<nettime> American History X V2

[CPVERSION SEVENTY <cp_v70@yahoo.com>]

A COLLECTION OF EARLY EXPOSURES AS I REMEMBER THEM:
MOMENTS INCORPORATING AND OFTENTIMES INFORMED BY NEW
MEDIA TECHNOLOGIES AND THE WEB WITH A CONSCIOUS
DISREGARD FOR THE BRANDING OF A LIFETIME OR ANY OF THE
MEDIUM(S) UTILIZED

CARY PEPPERMINT 1999

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LONG DISTANCE V2.2 - 1994 - 
This is a CU-SEEME performance-exposure.  I've been
doing one version or another of this since 1994.  In
this particular exposure Christina Mohammed and I
logged onto a community CU-SEEME reflector site and
kissed continuously for 1 hour under a window titled,
"Long Distance".   Some people became annoyed and
angry, some ignore it and others thought we were
trying to sell them something.
http://www.artnetweb.com/peppermint/peek/realtime.html

MASHED POTATO SUPPER 1995- 
Every month or so I would invite people over to my
house for a meal of mashed potatoes and vodka.  We
would then interact in real-time with a remote group
of participants who were also enjoying a meal of exact
dimension.  The idea was that there would be "NO
EXTRANEOUS CHEWING". This was one of the first and
most successful real-time events conducted over the
net in April 1996 with a Mashed Potato Supper in New
York and in another in Edinburgh, Scotland.  It was in
conjunction with the Edinburgh's Fringe Film and Video
Festival.  People said, "You can't do that… the
technology just isn't there yet."  We didn't care.  We
were very bold in our dis-regard for perfection.  We
spoke across the net as if we were sending
transmissions from the moon. We shared vodka, potatoes
and mingled transatlantic supper guests.  When we (in
New York) logged off we felt moved and lonely having
been separated all at once and with such immediacy
from our new friends. 
 http://www.artnetweb.com/peppermint/mashed/

CONDUCTOR NUMBER ONE: GETTING IN TOUCH WITH CHICKEN
-1997
There were two pine boxes.  One held myself and
another held a chicken.  We each had internet CU-SEEME
connections, telephones and live video monitors atop
our boxes.  The room itself was a box too, for
participants to walk into.  A circuit was created. 
Peppermint=Conductor.  Chicken=Resistor. 
Participants=Batteries.  This worked beautifully for
four weeks in the early spring of 1997 from Syracuse
University in conjunction with the PORT show at MIT. 
Many people were involved both remotely and in the
physical space and contributed toward my communicative
efforts with the chicken.  The analogy of "Chicken"
also being "Man Trapped in a Pine Box" was not lost
here.   Later in Fall of 1997 another
performance-exposure of CN1 in Chicago was
marginalized and rendered completely ineffective as
part of ISEA '97 by an under-prepared and less than
co-operative staff at the Art Institute who chose to
treat me and my project as if I were a student at
their institution.  Such is the life of a young
artist.  My regrets for anyone who was exposed to CN1
in Chicago.  
http://www.artnetweb.com/peppermint/cn1/

REFERENCES V5.1 -1997
This was largely a response to my great feeling of
weightlessness after having moved to New York and
before having established any personal sense of
community.   I felt very claustrophobic at the time
and generally depressed by the mass proliferation of
imagery to which I was being subjected via a graphic
design job and my daily subway commute.  
http://www.artnetweb.com/peppermint/peek/references.html

TRIPTYCH: WE STILL GO ON SOMEWHERE OR DID LIVE ONCE 
-1997
Real-time access to a west coast highway, a young
woman in her bedroom and space shuttle missions.  This
contemporary web-triptych speaks to me of cultural
schizophrenia amongst mapped or simulated spaces at
the end of the 20th century.
http://www.artnetweb.com/peppermint/peek/triptych.html

WANT SYMBOLIC THREESOME?  (NY DAILY NEWS RE-MIX #3)
-1998
In 1998 I worked as an art director for the New York
Daily News website.  Many times I modeled for their
fashion stories so that I could incorporate the
newspaper into a series of highly circulated exposures
of art.  I never completed this particular project by
showering with anyone I met via the internet, so this
is still in progress.  Ideally I would like to have a
symbolic threesome with Ricardo Domingez and Prema
Murty but, who knows…  Email me if you are interested.
http://www.artnetweb.com/peppermint/peek/pre_aht.html

PEPPERMINT'S CANDY SHOPPE! -1998
One night in January 1998, I went out drinking with
Chilean artist Guillermo Cifuentes, Tim Whidden and
Christina Mohammed.  Our drinking exposure operated
under a loose thesis of homage to the "Regan Years" 
and the humble origins of my working class father, his
love of automobiles and Budweiser beer.  On our
journey home, I tore off the license plate from an
illegally parked automobile symbolic of wealth and
privilege.  I then proceeded into my apartment where
Tim taped me drinking excessive amounts of Budweiser
while beating myself in the head with the license
plate and listening to a looped song called "American
Music" by the Violent Femmes.   
http://www.artnetweb.com/peppermint/secret/


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