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
joywar: the photo that started it all
http://www.magnumphotos.com/c/htm/CSearchZ_MAG.aspx?
Stat=SearchThumb_SearchZoom&o=&Total
MTAA Reference Resource
We've redesigned the on-line documentation of our art practice we call
the MTAA Reference Resource (MTAA-RR).
Check it out: http://www.mteww.com/mtaaRR/
It looks totally different and acts different too, featuring:
* all new visual design (in institutionally-sanctioned white, grey, and
black).
** comments in the off-line art and on-line art sections. Love a piece?
Hate a piece? Let everyone know about it.
*** new RSS feed covers the entire MTAA-RR not just the news & comment
(blog) section: http://www.mteww.com/mtaaRR/index.rss
**** search for stuff
***** MTAA bios (slightly fictionalized)
****** easier-to-use archives
******* does NOT support netscape 4.x (the most hated browser of all
time)
for news feed readers:
You can update it to the new URI, the old one continues to function but
covers only the news section.
===
<twhid>http://www.mteww.com</twhid>
===
Re: RFC: nettime nominated for Golden Nica
sucking supplicant greedily grubbing at the heels of your overlords,
"The New York Art World Honchos," waiting for your few scraps to fall
and pawing everyone else out the way with your vicious little claws.
(j/k)
On Mar 9, 2004, at 4:37 PM, Francis Hwang wrote:
> Unfortunately, I don't think nettime's approach to the application is
> kosher with the rules. The entry rules (at
> http://www.aec.at/en/prix/registration/index.asp?nocacheY6157 ) say:
>
> "The submitter can be the author or artist of a work or the
> representative of a community project, either personally or through
> some authorized agent acting on their behalf (e.g. press spokesperson,
> officer of an institution, faculty member of a university)."
>
> Does it matter? Well, it does in a very boring, pragmatic way. Jurors
> are human beings with finite amounts of time, and none of them are
> going to want to filter through 500 entries from one community,
> whether that community is Nettime or Slashdot or Rhizome or whatever.
> They want a summary, just like everybody else in this busy world.
>
> Summaries are necessarily lies: No matter what map you draw of
> Denmark, I can always tell you the coastline isn't detailed enough.
> Arguably the problem is much worse with a digital community than it
> would be with an individual artist, since with that many more people
> involved their views of the thing grow exponentially. To take an easy
> example: How many movies have been made about New York City? How many
> different things do they say?
>
> It's definitely fair to say that nettime is much less centralized in
> its decision-making and development than Rhizome is. It's a valid and
> provocative strategy, though I also suspect it's one that wouldn't
> scale to an org like Rhizome, which has office space and gives out
> arts commissions and has to apply for NEA grants and pay for health
> insurance. As the nettimers write below, part of their method has been
> to let even the act of self-definition fall to individual members,
> which seems to be something that nettime members prefer and feel is
> valuable. Personally I'm not so into it, largely because I don't think
> self-definition is that important. (Which might have something to do
> with my own Buddhist-existentialist leanings, but that might be
> reading too much into it.)
>
> All of which is to say that I'm the one writing Rhizome's application
> for the Prix Ars, and I'm not writing it to prove any sort of point --
> I'm writing it because I want to win. Not so I can add another notch
> to my C.V., but because I want that money so we can spend it on making
> this website and community better, in our continuing quest to be the
> most ass-kickingest new media arts community evah! My name will be on
> it, but what does that mean, especially given that I haven't been
> around for very long? Writing this application is sort of a privilege,
> I guess, but it's also sort of a chore. But, you know, if you want
> something done right ...
>
> For those who are interested, the application I'm writing focuses
> mostly on Rhizome's structural qualities, and the compromises it
> makes, than on making any grand manifestos. I'm not using Mark's
> formulation of Rhizome as a "social sculpture", largely because that
> was his thing and not mine -- and I never really liked Beuys, anyway.
> I am spending a little ink explicating just how anti-internet the rest
> of the art world still is -- not in terms of what gets put up in
> museums, but in terms of how discussion moves and value is assigned --
> which I can't assume the jurors will know.
