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 noticed Patrick Lichty's advocacy of the project and assumed that he was
a) paid for his essay (which was posted on Rhiz right?); and
b) a co-conspirator either directly or indirectly (i.e. he decided on his own to co-conspire)
In other words, his pseudo-discourse and ginning of mock outrage is all part of the larger project and that Stern, Lichty, et al are playing the structures and systems of Wikipedia and the academic art world off each other. It's all one big performance.
Being that Lichty was part of RTmark and Stern understands Wikipedia better than most artists (he's not naive enough to think Wikipedia Art would have lasted very long), it makes sense to me.
answering my own question:
I find it interesting that the Wikipedians can't seem to understand that doing it *on* Wikipedia is just as much part of the project as the 'wiki art' part of the project. Making a collaborative artwork on a wiki isn't very interesting. But doing an intervention on Wikipedia becomes interesting as the archived debate becomes the artwork.
But I can sympathize with the Wikipedians. If these Wikipedia art interventions became a popular game it would become vandalism (the resources to clean them up would become burdensome to the volunteers). But just this one is fun.
Rhizomers, if you're in San Francisco we'd love for you to be there.
Since the opening of The Art of Participation at SFMOMA in November, museum and website visitors have taken part in the creation of this performance piece by voting in the museum and online. Each week, voters determined one of 10 aspects of the performance, including location, props, theme, and subtitle. The final performance takes shape on February 7.
Free with museum admission; seats are available on a first-come, first-served basis.
151 Third Street (between Mission + Howard)
San Francisco CA 94103
If you're not in San Francisco, you can still take part!
See LIVE evidence and traces of the performance at http://mtaa.net/chat/. Just go to http://mtaa.net/chat/ at noon pacific time (3PM on the east coast; 8PM UTC; find your time: http://www.timeanddate.com/worldclock/converter.html) to take part!
We're planning on having streaming video and live chat at that URL during the performance -- but it's museum Wi-Fi, so who knows? If you show up and we're not there... you can at least talk to each other :-)
more info on MTAA:
Following up on this, here's a podcast from SFMOMA where Mike and I talk about the piece: