 2003,
>> we
>> thought that such a policy would balance our need for a stable revenue
>> source with our mission to serve new media arts communities around the
>> world. However, having reviewed Rhizome's usage and subscription
>> statistics,
>> we concluded that our membership policy was stifling wide-scale
>> participation in our online programs. We have rethought and
>> restructured our
>> membership policy to make Rhizome more inclusive, relevant, and open.
>>
>> Under our new policy, anyone, regardless of whether they have donated
>> to
>> Rhizome or not, will be able to post or access Rhizome content from
>> the last
>> year simply by signing up. It's completely free to sign up - all you
>> have to
>> do is register an email address and password.
>>
>> Artworks and texts that are *more than one year old* will reside in
>> the
>> Rhizome Archives. Only Rhizome Members will be able to access the
>> Archives.
>> Members will also be able to maintain a Member Page in the Community
>> Directory, create Member-Curated Exhibits, and use special features
>> such as
>> Advanced Search. In the coming months, we will roll out innovative
>> features
>> to keep our membership program dynamic and worthwhile.
>>
>> All current Members will retain their membership status under the new
>> policy. When your membership expires, you will still be able to
>> subscribe
>> to Rhizome lists and browse the site. But, in order to retain member
>> benefits, you will be asked to renew your membership at an annual
>> level of
>> $25. I hope you will consider continuing your membership at this
>> level.
>> Rhizome is just as reliant on our base of Members for financial
>> support now
>> as ever before.
>>
>> In announcing our new membership, I would also like to acknowledge the
>> vision and work of the Rhizome staff, Francis Hwang, Kevin McGarry and
>> particularly former Executive Director Rachel Greene, who initiated
>> and
>> developed the plans for this new policy.
>>
>> We feel confident that everyone involved with Rhizome will benefit
>> from our
>> expanded availability, and we hope you agree.
>>
>> Thanks for reading this, and thank you for sticking with us as we try
>> to
>> find the best system to support our programs and organization.
>>
>>
>> Yours,
>>
>>
>> Lauren Cornell
>> Executive Director
>> Rhizome.org
>>
>> + + +
>>
>>
>> Rhizome.org is a not-for-profit 501(c)(3) organization. For U.S.
>> taxpayers,
>> contributions to Rhizome are tax-deductible, minus the value of any
>> goods or
>> services received, to the extent allowed by law.
>>
===
<twhid>http://www.mteww.com</twhid>
===
Artist Anti-Defamation League!
http://artistadl.org/
From the manifesto:
Life in this society being, at best, an utter bore and no aspect of
society being at all relevant to artists, there remains to
civic-minded, responsible, thrill-seeking artists only to overthrow the
government, eliminate the money system, institute complete automation
and destroy the art-haters.
===
<twhid>http://www.mteww.com</twhid>
===
Re: Art, Money and Power - NY Times
On May 11, 2005, at 7:42 AM, Lee Wells wrote:
> http://www.nytimes.com/2005/05/11/arts/design/11kimm.html?
> adxnnl=1&8hpib=&ad
> xnnlx15811634-A7o//EEQ3LDVrIFnlEsOiw
> -----------------------------------------------------------------------
> -
> May 11, 2005
>
> Art, Money and Power
> By MICHAEL KIMMELMAN
>
> We had "Sensation" at the Brooklyn Museum, a gift to Charles Saatchi,
> whose
> collection it advertised, and shows at the Whitney of artists (Robert
> Rauschenberg and Agnes Martin come to mind) virtually packaged by the
> gallery that represents them. The Museum of Fine Arts in Boston has
> been
> renting its Monets to a casino in Las Vegas, while the Guggenheim,
> which
> gave us the atrocious "Armani," an even more egregious paid
> advertisement,
> is spending resources shopping itself around the globe while canceling
> shows
> here at home.
>
===
<twhid>http://www.mteww.com</twhid>
===
