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: Director of Technology's report, April & May 2004
Thanks for clarifying this.
It was as I guessed.
On Jun 3, 2004, at 5:31 PM, Francis Hwang wrote:
> Hey T.,
>
> And it's my understanding that clicking on a link in an email won't
> send a referer value, meaning that you'll be asked to login in the
> first click.
as with a news reader...
> On Jun 1, 2004, at 3:02 PM, t.whid wrote:
>
>> Hi Francis,
>>
>> You wouldn't want to clarify the linking policy would you?
>>
>> Under what conditions can non-members follow links to rhizome
>> articles or art base entries?
>>
>> thx
>
>
>
>
===
<twhid>http://www.mteww.com</twhid>
===
Re: Director of Technology's report, April & May 2004
You wouldn't want to clarify the linking policy would you?
Under what conditions can non-members follow links to rhizome articles
or art base entries?
thx
On Jun 1, 2004, at 2:23 PM, Francis Hwang wrote:
> Hi all,
>
> Here are some of the interesting things that happened (tech-wise) in
> Rhizome-land:
>
> 1. Server upgrade
> This is the big one: We moved Rhizome to bigger, faster, angrier
> machines, and the results have been pretty dramatic. If you've been
> wondering why everything is so peppy all of a sudden, well, that's
> why.
>
> 2. Commissions voting
> Rachel announced the various winners at
> http://rhizome.org/thread.rhiz?thread205&text%275 . In the next
> month or so I'll write a more techie/community-designy debriefing of
> our voting process, complete with lots of stats.
>
> 3. Hiring
> FYI, I ended up hiring David Galbraith (
> http://rhizome.org/member.rhiz?user_id20482 ) as my main techie
> consultant. David's a sound-artist/programmer, and for all his hard
> work he now has the privilege and honor of hanging out with me in our
> tiny office and hear me obsess about object-oriented programming.
>
> F.
===
<twhid>http://www.mteww.com</twhid>
===
Re: Re: Burning Down The Art
We've probably all devoted way to much time to this so I'll attempt to
make this brief.
My POV is this: The destruction of important art is nothing to be cheer
on. But, one may say, I don't see it as important, it's just crap, so
no loss (this has it's own complications in that so much work was
destroyed I don't see how anyone could think it was *all* crap,
especially Chris Ofili*). I find this POV (if it's crap; no loss) very
similar to the POV of book-burners, censors, and other enemies of free
expression.
Of course it's a bit milder, I *hope* most on this list wouldn't
actively conspire to physically harm or destroy art work (my own
rhetoric aside), but taking glee in it's destruction is uncomfortably
close IMO.
*ok, um, Ofili literally uses crap -- but his paintings are also
completely gorgeous ;)
On May 27, 2004, at 9:22 AM, curt cloninger wrote:
> Hi Tim,
>
> To liken religious book burnings to apathy/glee over the saatchi fire
> seems a stretch. Even if some critics here find the works in
> saatchi's collection lame, morality and aesthetics are two different
> things. Relativists miss this. Just because I dare say some art is
> aesthetically "better" than some other art, that has nothing to do
> with an imposition of morality or political totalitarianism.
> Actually, your underlying assumption that everyone "ought to" revere
> anything that presumes to call itself "art," regardless of its
> aesthetic appeal to them personally -- that smacks a bit of
> totalitarianism (or at least political correctness) to me. "Everyone
> is free to believe whatever they like, as long we all agree to believe
> in relativism."
>
> I agree with Rob. A champion of chivalry is not obliged to defend
> every street walking tranvestite who calls himself a woman. In fact,
> he's obliged not to, lest chivalry become a diluted sham. Likewise,
> as an "art" lover, I'm not obliged to defend the artistic sanctity of
> Tracy Emin's work. Not simply because her work is "bad," but because
> of the specific way in which it's "bad." It's anti-art that laughs at
> craft and questions the practice of assigning aesthetic value to
> artwork in the first place. But she has no problem assigning monetary
> value to her work, and then bemoaning the loss of that monetary value.
> Forgive me if I'm not touched.
>
> _
>
> t.whid wrote:
>
>> Hiya Curt,
>>
>> It all comes down to book-burning IMO...
>>
>> If this was fundamentalist christians/muslims burning Burrows/Rushdie
>> we wouldn't have so many self-identified artists on this list
>> gleefully
>> dancing around the fire. Of course (i'll assume) this was an
>> accidental
>> fire, but it seems many on this list would have willingly tossed the
>> match.
>>
>> the NYTimes fills us in on what was destroyed, which includes
>> paintings
>> -- gasp! yes -- paintings, one-of-a-kind paintings, and even --
>> yikes!
>> -- sculptures.. but who cares? they suck and their old media anyway..
>> the artists will just make more, right?
>>
>> And again I ask myself, why do so many artists seem to hate art?
>>
>> http://www.nytimes.com/2004/05/27/arts/27FIRE.html
===
<twhid>http://www.mteww.com</twhid>
===
Re: Re: Re: Re: Burning Down The House
> Hiya Curt,
>
> It all comes down to book-burning IMO...
>
> If this was fundamentalist christians/muslims burning Burrows/Rushdie
> we wouldn't have so many self-identified artists on this list
> gleefully dancing around the fire.
I meant to type Burroughs, (William S.)
--
<t.whid>
www.mteww.com
</t.whid>
Re: Re: Re: Re: Burning Down The House
It all comes down to book-burning IMO...
If this was fundamentalist christians/muslims burning Burrows/Rushdie
we wouldn't have so many self-identified artists on this list gleefully
dancing around the fire. Of course (i'll assume) this was an accidental
fire, but it seems many on this list would have willingly tossed the
match.
the NYTimes fills us in on what was destroyed, which includes paintings
-- gasp! yes -- paintings, one-of-a-kind paintings, and even -- yikes!
-- sculptures.. but who cares? they suck and their old media anyway..
the artists will just make more, right?
And again I ask myself, why do so many artists seem to hate art?
http://www.nytimes.com/2004/05/27/arts/27FIRE.html
On May 26, 2004, at 9:20 PM, curt cloninger wrote:
> hi Tim,
>
> I think in this case, the incident is fair game for critical comment,
> not simply because the art was bad (if it even was), but because hirst
> and emin are such intentionally object-incidental artists, which by
> extension makes their work inherently ephemeral. So the fact that
> everyone is so up in arms about the "loss of value" is kind of like a
> sand sculptor being aghast that the tide came in and eroded his
> castle. To trace it all back, it wasn't supposed to be about that
> particular urinal, just any urinal. But tell that to whoever owns the
> original urinal. If you see the buddha on the road, aren't you
> supposed to kill him? Duchamp probably would have. Saatchi would
> have sued him for copyright infringement.
>
> This incident is quintessentially telling and instructive to me:
> http://www.renewal.org.au/artcrime/pages/yoko_ono.html
> I'm punk until you actually take me up on it, then I'm a whining,
> capitalistic wussy.
>
> http://bible.gospelcom.net/cgi-bin/bible?passageiC2:11 ,
> curt
>
> _
>
>
> t.whid wrote:
>
>> HAHA, destruction of art -- really funny!
>>
>> Good thing it was the degenerate art which got destroyed and not the
>> good stuff.
--
<t.whid>
www.mteww.com
</t.whid>
