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
>america) cannot see the value of local radio creativity. lacking
>imagination, always measuring by the buck - idiots, more assholes
>killing creativity. Why is there not a revolution in america! You
>sure need one...
>i am against such generalization especially when it is against such
>easy targets ( demonization of USA corporations ), and i think that
>before anyone starts criticizing she/he should remember these have
>not just fallen out of hell, but are a product of human history and
>need and are an important part of our society
>you accomplish nothing by saying that corporations are idiots and assholes
i can agree with nicola. it's silly to paint ALL corporations as evil
or whatever (tho it's getting easier and easier to believe in these
days of US corporate fraud and thievery ref: worldcom, enron,
adelphia, qwest, and perhaps aol tw...)
and it's not just US corps creating these streaming music problems,
the RIAA represents the big 5 record labels all of which are global:
Universal Music Group, Sony Music Entertainment, EMI Group, Warner
Brothers Music, BMG Entertainment
but if one could pick a scenario in which big corporate money and
influence is being so blatantly used to fuck the little guy it would
be hard to find one as black and white as this streaming radio
royalty scam. i can understand marc's frustration.
>it would be good to see suggestions to alternatives to corporations
>and alternatives to their control over such issues as music rights
GNUTELLA!! won't work thru my firewall at work tho, eeerrrr.
>way back in 99-00
>ahh...(*sigh*)...if only to be young and in love again...
mriver couldn't help himself i see :-)
short background: we used to run an online gallery/art project called
the Visual-Text Art Venue on MT Enterprises (http://mteww.com). it
eventually ended, but it's still at the URL above. the last show was
called 'The ADS Show', and it was a collection of artist personal ads.
here's and example:
Not-for-Profit Gallery seeks submissive, generous artists for an
adult baby scene. Must be into being sucked, squeezed, humped and
drooled on until their last erotic delights have been yielded.
Diaper-shitters and breast-suckers only. Send photo of your messy
bottom. Low application fee.
the ADS were also included in the Art Entertainment Network
our very tacky toot-your-own-hornesque behavior is simply a symptom
of our insecurity and general lack of self-worth. please look on us
(psst, mriver, post this to the front of rhizome ;-)
to make her foolish analogy make any sense one would have to imagine a
monopoly on vegetables. the monopolist also wants to sell the vegetables
and can fix the price so only the monopolist (or their big money
buddies) can sell the vegetables.
fucking, fucking fuckers!!!
what can we do!!?
> [Speaking in favor of the recent royalty fees imposed on the radio
> webcasters] Hilary Rosen of the Recording Industry Association of
> America says this issue shouldn't be presented as big labels vs.
> mom-and-pop operations: "If you don't have a business model that
> sustains your costs, it sounds harsh, but that's real life. If a
> store can't afford to pay for the vegetables, they can't keep their
> doors open."
> [According to the article ... most of the 10,000+ radio webcasters are
> expected to fold].
> so much for free speech ... these fuckin' royalty fees are
> david goldschmidt
from nytimes (registration requ)
a story about Creative Time using an old tobacco warehouse in Bklyn
for their summer art, performance, and music festival that used to be
held in the Brooklyn Bridge Anchorage (they got kicked out after 9/11
because of security reasons..)
Creative Time has been a big supporter of new media for the past few
years (even providing MTAA with some funds) and have presented lots
of new media artists in the anchorage exhibitions including granular
synthesis, andrea wortzel and lots more.
Digital technology is so ephemeral that an artwork created using a G4
Mac, Flash 4.0 software and C++ coding today may no longer be
viewable 10, 20 or even 200 years from now.
Film canisters are collecting dust after 75 years of nonuse, video
formats from the 1980s are becoming unreadable and Web projects
created just minutes ago are already becoming stale.
As the half-life of these media becomes shorter and shorter, variable
media art is in a race against technological obsolescence.
That's why it's critical that these artworks are documented and
preserved now, before they are lost indefinitely, observers say.
"With digital art, there's no room for things to fall between the
cracks," said Richard Rinehart, director of digital media for the
Berkeley Art Museum and Pacific Film Archive. "If you don't do
something to preserve it within a span of five years, it's not going
"Some works of digital art are already gone. Our time frame is not
decades, it's years, at most."
i know we've been through this discussion (sorta) in terms of selling
the stuff, but what about simply preserving it?