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

PORTFOLIO (4)
BIO
Marc Garrett is co-director and co-founder, with artist Ruth Catlow of the Internet arts collectives and communities – Furtherfield.org, Furthernoise.org, Netbehaviour.org, also co-founder and co-curator/director of the gallery space formerly known as 'HTTP Gallery' now called the Furtherfield Gallery in London (Finsbury Park), UK. Co-curating various contemporary Media Arts exhibitions, projects nationally and internationally. Co-editor of 'Artists Re:Thinking Games' with Ruth Catlow and Corrado Morgana 2010. Hosted Furtherfield's critically acclaimed weekly broadcast on UK's Resonance FM Radio, a series of hour long live interviews with people working at the edge of contemporary practices in art, technology & social change. Currently doing an Art history Phd at the University of London, Birkbeck College.

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) with Heath Bunting on Cybercafe BBS with Irational.org.

Our mission is to co-create extraordinary art that connects with contemporary audiences providing innovative, engaging and inclusive digital and physical spaces for appreciating and participating in practices in art, technology and social change. As well as finding alternative ways around already dominating hegemonies, thus claiming for ourselves and our peer networks a culturally aware and critical dialogue beyond traditional hierarchical behaviours. Influenced by situationist theory, fluxus, free and open source culture, and processes of self-education and peer learning, in an art, activist and community context.
Discussions (1673) Opportunities (12) Events (175) Jobs (2)
DISCUSSION

'Six Rules Towards A New Internet Art'- Reconsidered


Eryk's Salvaggio 'Six Rules Towards A New Internet Art'- Reconsidered

"Image is nothing. Thirst is everything. Obey your thirst." - Sprite Soft D=
rink Advertisement.

'I think Net Art will be more interesting and challenging when artists/crea=
tors begin to get used to defying the medium itself. As in not doing what o=
ne is supposed to do in accordance to the medium's demands. This of course =
will take time because a plateau has not yet been reached by any stretch of=
the imagination. Once the distraction of [medium] wars are left behind; in=
respect of whether one should use Flash or ASCII, or any other form of com=
puter technology function. Then the sky really is the limit'.

Eryk's Salvaggio rules, I believe are a personal idea and not a manifesto a=
nd Eyrk seems to have an agenda behind his 'Six Rules Towards A New Interne=
t Art' that has not yet been coherently declared. His take sits well next t=
o Baudrillard's conception that in late capitalist consumer society there h=
as been a shift in which images and signs have increasingly become commodit=
ies. Even though in his text he places a disclaimer contradicting this 'Thi=
s has nothing to do with corporate/anti-corporate; and should not be mistak=
en as the most radical rule'. Yet when looking at Salvaggio's work, he does=
on the whole tend to try to eradicate references to image, his recent work=
s are an accumulation of texts forming a larger image, thus still showing h=
is distrust of images and their possible connotations.

After Sept 11th, one thing we can be sure about is, that we [the world] wer=
e submitted repeated images of the terrorist attack and we did not believe =
it was happening. The broadcasting of the incident served more to desensiti=
ze the world from the realness of what actually happened. Of course, the vi=
ewing of a mass of people, another culture's pain is nothing new, but in re=
flection America is not in the habit of being the victim itself. In reflect=
ion, it seems that the only resource that America had when displaying its n=
ational sense grief was via its own terrestrial media, yet the rest of the =
world was tired of seeing the images repeated over and over again. It was l=
ike watching another American blockbuster, people could not quite believe t=
heir own eyes. And who could blame them? Infotainment is America's greatest=
asset, and its allegiance to corporate domination over its people's lives =
is paramount. Because we are all used to viewing advertisements repeatedly,=
propaganda imposed upon our tired eyes non stop above social interest. The=
inherent isolation that mediation gives, caused confusion and a recognitio=
n of a spiritual vacuum in America, as well as everywhere else in the Weste=
rn dominated zones.

Eryk's piece September 11th, 2001 consisted of motion footage of United Air=
lines Flight 175 striking the South Tower of the World Trade Center. Declar=
ed his distrust of televised images 'When I started seeing images of people=
leaping from the towers in magazines and newspapers, it left me feeling li=
ke we had missed the real essence of what had happened, that these lives ha=
d become images, tape loops, and symbols'.

So the image had finally been fully realized in the ultimate sense, it offe=
red no recourse or definition or communication, when the news channels trie=
d to put across the feeling of death and pain. America was eaten by its own=
myth making, the media had finally ate itself. Part of the issue is that d=
enial seems such an intrinsic part of America's psyche. As a modern nation =
movies and advertisements are part of its own history, even when films are =
made as a historical reference to its own culture and world events that act=
ually happened. Events have been altered, changed so things are much more p=
alatable for the consumer. There are no factual references to real-life sit=
uations that the viewer can rely on and trust anymore. A truly mediated cul=
ture that has been traveling in Hyper - Reality. It seems real but is not q=
uite real. A consumer culture is a mediated culture, defined by culturalize=
d existence - via information via external sources. Infotainment is a produ=
ct and it constantly produces misinformation for commercial gain. Therefore=
realism is not of interest, yet that is where many truth's and hard facts =
do rest, even if it is balancing on a knife edge.

'WWII seems to have been the last "real" war. Hyperreal war began in Vietna=
m, with the involvement of television, and recently reached full obscene re=
velation in the "Gulf War" of 1991. Hyperreal war is no longer "economic", =
no longer "the health of the state". The Ritual Brawl is voluntary and hon-=
hierarchic (war chiefs are always temporary); real war is compulsory and hi=
erarchic; hyperreal war is imagistic and psychologically interiorized ("Pur=
e War"). In the first the body is risked; in the second, the body is sacrif=
iced; in the third, the body has disappeared'. Hakim Bey.

We all know how popular Flash was during the (so called) dot com revolution=
in displaying corporate web sites, terrestrial advertising and of course, =
many films. Flash use has come a long way since the corporate 'show off' da=
ys - when one used to visit business sites and flash noise/visuals explodin=
g before your eyes with a funky beat, imposing a maelstrom of nonsense grap=
hics. Now, artists who use flash themselves are pushing things by using the=
medium for their own terms. What I find interesting, or contradictory to t=
he shortly experienced, net art tradition; a good lesson for all to learn. =
Is that many Flash artists are managing to declare human emotion in their w=
ork successfully. An emotional visceralness communicating to a larger audie=
nce outside the traditional [in house] art-speak.