>
> It'll be interesting to see how it all ends up. In spite of the Prix
> Ars imprimateur, much of the Digital Communities jury has little or no
> background in the arts world. Both Joi Ito and Howard Rheingold, for
> example, are A-list celebs in the frothy firmament of the social
> software community. Dare I say it, they're naturally much more
> interested in blogs, wikis, and Friendster/Orkut/LinkedIn than they
> are in a bunch of net-artists, and the competition won't just be
> between new media spaces like Rhizome and nettime. I know that Sunir
> Shah is applying for his fascinating meta-community wiki Meatball (
> http://usemod.com/cgi-bin/mb.pl ), and I wouldn't be surprised to see
> the folks at FOAF, the Atom project, and others jump in too.
>
> F.
>
> On Mar 9, 2004, at 9:19 AM, curt cloninger wrote:
>
>> I must say, I think that's pretty hip. nettime should be given the
>> award for the way in which they responded to the request for
>> participation, although I wonder if the prix ars jurors will "get"
>> the net-centric/community-ness of nettime's response approach.
>>
>> One wonders, "What-Would-Rhizome-Do?" Actually, one doesn't have to
>> wonder, because a 2001 prix ars net vision honorary mention went to
>> "Mark Tribe, Alex Galloway / Rhizome.org (USA)."
>>
>> A lot of artists are into whatever post-hierarchichal conceptual
>> approach they are into until it gets them recognition within normal
>> art world confines, and then they are more than happy to temporarily
>> shed their approach, come out of character, and stand in line with
>> the rest of the standard contenders to receive their award. That
>> would be like the Sex Pistols donning tuxedos to receive their
>> grammy award.
>>
>> To their credit (or mental demise), the following artists have yet to
>> abandon their kooky holistic tactical integrity:
>> NN
>> The Museum of Jurassic Technology
>> the artist formerly known as the artist formerly known as Prince
>> Frank Zappa
>> Daniel Johnston
>> (that's just off the top of my head. There are obviously more.)
>>
>>
===
<twhid>http://www.mteww.com</twhid>
===
Re: Re: Re: Whitney biennial accepting submissions
yeah, i'm out of it.. but not THAT out of it :-)
humor? Seems to be causing more confusion..
On Mar 9, 2004, at 8:17 AM, M. River wrote:
> I think twhid posted that back in July 03. Someone just placed it back
> up on the site for timely humor.
>
> Congrats to Cory, Golan, Team Velvet Strike and asianpunkboy
>
>
> Jason Van Anden wrote:
>
>> t.whid wrote:
>>
>>> it looks like the whitney biennial is accepting submissions this
>> year.
>>
>> Better warm up the old flux capacitor!
>> The deadline for submissions is August of 2003.
===
<twhid>http://www.mteww.com</twhid>
===
Re: Rhizome Commissions: Get Ur Vote On
I'm getting an error when i try to vote...
http://rhizome.org/error.rhiz
bah!
On Mar 8, 2004, at 4:33 PM, Francis Hwang wrote:
> Hi all,
>
> The voting for the 2004 Net Art Commissions is now underway. If you
> are eligible to vote, please go to
> http://rhizome.org/commissions/voting/ to vote for your favorite
> proposals.
>
> This open voting process is sort of unprecedented -- I don't believe
> that there has ever been an arts organization that has awarded a
> commission in this way. I'm hopeful that these commissions, regardless
> of who they're awarded to, will raise some provocative questions about
> how artists are funded and about how value is assigned in the art
> world.
>
> I have emailed all the candidates, and asked them:
>
> + not to participate in list discussion on any of the work under
> consideration.
> + not to change their proposal sites during the discussion in an
> attempt to win more votes.
>
> I have one more request to make of everybody else. While we want
> people to talk openly about the proposals, we also have to keep in
> mind that we are speaking about subjective, personal work in a very
> public forum. In any open call like this you're bound to get proposals
> that vary widely in quality: Please try to keep your conversation
> focused on what proposals you like, and minimize the amount of
> conversation on proposals you dislike. In other words, just accentuate
> the positive. If this year turns out to be a nasty experience for a
> lot of artists, we probably won't get many submissions next year.
>
> Thanks in advance for participating. And please email me if you have
> any questions about how this whole thing is supposed to work.
>
> Francis
>
>
