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: christian oppression in usa = laughable
keeping black folks enslaved.
But, lucky for us, there's this little thing in the USA called the
constitution (not that the current government has any respect for it).
It's supposed to protect the rights of the minority from the will of
the majority.
Regardless, how is the majority being oppressed by letting two guys get
married or allowing a women to control her own body?
your arg has holes. big, wet holes.
On Mar 22, 2005, at 10:32 AM, Rob Myers wrote:
> On Tuesday, March 22, 2005, at 03:21PM, t.whid <twhid@twhid.com> wrote:
>
>> A rational argument can be made that it is the extreme christian right
>> who are the oppressors by attempting to take away fundamental human
>> rights. Two examples: working to ban gay marriage and working to ban
>> abortion (both with the POTUS's help and approval).
>
> Both measures have popular support IIRC. Why do you want to oppress
> the masses?
>
===
<twhid>http://www.mteww.com</twhid>
===
christian oppression in usa = laughable
started...
but
Entertaining the notion that christians are oppressed in the USA is
ridiculous.
Pure ridiculousness.
The extreme chrisitian right has their guy in the White House and has
the entire congress and the president pandering to their supposed
'values' in the Schiavo case
(http://www.cnn.com/2005/LAW/03/20/schiavo/). I don't see any other
oppressed groups with this kind of political power.
A rational argument can be made that it is the extreme christian right
who are the oppressors by attempting to take away fundamental human
rights. Two examples: working to ban gay marriage and working to ban
abortion (both with the POTUS's help and approval).
+++++
POTUS = president of the united states
===
<twhid>http://www.mteww.com</twhid>
===
Re: Re: yet even More Artstar
new development in the artstar.tv area:
http://www.mteww.com/mtaaRR/news/twhid/maybe_notstar_tv.html
Jason Van Anden wrote:
> I agree with Marisa that artstar most likely does not merit too deep a
> discussion - except in the context of parody.
>
> I have a bunch of thoughts about this as well as her very interesting
> comments about the fine line between critique and participation.
>
> Too little time to pursue the latter at the moment - but in the
> interest of keeping this discussion alive, here's a few questions that
> are raised for me if we understand artstar as parody:
>
> What is it a parody of?
> Who is the artist and who is the market?
>
> Jason Van Anden
Re: yet even More Artstar
I see why Marisa is interested in these questions due to her American
Idol project (http://americanidolauditiontraining.blogs.com/marisa/).
Her project seems to walk this line. One is unsure if the project is
parody or serious.
I think it would be interesting to see other artists explore the
reality TV phenomenon from the inside and critically. It's a rich area
of popular culture to explore without a doubt.
(I could be talking completely out of my ass, but) I don't see any
evidence that the producers of artstar.tv are attempting to explore
this area critically. They simply wish to provide a keyhole for viewers
to peek through at a particular aspect of the art world and probably
humiliate a few people along the way.
On Feb 26, 2005, at 9:45 AM, twhid wrote:
> Hi Marisa,
>
> reply here:
> http://www.mteww.com/mtaaRR/news/twhid/yet\_even\_more\_artstar\_tv.html
>
> and below. Take care :)
>
> +++++
> >MO:
> I feel compelled to ask (of him or anyone here who cares) what
> comprises this 'fine line
Re: yet even More Artstar
reply here:
http://www.mteww.com/mtaaRR/news/twhid/yet\_even\_more\_artstar\_tv.html
and below. Take care :)
+++++
>MO:
I feel compelled to ask (of him or anyone here who cares) what
comprises this 'fine line