Eryk Salvaggio's distrust for the generalized image and its potential hyper=
eality and blanketing effect on art are worth acknowledging. But first, one=
must consider the 'word' and its own role historically and its function in=
the 'misinformation age'. Text is seen as the more intellectual form of co=
mmunicatory functions. And ownership of the written word has of course been=
an issue for many years. If one was to immediately accept an idea, without=
first considering one's own 'embodied' grounded beliefs. Then jumping onto=
someone else's conceptualized notion would and can only be considered as b=
andwagoning. Text has been the more traditional cannon for archiving inform=
ation, issuing news and of course, rules. Text tells lies just as much as i=
mages. altering subconscience, perceptions and socially constructed cranium=
s. Images traditionally have been more to do with symbols and metaphors, si=
gnifiers.

'didacticism often plays fast and loose with the truth'. N.Chomsky.

If an institution claims an idea, then removes the author who originated it=
s idea, then that institution can claim leverage by using that idea; thus g=
ain control and pushing its originator aside. M.Garrett.

The selection process of what is seen and read, declares who is judging wha=
t is allowed to be read and seen, a problem that is timeless. Whoever contr=
ols language controls us, and language comes in many forms. It can come in =
the form of a critical text supported by an institution and promoted by the=
media because it latches onto their own assumptions at that time. Or it ca=
n be promoted using terrestrial outlets where people who are not less to re=
ad due to de-education, are more reliant on visual information. So text or =
the use of an image can both be a lie, or messenger of mythologies. What r=
eally matters is the source, where the information has come from and why. T=
he itemizing of Flash as inferior to other forms of creative functions, doe=
s not take into account the context of an artists' own personal reasons and=
purpose for using such a medium.

I am sure Eryk himself would love it if someone offered an equivalent examp=
le, contrary to his notion. An alternative set of rules. The positive thing=
that has come about out of this, is that people are asked why are they usi=
ng the medium? Once the individual concerned has conceptually and intuitive=
ly reevaluated the use of a medium of whether it is appropriate in referenc=
e to their idea(s). A more truthful outcome can be realized, in why they ar=
e using their chosen medium. Let's face it, we are all using a corporate me=
dium - its called a computer.

Making art on the net is a craft, it still involves transmuting a concept. =
And the last thing we all want (I hope) is to get trapped in isolating arti=
sts. If that happens, then we might as well become modernists, and start ar=
guing and putting up fences, using Greenbergian terms (which is a 20th cent=
ury issue) defining the good from the bad. When you define or create rules =
you create borders, fences that people feel hesitant to cross because they =
feel victimized for doing so. This creates a virtual 'art school' compariso=
n that as far as I am concerned should be questioned. Inside, outside, bad,=
good; is not the best way for artists when they should be given the chance=
to explore any medium they choose for their own reasons. By adhering to th=
e process of determining what medium one should use, one creates a 'policed=
' aesthetic which is qualitative. Aesthetic value is ultimately created by =
taste. The cultivation of taste usually occurs via culturalization, "cultiv=
ated" taste. Rules are good to break and I suggest breaking the rules.

Eryk says 'Boundaries are what inspired the "heroic period" of early net.ar=
t- boundaries such as bandwidth, browser design limits, etc. Ironically; as=
bandwidth has expanded and browers more flexible, we have also seen a homo=
ginization of net.art. A design aesthetic prevails; as we see slicker and s=
licker "art" sites with no message or point or content'. I would have to di=
sagree here, for now we are witnessing new artists exploring emotion/ideas =
that do declare real content and message such as Jess Loseby. And actually =
does go further than a lot of 'cyber art', implying that if the artist is g=
ood enough the communication and meaning goes beyond the medium itself. So =
perhaps Eryk's excellent and thought provoking manifesto needs to be update=
d.

marc garrett

DISCUSSION

Re: I have a theory =


I also think that my theory and your link to Martin Luther King also has
profound implications.

marc:_0

> >I have a theory =
> >
> >That all dinasours were thin at one end - fat in the middle - And then
thin
> >at the other end.
> >
> >This is my theory and I am sticking to it.
> >
> >Unless of course someone else proves otherwise...
>
> marc,
>
> i think your theory has profound implications. whereas at one level,
> one may say that the pterodactyl does not comply to this mold.
> perhaps our constructed image of the pterodactyl is what is
> fundamentally flawed in the first place. These re-constructions are
> based on theoretical evidence from fossil remains of skeletal
> structures only. Suspect at best. Imagine the bird/lizard with the
> same bones, but redistributed lumps of fat.
>
> One clue is your reference to Martin Luther King, who was also kind
> of small at the ends but larger in the middle.
>
> Judson
>
>
> ~~~~~~~~~~~~~~~~~~~~~~~~~~
>
> PLASMA STUDII
> http://plasmastudii.org
> 223 E 10th Street
> PMB 130
> New York, NY 10003
>
>

DISCUSSION

New Work on Furtherfield


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BlankNew Work on Furtherfield.org

Christophe Bruno, Joy Garnett, John Blanchard, Ruth Catlow, Marc Garrett,=

Joseph Franklyn McElroy & Donna McElroy, Lewis Lacook, Micki Tschur...

Fascinum - Christophe Bruno: This piece lives on the Yahoo portal. It shows=
the pictures from the daily news that are most viewed on different nationa=
l Yahoo websites. Compiling subjects that fascinate different countries all=
over the world, juxtaposed in real time. Diplaying the pictures most viewe=
d [ranking from 1 to 10] on different national Yahoo portals.

The Bomb Project - Joy Garnett: A comprehensive on-line compendium of nucle=
ar-related links, imagery and documentation. Intended as a resource for art=
ists and encouraging those working in all media, from net.art, film and vid=
eo, eco-intervention and site-specific installation to more traditional for=
ms of agitprop, to use this site to search for raw material. The Bomb Proje=
ct has gathered together links to nuclear image archives (still and moving)=
, historical documents, current news, NGOs and activist organizations as we=
ll as government labs and arms treaties. It makes accessible the declassifi=
ed files and graphic documentation produced by the nuclear industry itself,=
providing a context for comparative study, analysis and creativity.

