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
REMINDER: MTAA's Drinkin' & Drawin' TONIGHT!
MATCHLESS.
And while you're at it, buy T.Whid a drink for his birthday.
More info here: www.tinjail.com/drinkAndDraw
+++++++++++++++++
Time: 8-11PM
Location: Bar Matchless
Corner of Driggs and Manhattan Aves, Greenpoint, BKLYN
Directions:
From Manhattan: L train to Bedford Ave.
Walk North on Bedford Ave. (past the park) to Manhattan Ave. Take a
right, one block down on the corner.
From Brooklyn or Queens: G train to Nassau
Walk one block east on Manhattan Ave. to Driggs Ave.
===
<twhid>http://www.mteww.com</twhid>
===
Re: ArtExpo 2005 by Luca Curci in Italy
Obviously artists will many times need to swallow their own production
costs, especially in group shows.
I've paid to frame and even ship work, but you need to feel it out. If
you're uncomfortable with a situation, there probably is a good reason.
In this case, it sounds like the artist needs to
1) pay for framing if they need it
2) pay for shipping and insurance
3) pay to hang it!
That's bullshit, no matter how you cut it. Plus the quality of the work
was dismal, why would you want to be in a show like that?
On Mar 24, 2005, at 12:09 PM, Plasma Studii - judsoN wrote:
>> Simple rule: don't pay to play. ever.
>
> twhid,
>
> your advice would certainly help the art world if everyone followed it
> unanimously. but unfortunately, it's a harmful ideal that just
> doesn't happen in the real world. it's ridiculously unfair, but
> nobody could get their work shown, make work that would get shown,
> etc. without investing $$$$. particularly for "emerging" artists,
> there's no way they are going to compete for those $10,000 grants.
>
> it's a long, expensive and really congested road. even the most
> successful artists have "day jobs", they subsidize their art with
> money from another source. some venues pay better than others. but
> you have to do a share of money-losers, to get the money winners. in
> fact, in the performance biz (theater, dance, etc) there may be only
> a handful of people in the world who don't have to sometimes do
> freebies, just to keep their buzz, to keep their name in front of the
> investors.
>
> it would be harmful to anyone to tell them there won't be a big price
> tag. for my girlfriend to have her work in a show, she PAYS to frame
> it. if she doesn't the work doesn't get displayed, and she'll never
> get the notoriety, write-ups etc, that are a necessary step to getting
> those commissions. sometimes the work does sell and she makes her
> money back, but that's a gamble.
>
> i know a lot of people who are making those big commissions and they
> are still often paying for things like framing out of their pocket.
> many teach art and that gives em pocket money, but they're still
> paying to play. there are only so many opportunities, particularly
> for computer artists. while the opportunities are growing fast now,
> there still isn't nearly as much money available as could pay for a
> single web artist's work all year and that money is going to be
> divided between 50+ artists.
>
> judsoN
>
>
>
===
<twhid>http://www.mteww.com</twhid>
===
Re: ArtExpo 2005 by Luca Curci in Italy
Look at the work in the gallery. It's horrid. This is a vanity show.
Stay away. Don't waste your money.
On Mar 24, 2005, at 9:58 AM, David Lachman wrote:
> Hi
> I was wondering if anyone has any experience with this:
>
> ArtExpo 2004 Official site:
> www.lucacurci.com/artexpo/2004
>
> I submitted a video to the video component for the 2005 version.
> Because it was free to enter I didn't really check them out first.
> Well, I get an acceptance email and it turns out it costs 100 Euros to
> be in the Expo. I've never run across this kind of back end charge,
> except a few cases where it is made very clear in the beginning and
> called a hanging charge.
> Is this normal in some parts of the world, so that mentioning it up
> front is not expected?
>
> Dave
===
<twhid>http://www.mteww.com</twhid>
===
Re: Re:the rapture and anti-environmentalism
++++
I would be interested to hear from Curt, who seems to be (perhaps not
moderate, but at least) a rational christian, why do oppose gay
marriage?
Is it simply because of the 'abomination' passage in the bible? If so,
how do you square the fact that it seems that there are plenty of laws
in the old testament of the bible that modern christians happily
ignore.
But yet they get stuck on this one. I'm curious why.
I won't reply or try to argue with you (we've both over the years
probably come to the conclusion that that is not very productive on
either side).
Just curious.
If you feel open, I would be interested to hear your thoughts on
evolution as well. The opposition to which I don't understand one bit.
Being raised catholic and attending catholic schools, I can tell you
that evolution and catholicism seem to coexist with no problem.
take care,
On Mar 22, 2005, at 3:33 PM, curt cloninger wrote:
>
> I'm probably not what you'd call a moderate Christian. I walk up to
> strangers on the street and pray with them. You and I disagree about
> most of the issues you mention (abortion, euthanasia, gay marriage,
> Christian intention of US founding fathers). The point is, there's a
> way to love and respect people with whom you disagree.
>
> As far as being the defender of orthodox Christianity versus
> contemporary misunderstandings and oversimplifications of it, no
> thanks. It's taken me two days to refute 1 Bill Moyers overstatement.
>
> http://www.biblegateway.com/passage/?search=Matthew13:9-17
>
> peace,
> curt
===
<twhid>http://www.mteww.com</twhid>
===
Re: christian oppression in usa = laughable
> On Tuesday, March 22, 2005, at 04:09PM, t.whid <twhid@twhid.com> wrote:
>
>> Regardless, how is the majority being oppressed by letting two guys
>> get
>> married or allowing a women to control her own body?
>
> Their morality has been invalidated in the laws of a country that is
> supposed to represent them.
But their supposed 'values' are creating real, live hardship to others.
They are oppressing them by attempting to deprive them of rights that
themselves enjoy.
The morality of bigots doesn't rate high on my radar of things that
need protecting anyway no matter how many of them there are.
>
> Which is the basis of your argument as well.
It isn't.
Two people not allowed to be married have much more than their morality
violated.. their property rights are violated, their privacy rights are
violated, their right to happiness is violated, their right to medical
care could be violated, etc.
Violating a person's right to make medical decisions regarding her own
body has obvious implications beyond the women's morality.
>
>> your arg has holes. big, wet holes.
>
> And your response has -er- no, this is a family list.
haha, is it? I just thought it sounded funny.
>
> - Rob.
>
===
<twhid>http://www.mteww.com</twhid>
===
