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.
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.
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.
“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 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
We put a new piece on the tubes. Check it out.
A 2008 commission of LX 2.0, a project of Lisboa 20 Arte Contemporânea.
http://www.lisboa20.pt/lx20/ and curated by Luis Silva.
In our age there is no such thing as ‘keeping out of politics.’ All issues are political issues, and politics itself is a mass of lies, evasions, folly, hatred and schizophrenia.
— George Orwell
Continuing a series of computer-driven self-portraits, MTAA’s Our Political Work presents the artists in a never-ending state of screaming, yelling, waiting and sometimes laughing. Using 141 filmed moments, custom software randomly selects and joins video clips into a seemingly endless array of undignified action. Begun in 2007 and completed in 2008, Our Political Work creates an open-ended depiction of political discourse as Beckett-like action.
M.River has made it clear to me that I should be clear that I'm not attempting to interpret the actual NC CC license. I'm just giving my opinion of what I think the NC clause *should be*
If the NC license is more strict than my definition, then I believe it's wrong and should be amended.
My opinion re: NC is that any artistic endeavor is OK -- even if you're selling it in a gallery or elsewhere.
I say this because the vast majority of the time (99% maybe), profit isn't the primary purpose for creating an art work. It's my position that NC should only pertain to enterprises where profit is the primary motive. It's debatable (obviously) but to me it's a simple way to measure it.
"The Sandbox is the Lab's way of sharing high-quality video clips with you - for free. Use our clips to make a mash-up, documentary, music video, or whatever!" -- or... ART!
They just made a bunch of US Election-related material available. Pretty awesome!