AirStream - John Blanchard: Taken from the album 'Airstream' by John Blanch=
ard, a selection of meditative pieces for cello, piano, sitar, and orchestr=
a. A smooth interface that reflects the feeling of the music, drawing the =
user into an environment that is unusually calming and relaxing for a compu=
ter interface. It also features photography created by the composer inspire=
d by the work of Andy Goldsworthy.

Short Films - Ruth Catlow: A selection of short films. 'Drawn to the big hu=
man subjects but ever unsure how to approach them. I think of these short f=
ilms like short films are like inappropriate gestures, physical actions or=
shouts in public spaces. They are about seeing shamanistic hedonism and an=
imism in shopping centres, the confusions and difficulties of taking respon=
sibility for the state of the world in a fractured community, shifting iden=
tity (finding myself behind someone else's eyes), subjectivity and perspect=
ive. I've got a wooden spoon in my hand and I'm stirring the chthonic soup'=
. All the clips are taken in public spaces shot in Walthamstow, the east en=
d of London, UK.

Marc Garrett's Writings - Marc Garrett: A varied collection of agitprop wri=
tings, featuring his infamous ironic email shorts 'Sleazy Art Meetings' (sl=
iced stories, art speak, critical philosophies, mixed with text stolen from=
sex sites on the Internet) and stories, or rather fables touching on how t=
echnology plays on our subconscience, issues of personal freedom, sexual id=
entity, masculinity and politics. Some have termed his stories as cyber-nov=
els. 'I don't mind the term, but I feel that the stories declare life and a=
ll its confusions beyond labels and are more about dealing with the issue o=
f transmutation. The site also features 'Critical Text' and 'Poetry/Prose',=
all worth a visit.

A Population in Peril - Cor[porat]e [Per]form[ance] Art[ists] Joseph Frankl=
yn McElroy & Donna McElroy: Performance has become a key term that in turn =
applies to experimental art, worker productivity, and functionality of tech=
nical, corporate, and military systems. A document of sunny New York days, =
digitalized and hand drawn depictions of creativity and contentment in the =
face of a terrorist threat.

Flash Poetry Generator 3.0 - Lewis LaCook: A programme that invites you to =
place nouns and verbs into dialogue boxes. Once the user has typed in their=
chosen words the poems are generated, forming evocative prose; some abstra=
ct, some profound, some dada. Lewis LaCook is also currently furtherfield's=
resident critic http://www.furtherfield.org/crit/index.htm.

Taxidermy - New Micki Tshcur: Animals that have fallen victim to road kill =
incidents undergo a taxidermic transformation into various odd poses & gest=
ures.
Goatboy - New Micki Tshcur: A sexual adventure turned into a comic strip by=
Micki Tschur documenting an encounter with a young goat herd in the Alps o=
f Italy.

Furtherfield wishes to thank all those who have submitted their new work an=
d for their patience in waiting for it to happen. [We still have more new s=
ubmissions to add to furtherfield, due to being over-run and over-worked we=
will put the rest up in a few weeks - Phew!]

More Information about furtherfield.org

We would also like to thank AKAART, for generously hosting furtherfield and=
its various projects.

http://www.furtherfield.org/crit/index.htm Lewis LaCook is our first critic=
in residence on Furtherfield. Offering regular and informative reviews of =
varied explorative projects & artworks featured on furtherfield, plus other=
works by artists who are currently exhibiting on the Internet.

http://www.furtherfield.org/ffield/index2.htm Furtherprojects, a page that =
shows all our current projects and what we are up to, still to be updated (=
of course).

Furtherfield is an non profit independent online platform for the creation,=
promotion, and archiving of new work for public viewing and interaction. F=
urtherfield collaborates with independent visual artists, digital/net artis=
ts, writers, critical thinkers, musicians and noisemakers with a special fo=
cus on work developed and produced outside the recognised institutional sup=
port structures (colleges, galleries, corporate and public funding). We exp=
lore new and imaginative strategies for communicating ideas and issues in a=
range of digital & terrestrial media contexts.
Furtherfield's activities focus on presenting works online and organising g=
lobal, contributory projects, which exist simultaneously on the Internet, t=
he streets and public venues.

We can make our own World . . .

http://www.furtherfield.org

info@furtherfield.org

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<BODY id=ridBody bgColor=#ffffff
background=cid:00b601c241c3$6f39c3c0$0100a8c0@FURTHERFIELD>
<DIV align=center><STRONG><FONT face="Courier New" color=#000080 size=
=3><A
href="http://www.furtherfield.org/home.html">New Work on
Furtherfield.org</A></FONT></STRONG></DIV>
<DIV><FONT face="Courier New"></FONT>&nbsp;</DIV>
<DIV align=left><STRONG><FONT face="Courier New" color=#000080>Christ=
ophe Bruno,
Joy Garnett, John Blanchard, Ruth Catlow, Marc
Garrett,&nbsp;&nbsp;<BR></FONT></STRONG><STRONG><FONT face="Courier New"=

color=#000080>Joseph Franklyn McElroy &amp; Donna McElroy, </FONT></STRON=
G><FONT
color=#0000ff><STRONG><FONT face="Courier New"><FONT color=#000080>Le=
wis Lacook,
Micki Tschur...<BR></FONT><BR></DIV></FONT></STRONG></FONT>
<DIV><FONT face="Courier New"></FONT>&nbsp;</DIV>
<DIV align=left><FONT color=#000080><FONT face="Courier New"><FONT
color=#0000ff><FONT color=#000080><STRONG>Fascinum -</STRONG></FONT>
</FONT><STRONG>Christophe Bruno: </STRONG><FONT size=1><FONT color=#000=
000>This
piece lives on the Yahoo portal. It shows the pictures from the daily news =
that
are most viewed on different national Yahoo websites.&nbsp;Compiling subjec=
ts
that fascinate different countries all over the world, juxtaposed in real=

