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
>>no computer science degree necessary to run any of this software
>>and they're all as good if not better than their commercially
>ok. but as an example my friend Yolanda who is phenomenally
>successful in a very different interest, has no desire for an
>alternative browser, probably doesn't really even know they exist,
>but certainly not where to find them, much less why. And they
>certainly ARE find-able. but you have to have initial interest,
>time to surf. Not everyone has either. The word of mouth info is
>still basically just confined to those invested in the net and she
>benefits from none of it. Her case is clear cut, but there is a
>fine range between you and she.
it spreads out. yolanda is taking advantage of the open source
movement and doesn't even now it.
>>sure the source code is only REALLY accessible to programmers, but
>>no one's stopping anyone from learning how to code. it's available
>>to anyone if they want to figure it out.
>nobody's stopping anyone from counting from 100 million to zero
>backwards either, but there's a small but good enough reason it's
the analogy makes no sense to me. there is no reason to count (unless
it's a meditation technique). there is plenty of reason to learn
agreed, the average computer user isn't going to download the source
to openoffice and modify it to suit their own needs. but the
likelihood of ms modifying office to suit this user's needs are even
>>>Linux is great. Generally, the folks who can use it, will actually
>>>read the gobbilty-gook and figure it out.
>>ever heard of apache?
>cool when it works out. the example of Apache is not really
>different than Linux. both are great uses for open-source-ness,
>because the "marketing/packaging" is appropriate to the target
>audience. but even with an installer, both would be
>incomprehensible to the Yolandas of the world who haven't the
>faintest clue what they're for. To those people they are still of
>no value, whereas the potential sys admins are getting something
>rivaling the price of Unix.
what do you mean 'when it works'? it's extremely reliable. i'm not
talking about average users setting up apache and serving web pages
(although anyone with a macOSX and a broadband connection can). it's
the MOST USED server on the web!! so we're all using it everyday.
we're all benefiting from it's stability and security, even yolanda.
>not that there is any need at all for every bargain to be equally
>available to all. Quite the contrary. But calling open-source free
>for everyone is misleading. It's not really as altruistic and
>saintly as it claims.
>Another example. I don't surf much. Heard of this but didn't know
>the name. It was unavailable to me until you mentioned it. Thanks!
>YOU saved me the $500 though, not openOffice. (I really DO
>appreciate your tip, but honestly probably end up trying it for the
>next few weeks).
why do you claim open source is a 'hoax' when you aren't even
familiar with this software, which was featured in the NYTimes last
week. Mozilla, linux, apache, openoffice.org are not hoaxes, they're
not for the expert, and they are all FREE.
i put official in quotations out of laziness. i didn't really mean
official but wasn't thinking of the proper word so put it official in
imo net.art and net art aren't interchangeable. net art is a better
generic term for networked art activity. when i see the term net.art
i think of specific individuals (the ones mentioned and some others)
who made work under that name. i think, also, that the artists
involved in net.art didn't wish it to become a generic term meaning
networked art (correct me if i'm wrong someone). i think it's only
polite to honor their wishes.
so being that the term has specific meaning to me, and being that the
people who came up with it and used it didn't want it to be a generic
term i prefer net art or networked art for a generic term. in that
sense, net.art is a subset of net art. (i feel like i'm the one
giving the course ;-)
At 22:36 +0100 6/24/02, Ivan Pope wrote:
>> Subject: Re: RHIZOME_RAW: your thoughts on upcoming online classes
>T. Whid replied:
>> i'm curious tho, are these classes going to deal with only the
>> 'official' net.art (cosic, shulgin, jody, lialina, etc). imo, net.art
>> is a very specific thing relating to a small group of artists,
>> whereas net art (no dot) is the generic phrase most people use to
>> describe art made using networks, the web, the internet etc.
>Im interested in this concept of official net art v. net art. Are you in
>favour of there being an official net art and an unofficial one, or not
>I cant tell from this post. Or maybe probably you dont care?
