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: to attest to the mystery [signal_through_noise remix]
;-)
On Apr 13, 2004, at 11:11 AM, Curt Cloninger wrote:
> "An imbecile habit has arisen in modern controversy of saying that
> such and such a creed can be held in one age but cannot be held in
> another. Some dogma, we are told, was credible in the twelfth century,
> but is not credible in the twentieth. You might as well say that a
> certain philosophy can be believed on Mondays, but cannot be believed
> on Tuesdays. You might as well say of a view of the cosmos that it was
> suitable to half-past three, but not suitable to half-past four. What
> a man can believe depends upon his philosophy, not upon the clock or
> the century. If a man believes in unalterable natural law, he cannot
> believe in any miracle in any age. If a man believes in a will behind
> law, he can believe in any miracle in any age... It is simply a matter
> of a man's theory of things. Therefore in dealing with any historical
> answer, the point is not whether it was given in our time, but whether
> it was given in answer to our question."
> - chesterton, 1908
>
> http://www.lab404.com/plotfracture/scott/fixing_a_hole.mp3
===
<twhid>http://www.mteww.com</twhid>
===
Re: Re: Paradox of Political Art
> On 8 Apr 2004, at 20:27, ryan griffis wrote:
>
>>> Political art as a conceptual art movement was born in the late 60's,
>>> and continued on strongly into the 90's.
>>
>> seriously??? this statement lacks any kind of historical engagement,
>
> Notice the "as a conceptual art movement", but I still don't see how
> this helps, as politically engaged art in any sort of modern sense
> goes back at least to the French Revolution.
>
Why are these comments correcting Dyske on something he never said?
It's says very clearly 'conceptual art movement.' Delacroix, the
mexican muralists, Ben Shahn... NOT conceptual artists friends.
Be honest in your args, you sound like Condoleeza Rice for chrissake ;-)
===
<twhid>http://www.mteww.com</twhid>
===
Drinkin & Drawin Champion
Thanks to those who competed and also those who sent their good wishes
and fishes (neil).
The Drinkin' & Drawin' Champion is....
Luisa Colon!
a young woman from Park Slope, Brooklyn.
The contest was a rousing success with over 60 contestants and lots and
lots of drawings submitted. Fun was had by all. We'll post some pix in
the coming days.
Special thanks to:
our judges:
Tamas Banovich & Magda Sawon of Postmasters
(http://www.postmastersart.com/)
Heather Stephens of 31Grand (http://www.31grand.com/)
our DJ:
tinydiva
and our venue:
Bar Matchless (http://www.barmatchless.com/)
AND MORE SUPER EXTRA SPECIAL THANKS TO ALL THE CONTESTANTS!
===
<twhid>http://www.mteww.com</twhid>
===
Re: Internet Art Survives, But the Boom Is Over -NY times
Lots of us here in the NYC net art crowd have been sorta talking about
this for a while. I've talked to many folks from back-in-the-day who
say things like, "It's not like it used to be," or "the excitement's
gone" and things along those lines.
This has been brought up on this list before when Rhiz combined with
the NuMu. At the time I was quoted in the NYT saying something like,
"is this digital art not standing on it's own legs or being is it being
brought into the larger art world?"
My point being that it's been in the air (around NYC anyway).
But seeing these quotes in the NYT from our friend's and colleagues...
It makes it so public, I feel like, "sssshhhhh, don't tell people we're
having our doubts about this whole endeavor!"
On Mar 31, 2004, at 8:36 AM, Mark River wrote:
> In a small article in the New York Times this morning
> (sorry, it does not seem to be online) entitled
> 'Internet Art Survives, But the Boom Is Over
Re: Internet Art Survives, But the Boom Is Over -NY times
http://www.nytimes.com/2004/03/31/arts/artsspecial/31SISA.html
On Mar 31, 2004, at 8:36 AM, Mark River wrote:
> In a small article in the New York Times this morning
> (sorry, it does not seem to be online) entitled
> 'Internet Art Survives, But the Boom Is Over