time.</FONT><FONT color=#000080><STRONG> </STRONG></FONT><FONT
color=#000000>Diplay</FONT></FONT></FONT></FONT><FONT color=#000000><FO=
NT
face="Courier New"><FONT size=1>ing the pictures most viewed [ranking f=
rom 1 to
10] on different national Yahoo portals.</FONT><BR><BR><FONT
color=#000080><STRONG>The Bomb Project - Joy Garnett:</STRONG>&nbsp;<FONT=

color=#000000 size=1>A comprehensive on-line compendium of nuclear-rela=
ted
links, imagery and documentation. Intended as a resource for artists
and&nbsp;encouraging those working in all media, from net.art, film and vid=
eo,
eco-intervention and site-specific installation to more traditional forms o=
f
agitprop, to use this site to search for raw material. The Bomb Project has=

gathered together links to nuclear image archives (still and moving), histo=
rical
documents, current news, NGOs and activist organizations as well as governm=
ent
labs and arms treaties. It makes accessible the declassified files and grap=
hic
documentation produced by the nuclear industry itself, providing a context =
for
comparative study, analysis and
creativity.</FONT></FONT></FONT></FONT></DIV><FONT color=#000000><FONT
face="Courier New"></FONT>
<DIV align=left><BR></FONT><FONT face="Courier New"><FONT
color=#000080><STRONG>AirStream - John Blanchard:</STRONG></FONT>&nbsp;<F=
ONT
size=1>Taken from the album</FONT></FONT><FONT face="Courier New"
size=1>&nbsp;'Airstream' by John Blanchard, a selection of meditative pie=
ces for
cello, piano, sitar, and orchestra. A smooth interface that reflects&nbsp; =
the
feeling of the music, drawing the user into an environment that is unusuall=
y
calming and relaxing for a computer interface. It also features photography=

created by the composer inspired by the work of Andy Goldsworthy.<BR><BR><F=
ONT
color=#000080 size=2><STRONG>Short Films&nbsp;- Ruth Catlow:</STRONG> <=
FONT
color=#000000 size=1>A selection of short films. '</FONT><FONT
color=#000000><FONT size=1><FONT size=2><FONT face=Verdana><FONT
face="Courier New" size=1>Drawn to the big human subjects but ever unsu=
re how to
approach them. I think of these short films like</FONT>&nbsp;</FONT></FONT>=

short films are like inappropriate gestures, physical actions or shouts in=

public spaces. They are about seeing shamanistic hedonism and animism in
shopping centres, the confusions and difficulties of taking responsibility =
for
the state of the world in a fractured community, shifting identity (finding=

myself behind someone else's eyes), subjectivity and perspective. I've got =
a
wooden spoon in my hand and I'm stirring the chthonic soup'.</FONT> <FONT=

size=1>All the clips are taken&nbsp;in public spaces shot in Walthamstow,=
the
east end of London,
UK.</FONT></FONT><STRONG>&nbsp;</STRONG></FONT><BR></FONT></DIV>
<DIV align=left><FONT color=#000080><FONT face="Courier New"><STRONG>=
<BR>Marc
Garrett's Writings - Marc Garrett:</STRONG> </FONT><FONT color=#000000><F=
ONT
size=1><FONT face="Courier New">A varied collection of agitprop writing=
s,
featuring his infamous ironic email shorts 'Sleazy Art Meetings' (sliced
stories, art speak, critical philosophies,&nbsp;mixed with text stolen from=
sex
sites on the Internet) and stories, or&nbsp;rather fables touching on how=

technology plays on our subconscience, issues of personal freedom, sexual=

identity, masculinity and politics. Some have termed his stories as
cyber-novels. 'I don't mind the term, but I feel that the stories&nbsp;decl=
are
life and all its confusions beyond labels and are more about dealing with t=
he
issue of transmutation. The site also&nbsp;features&nbsp;'Critical&nbsp;Tex=
t'
and 'Poetry/Prose', all worth a visit.&nbsp;<BR><BR></FONT><FONT
face="Courier New"><FONT size=2><STRONG><FONT color=#000080>A Populat=
ion in
Peril - Cor[porat]e [Per]form[ance] Art[ists] Joseph Franklyn McElroy &amp;=

Donna McElroy: </FONT></STRONG></FONT><FONT size=1>Performance has become=
a key
term that in turn applies to experimental art, worker productivity, and
functionality of technical, corporate, and military
systems.&nbsp;</FONT></FONT></FONT></FONT></FONT><FONT size=1><FONT
face="Courier New">A document of sunny New York days, digitalized and han=
d drawn
</FONT><FONT face="Courier New">depictions of creativity&nbsp;and content=
ment in
the face of a terrorist threat.&nbsp; </FONT></FONT></DIV>
<DIV><FONT face="Courier New"></FONT>&nbsp;</DIV>
<DIV><FONT color=#000080><FONT face="Courier New"><STRONG>Flash Poetry =
Generator
3.0 - Lewis LaCook: </STRONG><FONT color=#000000 size=1>A programme tha=
t invites
you to place nouns and verbs into dialogue boxes. Once the user has typed i=
n
their chosen words the poems are generated, forming evocative prose; some=

abstract, some profound, some dada. Lewis LaCook is also currently
furtherfield's resident&nbsp;critic <A
href="http://www.furtherfield.org/crit/index.htm">http://www.furtherfield=
.org/crit/index.htm</A>.
</FONT></FONT></FONT></DIV>
<DIV><FONT face="Courier New"></FONT>&nbsp;</DIV>
<DIV><FONT face="Courier New"><FONT color=#000080><STRONG>Taxidermy
-</STRONG></FONT>&nbsp;<FONT color=#000080><STRONG>New Micki
Tshcur</STRONG></FONT>: <FONT size=1>Animals that have fallen victim to r=
oad
kill incidents undergo a </FONT></FONT><FONT size=1><FONT
face="Courier New">taxidermic transformation into various odd poses &amp;=

gestures.<BR></FONT><FONT color=#000080 size=2><STRONG><FONT
face="Courier New">Goatboy - New Micki Tshcur</FONT></STRONG><FONT
color=#000000><FONT face="Courier New">: </FONT><FONT face="Courier N=
ew"
size=1>A sexual adventure turned into a&nbsp;comic strip by Micki Tschur=