>>Your worries about bad companies, governments exploiting DNA as an
>>open source code, I believe is a very valid question.
>Open source is a hoax. It's free stuff (generally incomplete) to
>obtain for folks who can write off their IP service or it comes free
>with their job. It's not actually free for MOST people. The charge
>is just deceptively in a place that gets little attention. The
>code is useless unless you happen to have interest and time and know
>what to do with all these files and then have the software/hardware
>to re-assemble it. Most of us do not fit one or more of those
you are completely wrong re: open source. it's being used by millions
of people a day. ever heard of apache? the web server which serves
the majority of web pages on the internet? open source and FREE (as
in beer, and also comes built into MacOSX). i'm using Mozilla quite a
bit (free as in beer). open source browser, just released version
1.0. works great. you can download one click installs for windoze,
mac classic, Mac OSX, and linux. how bout openOffice.org? don't wanna
pay 500bucks for m$office? download a one-click install of openOffice
for FREE. opens word, excel and powerpoint files.
no computer science degree necessary to run any of this software and
they're all as good if not better than their commercially licensed
sure the source code is only REALLY accessible to programmers, but no
one's stopping anyone from learning how to code. it's available to
anyone if they want to figure it out. but almost every open source
project, once it gets to a certain stage, has the compiled installs
available for free to everyone.
>Linux is great. Generally, the folks who can use it, will actually
>read the gobbilty-gook and figure it out. But most folks have other
>stuff to do and no professional impetus to look at it. Somebody
>has posted (often illegally, but who cares) the source for just
>about every commercial software, including most Microsoft stuff.
>But nobody's buying the compiled code! who cares if it's "free"!
>they buy the thing that comes in a box, that they can install and
>work with less trouble.
>open source is a misnomer. it is only open to high level programmers.
>entering into online education. Would you be interested in taking
>the following classes? What aspects of them are the most/least
i wouldn't take any of these classes. i would guess that not many on
RAW would. many of the people on this list have been involved with
this stuff for quite a while and many are probably on the syllabus.
this will be posted to digest and you'll probably get a better
response. perhaps rhizome admin can fit it into net art news too. it
is net art newsworthy imo.
i'm curious tho, are these classes going to deal with only the
'official' net.art (cosic, shulgin, jody, lialina, etc). imo, net.art
is a very specific thing relating to a small group of artists,
whereas net art (no dot) is the generic phrase most people use to
describe art made using networks, the web, the internet etc.
what would i be interested in? technical classes.
PHP, perl, apache admin, actionscript, 3D modeling and animation,
Flash, Director and there's probably more. if rhizome could combine
these classes with discounts on software and/or books that would be
>Why New Media Isnit New: A History
>A look at the basics and beginnings of net.art: what is
>interactivity/what is net.art?, a history of the internet; a history
>of experimental film and video in relation to net.art, net.art in
>A more focused look at specific aspects of net.art such as:
>identity, authenticity, simultaneity, globalism, hybridity,
>A look at theoretical explorations surrounding technical and
>aesthetic aspects of net.art such as: the use of flash, web cams,
>information systems/archiving, designis relationship to society and
>A look at the history of net.art exhibitions including: a history of
>internet based works in exhibitions, discussions into the form of
>net.art in relation to exhibition context, texts by and discussions
>Classes are discussion and research based. A topic is contextualized
>each week; students discuss it and then do research based on it in
>assignment form. Final projects are encouraged to be net.art works.
>kan ta ett tag innan jag svarar. Ar det bradskande ring Magasin 3 pa 08 545
>680 40 eller min mobil 070 398 48 49.
>I'm on vacation until July 22nd. I read all e-mail sent to me , but it can
>take a while before I reply. In urgent cases call Magasin 3 on +46 8 545 680
>40 or my mobile +46 70 398 48 49.
DAMN! a month vacation. i'm moving to europe, i've had it.