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
>--- wired = Mac.propaganda ??
smart ass response = Macs need all the propaganda they can get!
(twhid = Mac.crazed)
actual response = wired has a section called 'cult of macintosh'
which focuses on the Mac. this article came from that section.
>Yeah, me too. I'm sure if you suggested this to Josh On he could quite
>easily build it. It's just a database.
>Then everyone would be able to finally see who went to the same art
>school as who else. It would be like a Hans Haacke piece, except it
>would be petty and trivial.
the info isn't public so the first step would be to gather the info.
what orgs should be profiled (rhizome, thing, sfmoma, whitney)? will
it be the boards of the orgs? or directors? or should it be
bah, to much work.
>> Sorry if I sound condescending, which isn't the case. That involves
>> personal feelings about the subject, which have been driven out of me long
>Don't apologize Pat my boy, you are condescending, always and forever, amen.
>Someone gave you the misguided notion that you are smarter than the average
>bear. So you have to act like it.
>But you do have a nice little career going, daddy will be proud. Keep up the
>resume building, maybe they will hang it in a museum some day. Caption "Here
>lies the true art of Patrick Lichty, he was dedicated to cultural inquiry and
>social activism through technological arts advocacy, exploration of media
>subversion and nonlinear narrative, and independent curatorial projects. "
i think i would use semi-colons as opposed to apostrophes, but my
grammar and punctuation is horrendous (not to mention my spelling).
that's what one gets from an art school education as opposed to a
liberal arts one i suppose.
anyway, pat helped invent the keywords, he should be able to use 'em.
>"We're no longer the artists
hang it on the wall as an object for consideration as art?
anyone else who would care to express an opinion please feel free.
*chip clip = cheap little household gadget which is used to keep
plastic bags of chips and/or other dry, salty snacks closed for
freshness. i generally use my chip clip for pretzels and sometimes
flavored popcorn. trying to eat low fat ya know. i probably have the
hippest chip clip EVER, since it has the rtmark logo on it.