documenting an encounter with a young goat herd in the Alps of
Italy.<BR><BR>Furtherfield wishes to thank all those&nbsp;who have submitte=
d
their new work&nbsp;and for&nbsp;their patience in waiting for it to
happen.<FONT color=#000080> </FONT>[We still have more new&nbsp;submissio=
ns to
add to furtherfield, due to being over-run and over-worked we will put the =
rest
up in a few weeks - Phew!]<BR></FONT></FONT></FONT></FONT></DIV>
<DIV align=center><FONT size=+0><FONT color=#000080><FONT color=#00=
0000><FONT
face="Courier New"><FONT color=#000080
size=1><STRONG></STRONG></FONT></FONT></FONT></FONT></FONT>&nbsp;</DIV>
<DIV align=center><FONT size=+0><FONT color=#000080><FONT color=#00=
0000><FONT
face="Courier New"><FONT color=#000080
size=1><STRONG></STRONG></FONT></FONT></FONT></FONT></FONT>&nbsp;</DIV>
<DIV align=center><FONT size=+0><FONT color=#000080><FONT color=#00=
0000><FONT
face="Courier New"><FONT color=#000080><STRONG>More Information
about&nbsp;furtherfield.org</STRONG></FONT></FONT></FONT></FONT></FONT></DI=
V>
<DIV align=center><STRONG><FONT face="Courier New"
color=#000080></FONT></STRONG>&nbsp;</DIV>
<DIV><FONT size=+0><FONT size=+0><FONT size=+0><FONT size=+0><FONT =
size=+0><FONT
color=#000080><FONT size=1><FONT face="Courier New"><BR><BR><FONT
color=#000000>We would also like to thank
</FONT></FONT></FONT></FONT></FONT></FONT><A href="http://www.akaart.net/=
"><FONT
face="Courier New" color=#000000 size=1>AKAART</FONT></A><FONT
color=#000080><FONT size=1><FONT face="Courier New"><FONT color=#00=
0000>, for
generously hosting furtherfield and its various
projects.</FONT><BR><BR></FONT></FONT></FONT><A
href="http://www.furtherfield.org/crit/index.htm"><FONT face="Courier N=
ew"
color=#000080 size=1>http://www.furtherfield.org/crit/index.htm</FONT><=
/A><FONT
face="Courier New" color=#000080 size=1>&nbsp;<B>Lewis LaCook</B> <FO=
NT
color=#000000>is our first critic in residence on Furtherfield. Offering =
regular
and informative reviews of varied explorative projects &amp; artworks featu=
red
on furtherfield, plus other works by artists who are currently exhibiting o=
n the
Internet.</FONT>&nbsp;<BR><BR></FONT><A
href="http://www.furtherfield.org/ffield/index2.htm"><FONT face="Courie=
r New"
color=#000080
size=1>http://www.furtherfield.org/ffield/index2.htm</FONT></A><FONT
face="Courier New" color=#000080 size=1>&nbsp;</FONT><FONT color=#0=
00080><FONT
size=1><FONT face="Courier New"><STRONG>Furtherprojects</STRONG>, <FONT=

color=#000000>a page that shows all&nbsp;our current&nbsp;projects and wh=
at we
are up to, still to be updated (of
course).<BR></FONT><BR></FONT></FONT></FONT></FONT></FONT><FONT
color=#000080><FONT face="Courier New" size=1></FONT></FONT></FONT></=
DIV>
<DIV><FONT size=+0><FONT color=#000080><FONT face="Courier New"
size=1>Furtherfield is an non profit independent online platform for the=

creation, promotion, and archiving of new work for public viewing and
interaction. Furtherfield collaborates with independent visual artists,
digital/net artists, writers, critical thinkers, musicians and noisemakers =
with
a special focus on work developed and produced outside the recognised
institutional support structures (colleges, galleries, corporate and public=

funding). We explore new and imaginative strategies for communicating ideas=
and
issues in a range of digital &amp; terrestrial media contexts.</FONT></DIV>
<P><FONT face="Courier New" size=1>Furtherfield's activities focus on p=
resenting
works online and organising global, contributory projects, which exist
simultaneously on the Internet, the streets and public venues. </FONT></P>
<P><FONT face="Courier New" size=1></FONT></P>
<P align=center><FONT face="Courier New" size=1><B>We can make our ow=
n World . .
.</B></FONT></FONT><BR></P></FONT>
<DIV><FONT face="Courier New"></FONT>&nbsp;</DIV>
<DIV><A href="http://www.furtherfield.org"><FONT
face="Courier New">http://www.furtherfield.org</FONT></A></DIV>
<DIV><FONT face="Courier New"></FONT>&nbsp;</DIV>
<DIV><A href="mailto:info@furtherfield.org"><FONT
face="Courier New">info@furtherfield.org</FONT></A></DIV>
<DIV><FONT face="Courier New"></FONT>&nbsp;</DIV>
<DIV><FONT face="Courier New"></FONT>&nbsp;</DIV>
<DIV><FONT face="Courier New"></FONT>&nbsp;</DIV>
<DIV><FONT face="Courier New"></FONT>&nbsp;</DIV>
<DIV><FONT face="Courier New"></FONT>&nbsp;</DIV>
<DIV><FONT face="Courier New"></FONT>&nbsp;</DIV>
<P><FONT face="Courier New"></FONT>&nbsp;</P></BODY></HTML>

------=_NextPart_001_00B8_01C241CB.D1113E90--

DISCUSSION

New Work on Furtherfield.org


------=_NextPart_001_0274_01C241DE.B37D1760
Content-Type: text/plain;
charset="Windows-1252"
Content-Transfer-Encoding: quoted-printable

BlankNew Work on Furtherfield.org

Christophe Bruno, Joy Garnett, John Blanchard, Ruth Catlow, Marc Garrett,=

Joseph Franklyn McElroy & Donna McElroy, Lewis Lacook, Micki Tschur...

Fascinum - Christophe Bruno: This piece lives on the Yahoo portal. It shows=
the pictures from the daily news that are most viewed on different nationa=
l Yahoo websites. Compiling subjects that fascinate different countries all=
over the world, juxtaposed in real time. Diplaying the pictures most viewe=
d [ranking from 1 to 10] on different national Yahoo portals.

