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
"I do think it's useful to view an artwork as consisting of different technical and semantic layers, and that this is true even for painting and sculpture."
It's probably obvious that I agree. But, I was about to write "only to a point," which isn't right. If these layers seem invisible to one, it's in the same way that water is invisible to a fish. It's easy to ignore those layers when you're within your own culture. It becomes much harder with work from other times or cultures. One needs to understand all the layers to understand the work. I'm speaking from the viewer's POV here. That doesn't mean the artist needs to address the structure or layers (or even understand them) directly however.
"This reflects the increasing meaningfulness and distance from physicality of the IP stack. So impressionism and net art are both protocols on different transports. In the IP stack, IP is the choke point, it is what makes the Internet the Internet. What would the choke point for art be?"
I don't think IP is a choke point. It's a 'simple point;' there is one simple socket between the complexity of the hardware layers and the software/content layers. Zittrain would say this simplicity gives the greatest 'generativity' to net.
What would be the analogy in the art world??? I don't think there is one :-) The art world isn't generative.
"We have always/never been Web 2.0?"
haha, slightly amended...
We have always/never been 2.0.
"What does Raqs know that we don't know?"
A lot apparently. I thought etoy was history :-)
Just for some old-time-y fun, MTAA's interview with etoy circa TOYWAR days:
Didn't they sort of fall apart? The group disbanded, no? They haven't done anything lately have they? In other words, I don't know if they suck now. But they certainly inspired lots of people then. There's always a warm spot in my heart for the etoy of old.