marc garrett
Since the beginning
Works in London United Kingdom of Great Britain and Northern Ireland

PORTFOLIO (7)
BIO
Net artist, media artist, curator, writer, street artist, activist, educationalist and musician. Emerging in the late 80's from the streets exploring creativity via agit-art tactics. Using unofficial, experimental platforms such as the streets, pirate radio such as the locally popular 'Savage Yet Tender' alternative broadcasting 1980's group, net broadcasts, BBS systems, performance, intervention, events, pamphlets, warehouses and gallery spaces. In the early nineties, was co-sysop (systems operator) for a while with Heath Bunting on Cybercafe BBS, dedicated to arts, technology and hacking.

Co-director and co-founder, with artist Ruth Catlow of the net arts collectives and communities- furtherfield.org, furthernoise.org, netbehaviour.org, also cofounder and co-curator/director of the gallery space called HTTP Gallery in London, UK. Currently involved in co-running, collaborating with many others on Node.London. Also co-curating various contemporary Media Arts exhibitions, nationally and Internationally such as Game/play a touring exhibiton.
Discussions (1664) Opportunities (12) Events (175) Jobs (2)
DISCUSSION

New Aesthetics: Cyber-Aesthetics and Degrees of Autonomy


New Aesthetics: Cyber-Aesthetics and Degrees of Autonomy. By Patrick Lichty

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Five Thousand Feet is the Best by Omer Fast.

http://www.furtherfield.org/features/articles/new-aesthetics-cyber-aesthetics-and-degrees-autonomy

"In perusing Honor Harger’s recent missive on drone aesthetics and James Bridle’s ongoing posts of drone images at Dronestagram, taken in context with the Glitch un-conference in Chicago, some new questions have come to mind. These questions have to do with conceptions of New Aesthetics in its various forms in terms of interaction with the program/device and its level of autonomy from the user. In my mind, there seems to be a NA continuum from generative programs that operate under the strict criteria of the programmer to the often-autonomous actions of drones and planetary rovers. As you can see, I am still chewing on the idea that The New Aesthetic as it seems to be defined, as encompassing all semi-autonomous aspects of ‘computer vision’. This includes Glitch, Algorism, Drone imagery, satellite photography and face recognition, and it’s sometimes a tough nugget to swallow that resonates with me on a number of levels." Lichty.

DISCUSSION

Disrupting The Gaze. Part 1: Art Intervention and the Tate Gallery.


Disrupting The Gaze. Part 1: Art Intervention and the Tate Gallery.

The Goldsmiths Radical Media Forum is a lecture series.
Thursday, February 21, 2013, 5:30 (New Academic Building 102)

Marc Garrett will present the first section of his two part paper 'Disrupting The Gaze'. Part one 'Art Intervention and the Tate Gallery'.

https://sites.google.com/site/mcradicalmedia/

We live in a world riddled with contradictions and confusing signals. Our histories are assessed, judged and introduced as fact yet there are so many bits missing. We accept what is given through sound bite forms of mediation and end up using misinformation as our cultural foundations, and then we build on these ‘acquired’ assumptions as our ‘imagined’ guidelines. This critique studies how contemporary artists are challenging these defaults through their connected enactments and critical inquiries of the existing conditions. It highlights a continual dialogue involving a historical struggle between what is condoned as legitimate art and knowledge, and what is not. It looks at a complexity, embedded in our culture and its class divisions in Britain. And draws upon struggles going as far back as the enlightenment, the industrial revolution, colonialism and slavery, to present day concerns with neoliberalism and its dominance. The Tate gallery is used as a reference point and a site of focus for these various historical and contemporary, political and societal conflicts.

The artists’ and art groups featured, such as Graham Harwood, Platform, Liberate Tate, IOCOSE, Tamiko Thiel, and Mark Wallinger; has each delivered a particular (unofficial and official) mode of art intervention at the Tate Gallery. Whether these artistic activities concern economic, ecological, historical, political or hierarchical conditions, they all connect in different ways. They meet, not through style or as part of a field of practice, but as contemporary artistic practitioners exploring their own states of agency in a world where our ‘public’ interfaces are as much a necessary place of creative engagement, as is the already accepted physical ‘inner’ sanctum of the gallery space. However, their work has become equally significant (perhaps even more) than, the mainstream art establishment’s franchised celebrities.

DISCUSSION

Foundland: Critical Stories.


Foundland: Critical Stories.

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http://www.furtherfield.org/features/interviews/foundland-critical-stories

Annet Dekker interviews Foundland, Ghalia Elsrakbi (SY) and Lauren Alexander (SA). A multi-disciplinary art and design practice based in Amsterdam. With backgrounds in graphic design, art and writing Foundland’s approach focuses on research based, critical responses to current issues. While moving around in advertising, printed matter, the Internet, and off line art spaces they dig up interesting stories about Disney, SpongeBob and defected soldiers.

DISCUSSION

Towards a Free/ Libre/ Open/ Source/ University


Towards a Free/ Libre/ Open/ Source/ University

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Image from Fab Lab (fabrication laboratory), small-scale workshop offering digital fabrication. London.

By Paula Roush.

http://www.furtherfield.org/features/articles/towards-free-libre-open-source-university

Paula Roush explores the growing interest in free and Open Source practices in art. This report maps out these shifting relationships in contemporary models of education both online and offline. Recent expansion of so-called ‘free culture’ has contributed to placing the debate over authorship, ownership and licensing of the artwork at the centre of artistic production. Crucially, the transformation of art in the age of global culture and the consequent move from autonomous art objects into cultural artworks and services, has resulted in the emergence of new visible tendencies.

Born in Lisbon, Paula Roush lives in London where she is an artist and lecturer at the London South Bank University and University of Westminster. More about Paula Roush - http://www.msdm.org.uk/

You can find the original article on 'Collaboration and Freedom – The World of Free and Open Source Art'.
http://p2pfoundation.net/World_of_Free_and_Open_Source_Art

This article is part of the Furtherfield collection commissioned (http://www.artscouncil.org.uk/what-we-do/our-priorities-2011-15/digital-innovation-and-creative-media/digital-resources/collaboration-and-freedom/) by Arts Council England for Thinking Digital, in 2011.

DISCUSSION

CyPosium: An online symposium on cyberformance. (Reviewed)


CyPosium: An online symposium on cyberformance. (Reviewed)

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By Rob Myers.

CyPosium was an online event in October 2012 dedicated to the history of online performance. It recovered previously lost history, brought online performers old and new into conversation, and assembled its audience into an ad hoc community.

"We all perform on the Internet. The social media profiles that we are contractually obliged to give our real names to are just as much performances as our World Of Warcraft or Minecraft avatars. Yet these impromptu performances of our socialised and fantasy selves lack the literary quality of drama. Not drama in the sense of a Usenet or Tumblr flamewar, but in the sense of theatre."

http://www.furtherfield.org/features/reviews/cyposium-online-symposium-cyberformance