The Bomb Project - Joy Garnett: A comprehensive on-line compendium of nucle=
ar-related links, imagery and documentation. Intended as a resource for art=
ists and encouraging those working in all media, from net.art, film and vid=
eo, eco-intervention and site-specific installation to more traditional for=
ms of agitprop, to use this site to search for raw material. The Bomb Proje=
ct has gathered together links to nuclear image archives (still and moving)=
, historical documents, current news, NGOs and activist organizations as we=
ll as government labs and arms treaties. It makes accessible the declassifi=
ed files and graphic documentation produced by the nuclear industry itself,=
providing a context for comparative study, analysis and creativity.

AirStream - John Blanchard: Taken from the album 'Airstream' by John Blanch=
ard, a selection of meditative pieces for cello, piano, sitar, and orchestr=
a. A smooth interface that reflects the feeling of the music, drawing the =
user into an environment that is unusually calming and relaxing for a compu=
ter interface. It also features photography created by the composer inspire=
d by the work of Andy Goldsworthy.

Short Films - Ruth Catlow: A selection of short films. 'Drawn to the big hu=
man subjects but ever unsure how to approach them. I think of these short f=
ilms like short films are like inappropriate gestures, physical actions or=
shouts in public spaces. They are about seeing shamanistic hedonism and an=
imism in shopping centres, the confusions and difficulties of taking respon=
sibility for the state of the world in a fractured community, shifting iden=
tity (finding myself behind someone else's eyes), subjectivity and perspect=
ive. I've got a wooden spoon in my hand and I'm stirring the chthonic soup'=
. All the clips are taken in public spaces shot in Walthamstow, the east en=
d of London, UK.

Marc Garrett's Writings - Marc Garrett: A varied collection of agitprop wri=
tings, featuring his infamous ironic email shorts 'Sleazy Art Meetings' (sl=
iced stories, art speak, critical philosophies, mixed with text stolen from=
sex sites on the Internet) and stories, or rather fables touching on how t=
echnology plays on our subconscience, issues of personal freedom, sexual id=
entity, masculinity and politics. Some have termed his stories as cyber-nov=
els. 'I don't mind the term, but I feel that the stories declare life and a=
ll its confusions beyond labels and are more about dealing with the issue o=
f transmutation. The site also features 'Critical Text' and 'Poetry/Prose',=
all worth a visit.

A Population in Peril - Cor[porat]e [Per]form[ance] Art[ists] Joseph Frankl=
yn McElroy & Donna McElroy: Performance has become a key term that in turn =
applies to experimental art, worker productivity, and functionality of tech=
nical, corporate, and military systems. A document of sunny New York days, =
digitalized and hand drawn depictions of creativity and contentment in the =
face of a terrorist threat.

Flash Poetry Generator 3.0 - Lewis LaCook: A programme that invites you to =
place nouns and verbs into dialogue boxes. Once the user has typed in their=
chosen words the poems are generated, forming evocative prose; some abstra=
ct, some profound, some dada. Lewis LaCook is also currently furtherfield's=
resident critic http://www.furtherfield.org/crit/index.htm.

Taxidermy - New Micki Tshcur: Animals that have fallen victim to road kill =
incidents undergo a taxidermic transformation into various odd poses & gest=
ures.
Goatboy - New Micki Tshcur: A sexual adventure turned into a comic strip by=
Micki Tschur documenting an encounter with a young goat herd in the Alps o=
f Italy.

Furtherfield wishes to thank all those who have submitted their new work an=
d for their patience in waiting for it to happen. [We still have more new s=
ubmissions to add to furtherfield, due to being over-run and over-worked we=
will put the rest up in a few weeks - Phew!]

More Information about furtherfield.org

We would also like to thank AKAART, for generously hosting furtherfield and=
its various projects.

http://www.furtherfield.org/crit/index.htm Lewis LaCook is our first critic=
in residence on Furtherfield. Offering regular and informative reviews of =
varied explorative projects & artworks featured on furtherfield, plus other=
works by artists who are currently exhibiting on the Internet.

http://www.furtherfield.org/ffield/index2.htm Furtherprojects, a page that =
shows all our current projects and what we are up to, still to be updated (=
of course).

Furtherfield is an non profit independent online platform for the creation,=
promotion, and archiving of new work for public viewing and interaction. F=
urtherfield collaborates with independent visual artists, digital/net artis=
ts, writers, critical thinkers, musicians and noisemakers with a special fo=
cus on work developed and produced outside the recognised institutional sup=
port structures (colleges, galleries, corporate and public funding). We exp=
lore new and imaginative strategies for communicating ideas and issues in a=
range of digital & terrestrial media contexts.
Furtherfield's activities focus on presenting works online and organising g=
lobal, contributory projects, which exist simultaneously on the Internet, t=
he streets and public venues.

We can make our own World . . .

http://www.furtherfield.org

info@furtherfield.org

------=_NextPart_001_0274_01C241DE.B37D1760
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<DIV>
<DIV>
<DIV align=center><STRONG><FONT face="Courier New" color=#000080 size=
=3><A
href="http://www.furtherfield.org/home.html">New Work on
Furtherfield.org</A></FONT></STRONG></DIV>
<DIV><FONT face="Courier New"></FONT>&nbsp;</DIV>
<DIV align=left><STRONG><FONT face="Courier New" color=#000080>Christ=
ophe Bruno,
Joy Garnett, John Blanchard, Ruth Catlow, Marc
Garrett,&nbsp;&nbsp;<BR></FONT></STRONG><STRONG><FONT face="Courier New"=

color=#000080>Joseph Franklyn McElroy &amp; Donna McElroy, </FONT></STRON=
G><FONT
color=#0000ff><STRONG><FONT face="Courier New"><FONT color=#000080>Le=
wis Lacook,
Micki Tschur...<BR></FONT><BR></DIV></FONT></STRONG></FONT>
<DIV><FONT face="Courier New"></FONT>&nbsp;</DIV>
<DIV align=left><FONT color=#000080><FONT face="Courier New"><FONT
color=#0000ff><FONT color=#000080><STRONG>Fascinum -</STRONG></FONT>
</FONT><STRONG>Christophe Bruno: </STRONG><FONT size=1><FONT color=#000=
000>This
piece lives on the Yahoo portal. It shows the pictures from the daily news =
that
are most viewed on different national Yahoo websites.&nbsp;Compiling subjec=
ts
that fascinate different countries all over the world, juxtaposed in real=

