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: A Different MFA Question
if I had one.
I do have a BFA.
congrats on the show :-)
On Aug 26, 2004, at 10:25 AM, Jason Van Anden wrote:
> I do not have an MFA.
>
> For those of you that have one:
> How have you personally benefited from achieving it?
> ... having it?
>
> Jason Van Anden
> www.smileproject.com
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<twhid>http://www.mteww.com</twhid>
===
"DC 9/11 - The Evildoers' Remix" video release: August 30th, 2004
MTAA and our collabs are releasing a video on the net on Monday, August
30th -- with the help of Wolfgang from The Thing (thanks). We'll also
be screening it at Postmasters the same Monday at 8PM with live DJ
accompaniment (thanks Tamas & Magda).
Hope you can make it to Postmasters, DL it, or, better yet, DL it and
stick on your favorite file sharing network.
(For those that attended, this is also exactly one year since we
performed Pirated Movie @ postmasters :-)
the downloads will be available here:
http://www.mteww.com/dc911/
The press release follows:
++++
Media Release
For Immediate Release: August 24, 2004
Contact: MTAA, T.Whid
twhid@mteww.com
http://www.mteww.com/dc911/
"DC 9/11 - The Evildoers' Remix" video to be released August 30th, 2004
New York, NY - "DC 9/11 - The Evildoers' Remix," a guerilla edit of the
pro-Bush propaganda film "DC 9/11 - A Time of Crisis," will be released
to the public on Monday, August 30th, 2004 to coincide with the opening
of The Republican National Convention. The video is a collaboration
between new media art duo MTAA, video artist bodyatomic and musician/DJ
tinydiva.
Using careful editing, on-screen commentary, new special effects, added
footage, and an original musical score "DC 9/11 - The Evildoers' Remix"
exposes the not-so-subtle right-wing spin of its source material in
hilarious and disturbing ways.
Available August 30th, 2004. Download here: http://www.mteww.com/dc911/
Free screening
when:
Monday, August 30th, 8PM
where:
Postmasters Gallery
459 West 19th St. (at 10th Ave.)
New York, NY 10011
The video will be screened with live audio accompaniment by tinydiva to
coincide with its release. The screening is part of RNC NODE organized
by Postmasters gallery. For more information:
http://www.postmastersart.com/RNC_NY.html.
Release notes
Title:
DC 9/11 - The Evildoers' Remix
Duration:
1 hour
Medium:
digital video
Parental advisory:
contains explicit sexual material (those scenes between Condi and
George can get pretty hot).
Credits
Remixed by:
MTAA, bodyatomic and tinydiva
Audio by:
tinydiva
Re: New Yorkers Launch Huge Anti-Bush Banner with Balloons in Grand Central Station
On Aug 18, 2004, at 8:28 PM, Joy Garnett wrote:
>
> New Yorkers Launch Huge Anti-Bush Banner
> with Balloons in Grand Central Station
> (and walk away unhassled, amid cheers)
>
> VIEW IMAGES:
> http://newsgrist.typepad.com/photos/grand_central_station/index.html
>
--
<t.whid>
www.mteww.com
</t.whid>
Re: How to Display Digital Artwork in a Gallery
(my other gripe is that every screen comes with some company branding on it.. someone should market a gallery monitor which keeps the bezels to a minimum and completely removes any visible branding.)
Speaking in a purely pragmatic sense, it's up to digital artists to provide the hardware either by buying it themselves, getting grants and buying it, or consulting very closely with a very open-minded gallery or institution.
MTAA are planning on combing eBay for values in the LCD area as we expand our digital art practice into the gallery.
Dyske Suematsu wrote:
> Hi all,
>
> I have a friend who needs to show her digital artwork in a gallery. As
> she consulted me about it, I realized that it is an interesting
> problem.
>
> Now LCD monitors are quickly becoming the norm. They are no longer a
> novelty item that connotes future. I feel like this shift in public
> perception has happened just this year. The problem for cost-conscious
> artists is that they can no longer use CRT monitors to present their
> work in a gallery because they now have the connotation of being
> retro, or just-past. Unless your work is about being retro or
> just-past, they are inappropriate.
>
> But on the other hand, LCD monitors are still quite expensive,
> especially large ones. On top of it, they do not withstand well the
> abuse of the public users who tend to poke their fingers at it. Most
> gallery shows last about a month. You cannot afford to sacrifice your
> own monitor for a month, unless you happen to be going on vacation at
> the same time your have a show. Unless you are Cory Archangel, you do
> not have shows every month to make it worthwhile to buy one
> specifically for exhibition purposes. Renting it for a month is quite
> expensive too.
>
> So what do most artists do in this situation?
>
> -Dyske
>
>
Re: Re: Biennale Internazionale dell'arte Contemporanea?
that cost 30 bucks to enter.
In the film and graphic design industries it's common to pay fees to
enter festivals and contests. I would put the webbies in this category.
But in these industries participation in the most respected festivals
and competitions require this fee. This means you don't really have a
choice but inclusion in these sorts of festivals and contests also
guarantees industry-wide exposure so your 30 bucks is well-spent.
Inclusion in these little penny-ante art exhibitions with their 25 buck
fees guarantees you nothing. Paying 1000s of dollars to go to this
bogus biennial in Florence guarantees you even less.
On Aug 13, 2004, at 9:53 AM, liza sabater wrote:
> Heya,
>
> Fascinating reading.
>
> Do any of you know of similar "equivocal" art events like this one?
> Also, have any of you participated in paid awards like The Webbys?
> What's your take on that?
>
> / l i z a
>
> On Friday, Aug 13, 2004, at 09:28 America/New_York, Agricola de
> Cologne wrote:
>
>>> Why do you figure only a few "go public"?
>>
>> There are certainly a couple of different reasons.
>
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<twhid>http://www.mteww.com</twhid>
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