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 (1666) Opportunities (12) Events (175) Jobs (2)
DISCUSSION

My sex


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BlankMy sex
Waits for me
Like a mongrel waits
Downwind on a tight rope leash

My sex
Is a fragile acrobat
Sometimes I'm a novocaine shot
Sometimes I'm an automat

My sex
Is often solo
Sometimes it short circuits then
Sometimes it's a golden glow

My sex
Is invested in
Suburban photographs
Skyscraper shadows on a carcrash overpass

My sex
Is savage, tender
It wears no future faces
Owns just random gender

My sex
Has a wanting wardrobe
I still explore
Of all the bodies I knew and those I want to know

My sex
Is a spark of electro flesh
Leased from the tick of time
And geared for synchromesh

My sex
Is an image lost in faded films
A neon outline
On a high-rise overspill

My sex

ultravox

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<DIV align=center>My sex<BR>Waits for me<BR>Like a mongrel waits<BR>Downw=
ind on
a tight rope leash<BR><BR>My sex<BR>Is a fragile acrobat<BR>Sometimes I'm a=

novocaine shot<BR>Sometimes I'm an automat<BR><BR>My sex<BR>Is often
solo<BR>Sometimes it short circuits then<BR>Sometimes it's a golden
glow<BR><BR>My sex<BR>Is invested in<BR>Suburban photographs<BR>Skyscraper=

shadows on a carcrash overpass<BR><BR>My sex<BR>Is savage, tender<BR>It wea=
rs no
future faces<BR>Owns just random gender<BR><BR>My sex<BR>Has a wanting
wardrobe<BR>I still explore<BR>Of all the bodies I knew and those I want to=

know<BR><BR>My sex<BR>Is a spark of electro flesh<BR>Leased from the tick o=
f
time<BR>And geared for synchromesh<BR><BR>My sex<BR>Is an image lost in fad=
ed
films<BR>A neon outline<BR>On a high-rise overspill<BR><BR>My sex<BR></DIV>
<P>ultravox </P></BODY></HTML>

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DISCUSSION

Schools in fingerprinting row


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BlankTuesday, 23 July, 2002, 17:04 GMT 18:04 UK
Schools in fingerprinting row
Tens of thousands of children are being fingerprinted in school - often wit=
hout the consent of their parents, a human rights group has complained.
Prints are taken for a library lending system which the makers say makes le=
nding more efficient and less vulnerable to abuse.

But the pressure group Privacy International says the practice is illegal a=
nd breaches the human right to privacy.

Dangerous

http://news.bbc.co.uk/1/low/education/2144188.stm

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<DIV>Tuesday, 23 July, 2002, 17:04 GMT 18:04 UK
<H3>Schools in fingerprinting row</H3>Tens of thousands of children are bei=
ng
fingerprinted in school - often without the consent of their parents, a hum=
an
rights group has complained.
<P>Prints are taken for a library lending system which the makers say makes=

lending more efficient and less vulnerable to abuse.
<P>But the pressure group Privacy International says the practice is illega=
l and
breaches the human right to privacy.
<P><B>Dangerous <BR><BR><A
href="http://news.bbc.co.uk/1/low/education/2144188.stm">http://news.bbc.=
co.uk/1/low/education/2144188.stm</A></B></P></DIV>
<P>&nbsp;</P></BODY></HTML>

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DISCUSSION

Love/sexuality entwined


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BlankLove/sexuality entwined, not entrapment.

For me, love possesses verve, an energy that is like sexuality, a similar s=
pirit; it looms larger than I and larger than culture and opinion. It is pa=
rt of the dream, the planet, my family and my life. Sexuality has brought m=
e here, a place that seems also afraid of it. The irony is tragic, not like=
theatre or film, it is not simulation or abstract as a socially constructe=
d religion, it is more than illusion, it is very real. Sexuality and love c=
annot be measured, not by rules or a microscope. When placed under the lens=
it withers and dies. Yet when one experiences love

DISCUSSION

Re: the struggle continues


I think that it's a hoax anyway....

marc

>
> > From: Eryk Salvaggio <eryk@maine.rr.com>
>
> > Hi Curt,
> >
> > Concerning the Getty case, devils advocate here, isn't it, in a sense,
> > reasonable to assume that
> > you shouldn't be allowed to consume their bandwidth for a project using
> > their image?
> > It seems to me that you are trying to defend its use via context- "sure,
> > I am using the image, but
> > its non-profit, I'm a small website, I'm not competing with you, etc
> > etc", when really, by law, they
> > own the image and if they don't want you using it they have a right to
> > ask you not to use it.
> > Fair use is murky, but this doesn't even seem like a murky issue, you
> > took their image, unaltered,
> > and inserted it wholly into another work, and it seems your defense is
> > that it is okay because you
> > were also taking their bandwidth away from them at the same time?
>
> I think that Eryk makes an intelligent and brave point here. I cant help
but
> agree with him. I always thought the 'I'm small and insignificant and
don't
> make any money out of this work' argument was really lame. As Eryk says,
if
> you just copied the image into your work, i.e. appropriated it, and then
> told them to take a flying fuck, there might be a point. If some nazis
took
> my work and used it in a non profit way I'd still feel that I had the
right
> to control use of my images. At the end of the day, the person who created
> that image is just like you, and artist. And if they gave Getty some
control
> over their image, that control comes with strings, i.e. that Getty protect
> the image. I would expect the same for my work. Cheers, Ivan
>
> + i am not my favorite person
> -> Rhizome.org
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at http://rhizome.org/info/29.php3
>

DISCUSSION

(1889-1963)


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Blank"The instinct of nearly all societies is to lock up anybody who is tru=
ly free.
First, society begins by trying to beat you up.
If this fails, they try to poison you. If this fails too, they finish by =
loading honors on your head."
- Jean Cocteau (1889-1963)

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<CENTER>
<DT>"The instinct of nearly all societies is to lock up anybody who is tr=
uly
free. </DT>
<DT>First, society begins by trying to beat you up. <BR>If this fails, th=
ey
try to poison you. If this fails too, they finish by loading honors on yo=
ur
head." </CENTER></DT></DIV></DL><FONT size=2>
<P align=center>- Jean Cocteau (1889-1963)</FONT></P></DIV>
<P>&nbsp;</P></BODY></HTML>

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