time.</FONT><FONT color=#000080><STRONG> </STRONG></FONT><FONT
color=#000000>Diplay</FONT></FONT></FONT></FONT><FONT color=#000000><FO=
NT
face="Courier New"><FONT size=1>ing the pictures most viewed [ranking f=
rom 1 to
10] on different national Yahoo portals.</FONT><BR><BR><FONT
color=#000080><STRONG>The Bomb Project - Joy Garnett:</STRONG>&nbsp;<FONT=

color=#000000 size=1>A comprehensive on-line compendium of nuclear-rela=
ted
links, imagery and documentation. Intended as a resource for artists
and&nbsp;encouraging those working in all media, from net.art, film and vid=
eo,
eco-intervention and site-specific installation to more traditional forms o=
f
agitprop, to use this site to search for raw material. The Bomb Project has=

gathered together links to nuclear image archives (still and moving), histo=
rical
documents, current news, NGOs and activist organizations as well as governm=
ent
labs and arms treaties. It makes accessible the declassified files and grap=
hic
documentation produced by the nuclear industry itself, providing a context =
for
comparative study, analysis and
creativity.</FONT></FONT></FONT></FONT></DIV><FONT color=#000000><FONT
face="Courier New"></FONT>
<DIV align=left><BR></FONT><FONT face="Courier New"><FONT
color=#000080><STRONG>AirStream - John Blanchard:</STRONG></FONT>&nbsp;<F=
ONT
size=1>Taken from the album</FONT></FONT><FONT face="Courier New"
size=1>&nbsp;'Airstream' by John Blanchard, a selection of meditative pie=
ces for
cello, piano, sitar, and orchestra. A smooth interface that reflects&nbsp; =
the
feeling of the music, drawing the user into an environment that is unusuall=
y
calming and relaxing for a computer interface. It also features photography=

created by the composer inspired by the work of Andy Goldsworthy.<BR><BR><F=
ONT
color=#000080 size=2><STRONG>Short Films&nbsp;- Ruth Catlow:</STRONG> <=
FONT
color=#000000 size=1>A selection of short films. '</FONT><FONT
color=#000000><FONT size=1><FONT size=2><FONT face=Verdana><FONT
face="Courier New" size=1>Drawn to the big human subjects but ever unsu=
re how to
approach them. I think of these short films like</FONT>&nbsp;</FONT></FONT>=

short films are like inappropriate gestures, physical actions or shouts in=

public spaces. They are about seeing shamanistic hedonism and animism in
shopping centres, the confusions and difficulties of taking responsibility =
for
the state of the world in a fractured community, shifting identity (finding=

myself behind someone else's eyes), subjectivity and perspective. I've got =
a
wooden spoon in my hand and I'm stirring the chthonic soup'.</FONT> <FONT=

size=1>All the clips are taken&nbsp;in public spaces shot in Walthamstow,=
the
east end of London,
UK.</FONT></FONT><STRONG>&nbsp;</STRONG></FONT><BR></FONT></DIV>
<DIV align=left><FONT color=#000080><FONT face="Courier New"><STRONG>=
<BR>Marc
Garrett's Writings - Marc Garrett:</STRONG> </FONT><FONT color=#000000><F=
ONT
size=1><FONT face="Courier New">A varied collection of agitprop writing=
s,
featuring his infamous ironic email shorts 'Sleazy Art Meetings' (sliced
stories, art speak, critical philosophies,&nbsp;mixed with text stolen from=
sex
sites on the Internet) and stories, or&nbsp;rather fables touching on how=

technology plays on our subconscience, issues of personal freedom, sexual=

identity, masculinity and politics. Some have termed his stories as
cyber-novels. 'I don't mind the term, but I feel that the stories&nbsp;decl=
are
life and all its confusions beyond labels and are more about dealing with t=
he
issue of transmutation. The site also&nbsp;features&nbsp;'Critical&nbsp;Tex=
t'
and 'Poetry/Prose', all worth a visit.&nbsp;<BR><BR></FONT><FONT
face="Courier New"><FONT size=2><STRONG><FONT color=#000080>A Populat=
ion in
Peril - Cor[porat]e [Per]form[ance] Art[ists] Joseph Franklyn McElroy &amp;=

Donna McElroy: </FONT></STRONG></FONT><FONT size=1>Performance has become=
a key
term that in turn applies to experimental art, worker productivity, and
functionality of technical, corporate, and military
systems.&nbsp;</FONT></FONT></FONT></FONT></FONT><FONT size=1><FONT
face="Courier New">A document of sunny New York days, digitalized and han=
d drawn
</FONT><FONT face="Courier New">depictions of creativity&nbsp;and content=
ment in
the face of a terrorist threat.&nbsp; </FONT></FONT></DIV>
<DIV><FONT face="Courier New"></FONT>&nbsp;</DIV>
<DIV><FONT color=#000080><FONT face="Courier New"><STRONG>Flash Poetry =
Generator
3.0 - Lewis LaCook: </STRONG><FONT color=#000000 size=1>A programme tha=
t invites
you to place nouns and verbs into dialogue boxes. Once the user has typed i=
n
their chosen words the poems are generated, forming evocative prose; some=

abstract, some profound, some dada. Lewis LaCook is also currently
furtherfield's resident&nbsp;critic <A
href="http://www.furtherfield.org/crit/index.htm">http://www.furtherfield=
.org/crit/index.htm</A>.
</FONT></FONT></FONT></DIV>
<DIV><FONT face="Courier New"></FONT>&nbsp;</DIV>
<DIV><FONT face="Courier New"><FONT color=#000080><STRONG>Taxidermy
-</STRONG></FONT>&nbsp;<FONT color=#000080><STRONG>New Micki
Tshcur</STRONG></FONT>: <FONT size=1>Animals that have fallen victim to r=
oad
kill incidents undergo a </FONT></FONT><FONT size=1><FONT
face="Courier New">taxidermic transformation into various odd poses &amp;=

gestures.<BR></FONT><FONT color=#000080 size=2><STRONG><FONT
face="Courier New">Goatboy - New Micki Tshcur</FONT></STRONG><FONT
color=#000000><FONT face="Courier New">: </FONT><FONT face="Courier N=
ew"
size=1>A sexual adventure turned into a&nbsp;comic strip by Micki Tschur=

