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
>Mark and Rachel,
>I request you to move the discussion on the grant awarded to
>Beatrice to another forum which is more private. Bea has been a
>close friend of mine in the past and I have no intention to publicly
>humiliate her and defame her character. This issue has spurred a lot
>of debate and a number of things have cropped up which do not form
>part of my initial insinuations against Bea. Now that you have taken
>note of the issue and are willing to address it, I feel that the
>discussion should be restricted to Rhizome board members, Beatrice
i'm not disagreeing that it would probably be best to handle this in
a less public forum, but--
i'm a bit suspect of VR's claim that he didn't want to humiliate or
defame bea (he probably needs to assert this for legal reasons
himself) when that result seems to be the only reasonable outcome to
his original post. VR made this thing public; he made the original
post to rhizome_raw. was it an error on his part to post it to
rhizome_raw? did he mean to send it only to mark tribe? he is not
going to *prove* on this list that he is the
At 4:43 -0400 8/26/02, vishal R wrote:
because it's his word against theirs at this point. we would need to
see evidence of his working on the projects and that the concepts
were mostly completed prior to his relationship with bea and nunga.
did VR feel he needed to stir things up on raw to get the attention
of rhizome admin? did he attempt to contact rhizome admin before
going public on raw? did rhizome admin give him the brush-off?
personally, i doubt it, i can't see mark tribe or rachel greene
ignoring this sort of thing if it would have been sent to them
personally and confidentially.
>It would be really helpful if Rhizome could set up a separate
>discussion board for this issue. This URL could be announced to the
>rest of the list members and people who feel they have something
>valid to say can speak out here. This issue on the general list has
>become a spot for a lot of unrelated people to take a shot at
>Beatrice, Rhizome and myself, thus embroiling this thing with a lot
>of complications. My accusations against Bea are very clear and I
>would like those to be addressed separately and arrive at a
>conclusion about those before Rhizome decides to take up other
>accusations by other parties.
>p.s: we could also sort this through e-mail exchanges if a separate
>forum cannot be set up.
if you check out the 2nd URL from the original post (see post here =
http://rhizome.org/object.rhiz?6914) you can see some examples if you
poke around a bit.
i'm almost certain netscape supports the png alpha transparency, if
mozilla does there is no reason netscape shouldn't as they both use the
same rendering engine.
the big problem was MSIE windows support and with the method described
in the second URL, it works beautifully. i'm using it on a commercial
project right now :-) and it's super phat.
the main problem with SVG is the size of the plugin. sure, every graphic
artist has it as it's installed with illustrator and photoshop, but it's
HUGE (2mb - 4mb depending on OS) compared to the flash plug-in (< 1mb on
every OS), plus it's not as easy to use.
don't get me wrong, i would love SVG to take over for online vectors as
well as in print production (how old is PostScript now?). that is were
SVG could really take off, if you could use the same EXACT format from
web to print (and any other medium that may be invented) and back again.
PLUS, it's *free* and not controlled by one corp (like flash and
PostScript (adobe or am i wrong..).
if it became popular there could be some very low cost authoring
environments available. but it won't be popular for a long, long time,
> on 8/20/02 4:23 PM, t.whid email@example.com ecrit :
> > It
> > should work with Netscape 6.x on Mac too (since it works with
> > Mozilla) but i haven't tested it.
> Send me a link to the test pages, I can take a look at it on Netscape6
> for yah. I was also waiting for this format, in fact maybe on my next
> I'll insist that we use .png
> All this talk about PNG makes me want to check up on SVG progress, so
> open source the vectors online and throw macromedia like MR. T did
of it. extremely boring.
if i had been on a dialup, i'd have felt totally ripped off as
opposed to just ripped off ;-)
> > randy Knott
> > <http://iamstatic.com>http://iamstatic.com
Shouting into the Void
'Hello' by Yael Kanarek derives strength from its simplicity.
Requiring minimal user input, Hello transforms the computer screen
into an object for contemplation rather than a tool for interaction.
Hello consists of one static image: a sci-fi cavernous, landscape in
shades of pink that periodically emits an echoing 'hello.' Is this a
commentary on the supposed detached isolation of cyberspace? Or is it
proof that mouse clicking, complicated code, and hoards of links are
not necessarily the only means to art-making online? The
open-ended-ness of Hello allows for this kind of rumination and more.
[ first, if you have no idea what PNG is, check this out:
PNG - the Portable Network Graphics format
The most important feature of PNG for web artists and designers, in
my opinion, is the alpha channel. it allows one to create graphics
that will appear anti-aliased against any background color, pattern,
or other images.
The second interesting feature is the built-in gamma correction. This
means that those of us developing on Macs don't have to create images
which look overly light on a Mac in order look correct on a PC.
Images look good cross-platform.
I've been very excited about PNG for a few years but never used it
because one of the most important features, alpha transparency,
wasn't supported in MSIE for windows. But that changed for me today
when i found this information which explains how to use PNG with MSIE
5.5 or later on windows:
technique uses an .HTC file and a proprietary MSIE filter called
AlphaImageLoader. MSIE 5.x on Mac supports PNG alpha transparency, so
using the method described in the URL above we achieve a
cross-platform effect on MSIE.