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
described in the URL above we achieve a cross-platform effect on MSIE.
(look at me, responding to my own post, what a loser)
i've tested this with Mozilla 1.0 Mac and Netscape 7.0 Preview
Release on Windows and it works with those browsers as well. It
should work with Netscape 6.x on Mac too (since it works with
Mozilla) but i haven't tested it.
PNG has arrived; kill yer GIFs.
> personally I think probably that part of the problem with the (under)
> utilize of MX is sadly down to cost (ho hum). Flash in itself is just
> affordable to general artists but the three cameras, people to shoot
> film, editing equipment (virtual dub which I use is free and fab but
> not up to this) to create the kinds of bullet time/interactive video
> are talking about here is just too far out of your average net artists
> reach - but just right for mr corporate design-a-web.
i agree. one needs a fair amount of hardware and software just to get to
the stage where one would integrate it into the MX authoring environment
to do interactive bullet time stuff.
i wasn't necessarily saying that artists should do this Matrix-style
thing (tho i wasn't clear), which is being done to death in movies,
videos, and commercials anyway.
there are lots of other possibilities that don't involve anymore than a
vid camera and flashMX mixed with creativity and actionscript knowledge.
i can't list them because i don't know what they are; i was looking
forward to a net / web artist doing something innovative with it and no
one seems to have done anything yet.
but i'm sure someone will and it will be much more interesting than
interactive bullet time.
Having said that
> the time keeps getting shorter between what is affordable to the
> industry and what is afforable for the individual is possible so I
> guess that more is round the corner.
back in the earlier days of net / web art the artists *were* the
innovators. look at requiem for a dream's site... could it have looked
so cool and hip without net artist's exploring the aesthetic before the
commercial project? imo no.
I have just begun to play with
> video in MX (though not the interactive capabilities as yet).but still
> in the
> 'ooh this is cool!' stage playing (eg making my daughter swim across
> page like some weird cyber fish hee! hee!). At the risk of starting a
> are net artists never paid debate, the double edged sword of the
> equality of the net artist (ie anyone can be one regardless of age
> background location etc) is perhaps that 'everyone' tends to be on
> 'normal' or less (for their age, background, location etc) income
> can't afford all the gear. In this respect the net artist will always
> playing catch-up with the corporate boys....
> > Flash Explores New Angles
> > Macromedia's Flash MX allows users to do a number of cool tricks,
> > including switching instantaneously between video clips.
> new work: 'light from the machine'
> http://www.rssgallery.com/lightfromthemachine.html o
> /^ rssgallery.com
Macromedia's Flash MX allows users to do a number of cool tricks,
including switching instantaneously between video clips.
this isn't the best article but it remindend me that when i first read
flash MX's specs i was excited about what i imagined net / web artists
might do with video and actionscript. and i'm dissappointed that i
haven't seen anything yet.
one might say, "well twhid, where is *your* new cool interactive video
flash shiznitz?" and my reply would be, "errr, ummm" so yeah, i'm part
of the problem (tho, in my defence, MTAA have been working on big
installation project and we did take advantage of MX's ability to
dynamically load MP3s with this piece: http://www.mteww.com/RAM/)
i was hoping net / web artists would blaze the way but it seems to be
that the commercial work is more experimental.
why do you think no net / web artists are exploring these new
possibilities? or are they and i've missed it; URLs? (please hold your
flash is evil corporate software comments; they're tiresome)
>Pall Thayer wrote:
>> ...we have alot of people who are good coders and bad artists and
>>good artists but bad coders....
>what i want to see is bad coders and bad artists combined :)
that's easy: http://www.mteww.com
seems to me to be about tech, no?
from the article:
One of the pieces in the man and machine group is Cyborg Sex Manual,
from WRO (Poland), where the spectator becomes a voyeur watching two
cyborgs. Created by Peter Style, in association with Rafal Ewertowski
(3-D modeling) and Michale van der Hagen (interaction programming),
Cyborg Sex Manual is dedicated to young cyborgs.
it's hook is the tech (ie cyborg).
it's a good idea to start working with subject matter and content
that has nothing to do with tech.
at eyebeam a while back was exhibited one of the most successful new
media works using tech transparently. a video installation which
consisted of a projection on the floor of figures walking about in
urban settings created using motion capture and 3D modeling and
animation. the vantage point was from far overhead and the illusion
was very clever. the walking figures would create dance-like patterns
now and then. it was riveting. but i can't find the name of the piece
or the artists with a quick search.. sorry.
At 13:10 -0400 8/9/02, Christopher Fahey [askrom] wrote:
>> "Imagine a celebration of digital art that bans works focusing
>> on anything related to computers and technology."
>I read the rest of the article, and it seems to me that ALL of the work
>is focused very much on being "about technology". None of them would
>pass Eryk's rule#5 (which, by the way, is my favorite rule, even though
>I break it a lot because I love science fiction too much).