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 (1671) Opportunities (12) Events (175) Jobs (2)
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

DISCUSSION

DIWO: Do It With Others – No Ecology without Social Ecology.


DIWO: Do It With Others – No Ecology without Social Ecology.

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http://www.furtherfield.org/features/articles/diwo-do-it-others-%E2%80%93-no-ecology-without-social-ecology

By Marc Garrett, Ruth Catlow.

The acceleration of technological development in contemporary society has a direct impact on our everyday lives as our behaviours and relationships are modified via our interactions with digital technology. As artists, we have adapted to the complexities of contemporary information and communication systems, initiating different forms of creative, network production. At the same time we live with and respond to concerns about anthropogenic climate change and the economic crisis. As we explore the possibilities of creative agency that digital networks and social media offer, we need to ask ourselves about the role of artists in the larger conversation. What part do we play in the evolving techno-consumerist landscape which is shown to play on our desire for intimacy and community while actually isolating us from each other. (Turkle 2011) Commercial interests control our channels of communication through their interfaces, infrastructures and contracts. As Geert Lovink says 'We see social media further accelerating the McLifestyle, while at the same time presenting itself as a channel to relieve the tension piling up in our comfort prisons.' (2012: 44)

Many contemporary artists who take the networks of the digital information age as their medium, work directly with the hardware, algorithms and databases of digital networks themselves and the systems of power that engage them. Inspired by network metaphors and processes, they also craft new forms of intervention, collaboration, participation and interaction (between human and other living beings, systems and machines) in the development of the meaning and aesthetics of their work. This develops in them a sensitivity or alertness to the diverse, world-forming properties of the art-tech imaginary: material, social and political. By sharing their processes and tools with artists, and audiences alike they hack and reclaim the contexts in which culture is created.

This essay draws on programmes initiated by Furtherfield, an online community, co-founded by the authors in 1997. Furtherfield also runs a public gallery and social space in the heart of Finsbury Park, North London. The authors are both artists and curators who have worked with others in networks since the mid 90s, as the Internet developed as a public space you could publish to; a platform for creation, distribution, remix, critique and resistance.

Here we outline two Furtherfield programmes in order to reflect on the ways in which collaborative networked practices are especially suited to engage these questions. Firstly the DIWO (Do It With Others) series (since 2007) of Email Art and co-curation projects that explored how de-centralised, co-creation processes in digital networks could (at once) facilitate artistic collaboration and disrupt dominant and constricting art-world systems. Secondly the Media Art Ecologies programme (since 2009) which, in the context of economic and environmental collapse, sets out to contribute to the construction of alternative infrastructures and visions of prosperity. We aim to show how collaboration and the distribution of creative capital was modeled through DIWO and underpinned the development of a series of projects, exhibitions and interventions that explore what form an ecological art might take in the network age.

Featuring: A Abrahams, Kate Rich, IOCOSE, Helen Varley Jamieson, Paula, Feral Trade Cafe, make-shift, Do It With Others (DIWO) E-Mail Art, If not you not me.

First published in Remediating the Social 2012. Editor: Simon Biggs University of Edinburgh. Pages 69-74
http://elmcip.net/critical-writing/remediating-social

An ebook version of Remediating the Social is freely downloadable.
http://elmcip.net/sites/default/files/files/attachments/criticalwriting/remediating_the_social_full.pdf

DISCUSSION

New Review - Experimental Theatre: Public Domain by Roger Bernat.


Experimental Theatre: Public Domain by Roger Bernat.

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Review by Esther Belvis Pons.

http://www.furtherfield.org/features/reviews/experimental-theatre-public-domain-roger-bernat

Esther Belvis Pons' writes about Roger Bernat's experimental theatre work 'Public Domain'. The piece, still on tour, has been performed in public spaces around the world. This audience-centred project invites individuals to participate in an engaging experience that emerges as a sociological choreography. The audience gathers in a public square and they are given a pair of headphones, fulfilling the narrative possibilities of the group using statistical tools.

Pons is a researcher-artist and educator that has worked with experimental theatre companies around Europe. She holds a PhD in Theatre and Performance Studies by the University of Warwick and the Autonomous University of Barcelona. Her main interests include audience participation and mediatized performance, collaborative methods of research and transductive pedagogies. She collaborates with different journals as a writer and she is co-editor of Efímera, a biannual journal specialized in Live Art in Latin America and Spain. http://theunusualtask.wordpress.com/

Roger Bernat - After studying architecture, he discovered theatre and at the age of 25 he entered the Institut del Teatre in Barcelona to study directing and dramaturgy. Soon after, he founded and directed, with Tomàs Aragay, the company General Elèctrica. Well known in Catalonia for their daring and engaged projects, General Elèctrica (1997-2001) created a dozen remarkable productions. Roger Bernat often concentrates on a variety of social groups (heroes, transsexuals, cab drivers, etc.) in his ongoing search for new theatrical forms. His best-known plays include Que algú em tapi la boca (2001), Bona gent (2003) in collaboration with Juan Navarro, Amnèsia de fuga (2004), LA LA LA LA (2004), Tot és perfecte (2005) and Das Paradies Experiment (2007). Apart from his stage work, Roger Bernat also directs videos. http://rogerbernat.info/en/

DISCUSSION

A disjointed conversation – Claire Bishop, The Digital Divide, and the State of New Media Contemporary Art.


A disjointed conversation – Claire Bishop, The Digital Divide, and the State of New Media Contemporary Art.

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By Patrick Lichty.

I found Claire Bishop’s landmark essay on Digital Art, ‘The Digital Divide’ in Artforum’s 50th Anniversary issue three months late through Lauren Cornell and Brian Droitcour’s equally polemic response, ‘Technical Difficulties’ in the January 2013 issue. Since September, there have been excellent conversations, both inside and outside the New Media community. There are a plethora of positions on Bishop’s highly successful essay; success in that it has created such a stir. The problem with the conversation, and I dare not say dialogue, is that the rhetoric resulting from ‘The Digital Divide’ is disjoint along several lines, in some ways schematizing some of the reasons for her polemic. Secondly, the resulting cross-takedown between Lauren Cornell/Brian Droitcour and Bishop remind me that I no longer live in the relatively generous era in which we built the genre of New Media in the 90’s.

On Furtherfield's Community Blog.
http://www.furtherfield.org/blog/patrick-lichty/disjointed-conversation-%E2%80%93-claire-bishop-digital-divide-and-state-new-media-conte