documenting an encounter with a young goat herd in the Alps of
Italy.<BR><BR>Furtherfield wishes to thank all those&nbsp;who have submitte=
d
their new work&nbsp;and for&nbsp;their patience in waiting for it to
happen.<FONT color=#000080> </FONT>[We still have more new&nbsp;submissio=
ns to
add to furtherfield, due to being over-run and over-worked we will put the =
rest
up in a few weeks - Phew!]<BR></FONT></FONT></FONT></FONT></DIV>
<DIV align=center><FONT size=+0><FONT color=#000080><FONT color=#00=
0000><FONT
face="Courier New"><FONT color=#000080
size=1><STRONG></STRONG></FONT></FONT></FONT></FONT></FONT>&nbsp;</DIV>
<DIV align=center><FONT size=+0><FONT color=#000080><FONT color=#00=
0000><FONT
face="Courier New"><FONT color=#000080
size=1><STRONG></STRONG></FONT></FONT></FONT></FONT></FONT>&nbsp;</DIV>
<DIV align=center><FONT size=+0><FONT color=#000080><FONT color=#00=
0000><FONT
face="Courier New"><FONT color=#000080><STRONG>More Information
about&nbsp;furtherfield.org</STRONG></FONT></FONT></FONT></FONT></FONT></DI=
V>
<DIV align=center><STRONG><FONT face="Courier New"
color=#000080></FONT></STRONG>&nbsp;</DIV>
<DIV><FONT size=+0><FONT size=+0><FONT size=+0><FONT size=+0><FONT =
size=+0><FONT
color=#000080><FONT size=1><FONT face="Courier New"><BR><BR><FONT
color=#000000>We would also like to thank
</FONT></FONT></FONT></FONT></FONT></FONT><A href="http://www.akaart.net/=
"><FONT
face="Courier New" color=#000000 size=1>AKAART</FONT></A><FONT
color=#000080><FONT size=1><FONT face="Courier New"><FONT color=#00=
0000>, for
generously hosting furtherfield and its various
projects.</FONT><BR><BR></FONT></FONT></FONT><A
href="http://www.furtherfield.org/crit/index.htm"><FONT face="Courier N=
ew"
color=#000080 size=1>http://www.furtherfield.org/crit/index.htm</FONT><=
/A><FONT
face="Courier New" color=#000080 size=1>&nbsp;<B>Lewis LaCook</B> <FO=
NT
color=#000000>is our first critic in residence on Furtherfield. Offering =
regular
and informative reviews of varied explorative projects &amp; artworks featu=
red
on furtherfield, plus other works by artists who are currently exhibiting o=
n the
Internet.</FONT>&nbsp;<BR><BR></FONT><A
href="http://www.furtherfield.org/ffield/index2.htm"><FONT face="Courie=
r New"
color=#000080
size=1>http://www.furtherfield.org/ffield/index2.htm</FONT></A><FONT
face="Courier New" color=#000080 size=1>&nbsp;</FONT><FONT color=#0=
00080><FONT
size=1><FONT face="Courier New"><STRONG>Furtherprojects</STRONG>, <FONT=

color=#000000>a page that shows all&nbsp;our current&nbsp;projects and wh=
at we
are up to, still to be updated (of
course).<BR></FONT><BR></FONT></FONT></FONT></FONT></FONT><FONT
color=#000080><FONT face="Courier New" size=1></FONT></FONT></FONT></=
DIV>
<DIV><FONT size=+0><FONT color=#000080><FONT face="Courier New"
size=1>Furtherfield is an non profit independent online platform for the=

creation, promotion, and archiving of new work for public viewing and
interaction. Furtherfield collaborates with independent visual artists,
digital/net artists, writers, critical thinkers, musicians and noisemakers =
with
a special focus on work developed and produced outside the recognised
institutional support structures (colleges, galleries, corporate and public=

funding). We explore new and imaginative strategies for communicating ideas=
and
issues in a range of digital &amp; terrestrial media contexts.</FONT></DIV>
<P><FONT face="Courier New" size=1>Furtherfield's activities focus on p=
resenting
works online and organising global, contributory projects, which exist
simultaneously on the Internet, the streets and public venues. </FONT></P>
<P><FONT face="Courier New" size=1></FONT></P>
<P align=center><FONT face="Courier New" size=1><B>We can make our ow=
n World . .
.</B></FONT></FONT><BR></P></FONT>
<DIV><FONT face="Courier New"></FONT>&nbsp;</DIV>
<DIV><A href="http://www.furtherfield.org/"><FONT
face="Courier New">http://www.furtherfield.org</FONT></A></DIV>
<DIV><FONT face="Courier New"></FONT>&nbsp;</DIV>
<DIV><A href="mailto:info@furtherfield.org"><FONT
face="Courier New">info@furtherfield.org</FONT></A></DIV>
<DIV><FONT face="Courier New"></FONT>&nbsp;</DIV>
<DIV><FONT face="Courier New"></FONT>&nbsp;</DIV></DIV></DIV>
<P>&nbsp;</P></BODY></HTML>

------=_NextPart_001_0274_01C241DE.B37D1760--

DISCUSSION

Re: I have a theory =


How to Make a Dinosaur (Just add frog)

STEP 1)Find a piece of amber with a blood sucking insect from the dinosaur =
era trapped in it.

STEP 2)Extract the blood that the insect sucked from a dinosaur.

STEP 3)Use the dinosaur's genetic code (DNA) found in the blood cells as bl=
ueprints for another dinosaur. If pieces of the DNA are missing, fill in th=
e gaps with frog DNA.

STEP 4)Use these blue prints to create a dinosaur egg.

STEP 5)Hatch the dinosaur in an incubator.

STEP 6)Raise the dinosaur to full size.

STEP 7)Enjoy!

Personally I think it will be like watching paint dry...

marc;-)

In a message dated 8/12/2002 1:36:10 PM Central Daylight Time, leewells@b=
b19.net writes:

Unless of course someone else proves otherwise...

DNA in the time of dinosaurii was pima facie thin in the middle; agree or=
disagree?

Max The Friendly

++