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

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-,,, 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 (1651) Opportunities (11) Events (175) Jobs (2)

Making the Digital Divide Cheap and Nasty.

Making the Digital Divide Cheap and Nasty.


By Robert Jackson.

Jackson responds to Claire Bishop's new essay Digital Divide, where she asks why the contemporary mainstream Artworld has, for the most part, continued to disavow any critical dialogue with the 'endlessly disposable, rapidly mutable ephemera of the virtual age'. While the questions Bishop poses are welcome and expertly framed for the mainstream art world, Robert Jackson argues that her call for confrontation has no relevance, when measured up to the sphere of "new media art" (Bishop's words) which is in a more advanced stage of critique with its messy materials.

"Of worthy mention is the essay Digital Divide by the art world's antagonistic critic of choice Claire Bishop, a writer whom a little under 8 years ago, deservedly poured critical scorn over the happy-go-lucky, merry-go-round creative malaise that was Bourriaud's Relational Aesthetics and all of the proponents involved. Since then Bishop's critical eye has focused on the acute political antagonistic relationships, within the dominant paradigms of participatory art and the concomitant authenticity of the social."

Robert Jackson, is currently studying an MPhil/PhD at the University of Plymouth, in the research group KURATOR/Arts and Social Technologies, Faculty of Arts and Media (formally Faculty of Technology). Jackson's thesis focuses on Algorithmic Artworks, Art Formalism and Speculative Realist Ontologies, looking at digital artworks which operate as configurable units rather than networked systems, and attain independent autonomy themselves which are capable of aesthetics, rather than any supposed primary function as communicative, rational tools. There are two working titles, Algorithm and Contingency: Towards a Non-Human Aesthetics and Everything is Possible: Art and Speculation.


WWW: World Wild Web : To be alive is to be wild

Thu Oct 18, 2012 13:00 - Sat Dec 01, 2012

London, United Kingdom of Great Britain and Northern Ireland

Artists: Paula Crutchlow & Helen Varley Jamieson, Andy Deck, Mary Flanagan, Genetic Moo, Dominic Smith, and Sarah Waterson

To be alive is to be wild. And we humans have a will that shapes the world with language, song, lust, labour and play. And for those of us who connect with it, a network of machines now extends our reach, amplifies our urges and quickens our exchanges. The artists in this exhibition work and play with living organisms and technical things, systems and language, to explore how our relation to the natural world is changing. Gallery visitors (humans and dogs) are invited to view videos, interact with art installations and social media and undertake walks in the surrounding park with its other animals and edible plants.

Please join us for the Opening Event on Saturday 13 October 2012, 1-4pm.

The event is co-hosted with The Festival of Mint - A Celebration of Local Growing - serving mint tea and mojito made with fresh mint grown locally.

Furtherfield - A living, breathing, thriving network - for art, technology and social change since 1997

Furtherfield is supported by Haringey Council and Arts Council England through the National Portfolio funding programme.

Furtherfield provides platforms for art, technology and social change. Funded from Arts Council England since 2005, Furtherfield is now one of Arts Council England's National Portfolio Organisations. Furtherfield Gallery has established an international reputation as London's first dedicated gallery for networked and media art, hosting regular exhibitions and public events since 2004. With the support of Haringey Council the gallery is now based at McKenzie Pavilion in the heart of Finsbury Park.


Industrial landscapes of the future/past: DataisNature and the work of Paul Prudence

Industrial landscapes of the future/past: DataisNature and the work of Paul Prudence.


By Mark Hancock.

Mark Hancock reviews the research blog DataIsNature ( and its curator Paul Prudence, whose work captures the landscapes of post-industrial places and filters them through the clean/modern frameworks of contemporary media arts practices to produce some exhilerating and fascinating live performance cinema.

"Algorithms only really come alive in the temporal time-frames that they move through. Their existence depends on being able to move freely along time's arrow, unfolding and expanding out in to the universe, or reversing themselves backwards into a finite point. Every form and structure that the universe creates is the result of a single step along that pathway and we're only ever observing it at a single moment. Those geological steps can take millions of years to unfold and we can only ever really look back and see the steps that happened before we chose to observe them. Computational algorithms break down that slow dripping of nature's possibilities and allow us to become time-travellers, stepping into any point that we choose to." (Hancock 2012)


Women, Art & Technology: A Conversation with Amy Alexander.

Women, Art & Technology: A Conversation with Amy Alexander.


By Rachel Beth Egenhoefer.

This conversation follows in a series of interviews with women who work at the intersection of art and technology. Amy Alexander’s work as an artist, performer, musician, and professor approaches art and technology from a performing arts perspective, often examining intersections of art and popular culture.

Amy Alexander is an artist and researcher working in audiovisual performance and digital media art. She has worked under a number of pseudonyms including VJ Übergeek and Cue P. Doll. Coming from a background in film and music, she learned programming and began making time and process-based art on the Internet in the mid-1990's with the Multi-Cultural Recycler and Amy has performed and exhibited on the Internet, in clubs and on the street as well as in festivals and museums. Her work has appeared at venues ranging from the Whitney Museum and Ars Electronica to Minneapolis‚ First Avenue nightclub. She has written and lectured on software art and audiovisual performance, and she has served as a reviewer for festivals and commissions for new media art and computer music. She is an Associate Professor of Visual Arts at the University of California, San Diego. During summer/fall of 2012, Amy is Artist-in-residence at iotaCenter in Los Angeles.


Announcing: Heather Corcoran Appointed Executive Director of Rhizome

This really cheers me up. I am hoping that this means that Rhizome will bring back some of its edginess & connections to other cultures once more, and not over promote New York centric artists and orgs - become part of the Internet again, it's real soul ;-)

Good luck Heather!