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
Re: Re: Fuck Bush!
Fuck Bush!
On Dec 10, 2004, at 2:03 PM, andrew michael baron wrote:
> Don't let the thread die!
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<twhid>http://www.mteww.com</twhid>
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EBay_Negative_on_Negativland_IPod
It was fun while it lasted Francis...
Are there no other auction sites?
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<t.whid>
www.mteww.com
</t.whid>
Re: short movie (re-edited)
Doron is constantly creating some of the most innovative video for the
web. His subjects are interesting and personal and his formal and
technical abilities in delivering very high-quality video isn't
matched.
On Dec 3, 2004, at 9:06 AM, Michael Szpakowski wrote:
> I agree completely Jim!
> I've loved the three pieces by Doron I've seen
> recently - simultaeneously warm & humane but also
> strange and completely lacking in sentimentality.
> michael
> --- Jim Andrews <jim@vispo.com> wrote:
>
>>
>>> 'Tale of Crow' (re-edited)
>>> duration: 4 min.
>>> frame rate: 12.5 fps
>>> speaks Hebrew with English subtitles
Re: MTAA-RR [ news/twhid/duchamp_s_fountain_most_influential.html ]
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The most influential piece of modern art
Something by Picasso or Matisse? No, just a humble urinal, according to
a poll of 500 experts.
- - - - - - - - - - - -
By Charlotte Higgins
Dec. 2, 2004
Re: MTAA-RR [ news/twhid/duchamp_s_fountain_most_influential.html ]
>> http://www.mteww.com/mtaaRR/news/twhid/
>> duchamp_s_fountain_most_influential.html
> (http://story.news.yahoo.com/news?tmpl=story2&u=/ap/20041201/
> ap_on_fe_st/urinal_art)
>
> twhid (and rhizomers), what's your take?
>
>
> probably i just don't get this, but why would anyone buy the fountain
> gag? not only do people pretty commonly call it "art" (who cares) but
> think it means something important in art history. what??? how else
> could anyone possibly say "get real", if not hand them a toilet as a
> snub.
>
> the urinal is everybody's fav. mine too. but because it's so clearly
> NOT art. never was.
Duchamp definitely meant it as art. You really need to remember the
context. Duchamp along with a few others was organizing a show of
modern art in NYC. Probably the first. Their mission was to allow
everything submitted into the show. Well, to be exceptional in a show
where everything is accepted you need to be rejected and that's what he
set out to do (and why it was submitted under the name R.Mutt).
> duchamp was pulling folks leg if he ever said otherwise. it's as
> astonishing as bush getting re-elected, that so many people (as this
> blurb suggests) were gullable enough to honestly buy such an absurdly
> huge farce.
He was, but pulling a leg can be just as serious and relevant as
anything else.
> it's the biggest joke to the pretentious art world ever, but that
> doesn't make it "art" itself. a snub on the arty types that take
> themselves so ridiculously serious, they would even hang a toilet in
> their gallery. the whole "ready-made" idea is such an obvious farce.
> it's like nobody noticed what the thing really was because of some
> label/buzz word. totally works on the phenomenon of intellectuals
> whose concepts representing life are obscuring real life. they won't
> even notice. duchamp was essentially saying "here's a toilet. not
> even a sculpture i made of one. but wanna take it seriously?" and
> people couched it in theoretical art speak.
It took a long time for artists to understand Duchmamp and it seems
that some still don't. It doesn't matter really what the physical
manifestation behind the ideas of the Fountain is -- it's the ideas
that are important. The Fountain and Duchamp's other readymades
destroyed form and laid the groundwork for conceptualism and it's many
offspring. Duchamp is THE watershed artist of the 20th century, not
Picasso, not Matisse.
Why? Picasso and Matisse, tho very ingenious at creating new ways to
make pictures, didn't really abandon the old ideas of picture plane,
composition, color: the formal elements of art (this thread in art was
carried on from Miro thru to the Ab-Ex painters and 'dying' with
minimalists). The great early and mid century painters and sculptures
just took those ideas and created new ways to make pictures with them.
Duchamp rethought the entire nature of art and with the readymade freed
it from physical form.
No matter your opinion of conceptualism, you can't say it hasn't had
the largest impact on art of any other art movement or theory in the
last part of the century. It's hardly arguable that Duchamp and his
readymades are the grandfathers of conceptualism. So it's not
irrational to claim his most iconic work as the most influential art
work in the 20th century.
>
> anyone down-to-earth, in touch, not stuck in their philosophical dream
> world, would just say "are you kidding?
that's what they said at first.
> i don't want your toilet.
absolutely, it was rejected from the exhibition.
> i'm not that stupid." it's just an insult.
The original organizers took it that way, that's why it was rejected.
Why can't an insult be great art?
He was quoted as saying, 'I throw a urinal in their face and they call
it art.'
> anyone who makes excuses for it as some kind of ART, is just sticking
> a "kick me" sign on their own butt and laughing. it's like the nerdy
> picked on kid, trying so hard to be liked, he actually forces a laugh,
> so he can laugh with the bullies picking on him. "huh huh huh. look
> guys. looky."
>
> we could EITHER say "art" has no value/importance, folks stop
> collecting, investors and foundations close shop OR pretend chosen
> urinals have some enhanced value/importance. and since nobody wanted
> to close shop, they decided to pee on their glossy hard-wood floors
> and smile.
That makes absolutely no sense whatsoever. For folks to close up shop
they would need to say 'art has no value,' so instead they choose to
value the Fountain... why didn't they just reject the Fountain as bad
art and go merrily along selling their Picassos?
Because it couldn't be rejected. It's ideas, it's criticism of the art
establishment, and it's role in shaping how people view art couldn't be
denied.
The simple fact that an artist could create a situation that almost 90
years later still causes argument after argument is a testament to it's
genius IMO.
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<twhid>http://www.mteww.com</twhid>
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