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
it's USD685 for up to 5 years of use. that is, for use in the USA
(though it's on the net, so it would seem to be worldwide) as
'Internet - Editorial Use', i chose education and religious/politics
as the industry (both came out at 685, didn't have a general
you could get it for 2 years for *ONLY* 345USD...
>seems like ivan was saying something else. didn't read like he
>actually thought YOU had glossed over the real horrors of being
>bombed. rather that in the US (esp in such a big US city), the
>average person still has the "luxury" of intellectually separating
>the traumatic from an appreciation for the experience itself. What
>PERCENTAGE of the population here was tangibly more effected than
>folks in paris?
i would say a very large percent. we're just speculating, but there
are lots of lots of kids in nyc exhibiting symptoms of post-traumatic
stress disorder and i would speculate that your average parisian
youngster isn't having that problem as a result of 9/11.
i would also speculate that joy is grateful for the trauma. even in
the rawness of nyc, the 'cotton-fluff' of average middle-class
american existence provides it's own special flavor of grinding ennui
(i've heard that boredom is the sensation that humans hate the most,
we can take pain longer than boredom). 9/11 brutally punctured this
fluff, and to those who weren't personally traumatized through injury
or death it has given us something we've never had before (however
briefly) both good and bad; a sensualist can appreciate both: a true
sense of connectedness and community and REAL emotions of horror and
>If Kabul gets bombed, a larger majority of the people there wouldn't
>care how much "realer" their experience was than the news coverage.
>To many in the world, this distinction is a triviality, though maybe
>you find it fascinating. (esp. if we aren't completely absorbed in
>the task of plain surviving the aftermath)
our cultures our totally different. i don't see the distinction as
trivial at all. the mediation of western culture is one of it's
>Obviously, the Picasso/Guernica thing is just an illustration that
>this first-hand witnessing is hardly a necessity. there is no
>benefit to it besides very PERSONAL interest.
of course an artist could imagine human suffering.. but if one had
NEVER witnessed it, i don't know how powerful that artist's depiction
of it would be.
>But for most of us NYers, we may have seen something meaningless out
>of a window or from a roof-top but
>don't be fooled. We are ALL getting the story from "CNN" in some form.
that's joy's point: the mediated culture. and she shared her
feelings, however horrible it may sound, of gratitude for this
particular event not being mediated for her. we can all understand
that i think, i know i've had similar feelings. if you stood on a
rooftop and watched what happened and it was 'something meaningless'
than i'll never know where you find meaning. personally, as a i
watched the first tower collapse my little brain was busy making
synaptic connections that it never knew it could (we call them
horror). i've never felt anything like it. it may sound sick, but i'm
glad i had a chance to experience those emotions.
>>You distort my meaning in order to state a truism. Obviously "greatful"
>>was not applied to the experience of being bombed; it should be a given,
>>especially in this tech savvy community that we in the 1st world foster
>>and live through a super-mediated culture in which "reality" and fantasy
>>are frequently blurred. that is the reference point for my remarks, it
>>should be pretty obvious.
>>On Wed, 10 Jul 2002, Ivan Pope wrote:
>> > > more on the distance/mediation thing:
>> > >
>> > > To be fair, I think it was *easier* in some ways for those of us who
>> > > actually experienced it to deal with it. it was unreal enough
>>as it was --
>> > > my friends who happened to be out of town at the time needed
>>to get back
>> > > in, to see to feel to hear what was going on without the
>> > > of us who were right downtown watching had more to deal with
>> > > horror if you will, but we had the gift of our own senses, our
>> > > insufficient physical and psychological "mediation" or self-protective
>> > > devices. we didn't have to make that leap from mediated
>>horror to register
>> > > the reality -- it sounds crazy, but i've felt grateful that I
>>had my own
>> > > experience of it
>> > >
>> > I guess its a western luxury to be able to be grateful for the
>> > being in a city when it is bombed. This is, of course, an experience had
>> > counteless times around the world by other individuals. Seldom do we hear
>> > that they are grateful for the experience. The warring factions
>> > killed 50,000 by raining missiles randomly down on the city. I guess most
>> > inhabitants weren't grateful and would rather have watched in on CNN etc.
>> > Only it wasn't on CNN because the world had no interest at all.
>> > Picasso made a work about Guernica, the genesis of bombing
>> > he wasn't there to experience it. Maybe he was the CNN of his day :)
>> > Sow the wind ...
>> > Ivan
>Jaron Lanier, in 21C Magazine:
there is an interview on salon with the other two consultants.
(haven't read it, don't blame me if it sucks)
a pleasant surprise in the NYTimes Tech section today.
i love that one. if you can find dan clowes' "art school
confidential" online i'll give you a kiss ;-)
At 10:26 -0400 7/2/02, Curt Cloninger wrote:
>-> post: email@example.com
>-> questions: firstname.lastname@example.org
>-> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
>-> give: http://rhizome.org/support
>Subscribers to Rhizome are subject to the terms set out in the
>Membership Agreement available online at http://rhizome.org/info/29.php3