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MTAA-RR » texts:

This section contains longer texts by MTAA which have been published in various places.

Conceptual Art in Relation to MTAA’s Net Art (formatted for chat)
2001, performed live via streaming video and chat during the "Warhol Hijack"

Lucy Lippard (noted art critic) describes conceptual art as "[artwork] in which the idea is paramount and the material form is secondary, lightweight, ephemeral, cheap, unpretentious and/or ‘dematerialized’".

Net art may be loosely defined as art which uses the internet as one of it’s primary components.

This art history lesson will begin with Marcel Duchamp, inventor of the ready made.

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Defunct in Ohio
2003, by M.River, orginally published in the SMAC! zine

SMAC! co-founder/editor-in-chief Marisa S. Olson emails me from the warm future-perfect paradise that is California. She asks me to write an essay on obsolescence, the defunct, and, in general, the Technology of What Was. A thousand words by New Year’s.

Of course… umm… sure. I know all about the obsolete.

In a few days I will travel, as I do each year, from New York City to Ohio, for Christmas with my family. In Ohio, in Christmas, I will find the What Once Was.

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MTAA interview etoy
2000 , originally published on

A warm May afternoon in New York City finds representatives of two virtual art organizations meeting in the etoy.TANK.

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Interview With Yael Kanarek
2000, originally published in Sandbox #8, BANG

Yael Kanarek’s World of Awe is the documentation of a fictional traveler exploring a magical landscape in search of a lost treasure. We encounter the traveler through an interface which is both magical and mundane. It looks suspiciously like a Mac or Windows desktop—there are icons on the desktop and pull-down menus at the top of the screen. But click an icon or choose a pull-down option and you’ll be instantly transported to the world of the traveler, The World of Awe.

Yael Kanarek builds World of Awe through images of desert landscape, descriptions of the traveler’s tools, pages from the traveler’s journal, and love letters that the traveler sends to a lover left behind. All these elements are seamlessly integrated through the interface, which is a wonderful technical use of dynamic HTML, much of it written by programmer Luis Perez.

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Non-Spectator Performance Art
2001, from Limited TIME!® Only

This genre of performance art isn’t solely Internet-based but was born on the Internet; initially identified by T.Whid in late 1997 or early 1998 after attending a chat-based performance in which the chat had been projected for the audience to follow along.

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Beat Up by Grade School Girls in Drag, M.River’s Report on SissyFight 2000
2001, a shorter version of this text was originally published in Sandbox #9, Gender Play

A general confession: I wasted WAY to much time last summer hanging out on the playground of PS 666 dressed up in a catholic school girl’s uniform with my new punk rock hair style. I tried to get with the "cool crowd" by destroying the reps of little girls. I taunted and scratched them to no avail. In the end, I failed. I was deemed a bully and in general, "totally uncool". I am, in what passes as reality these days, a 33 year old male who spent to much time last summer enjoying the gender/social twisting online game SissyFight 2000.

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MTAA report on’s TOYWAR and interview agent.NASDAQ
2000, originally published on

1. Background Story (as all good computer games need)

Once upon a time, 1994 to be exact, there was a European net art group called etoy spent its young years practicing cultural mischief. They modeled themselves as a hybrid of social art and corporate structure.

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Synopsis of MTAA’s Upgrade Presentation
2000, please see The Upgrade! documentation

Please visit The Upgrade! web site in order to read a fictionalized account of MTAA’s presentation to The Upgrade! group in June of 2000.

1997 - 2006 M.River & T.Whid Art Associates. Some Rights Reserved. is licensed under a Creative Commons License with the exception of Website Unseen titles which are covered by agreements with individual collectors and otherwise where noted.