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

Marc Garrett is co-director and co-founder, with artist Ruth Catlow of the Internet arts collectives and communities –,,, 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

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 (1706) Opportunities (15) Events (175) Jobs (2)

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


Re: the struggle continues

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


> > From: Eryk Salvaggio <>
> > 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
> agree with him. I always thought the 'I'm small and insignificant and
> make any money out of this work' argument was really lame. As Eryk says,
> 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
> my work and used it in a non profit way I'd still feel that I had the
> 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
> 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
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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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life sentences for hackers

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BlankHouse OKs life sentences for hackers

But time may run out for computer crime bill in Senate



Re: getty.JPG

It wouild be great to see various visceral iamges other than poo - for inst=
ance - tears. One could write tears. Declaring one's fluidity 'literally'.


In a message dated 7/17/2002 10:31:17 PM Central Daylight Time, Nmherman@= writes:

is that really your own poo?

Actually it's a very legitimate question Marc. seriously, I think. Art-=

The poop is timed and dated just prior to the jpg, and is mostly a meal o=
f eggs. Therefore the poop was very smooth and like all egg tempera, dried=
cleanly and quickly.

Notice there are virtually no smudges on the scanner. Only a tiny portio=
n of shit was left to be cleaned up.

The original calligraphic masterpiece is now safely drying in an open man=
ila folder and emits little or no smell. I am considering whether to use s=
ome kind of fixative on the high-quality heavy-duty paper.

Oddly, I had assumed I'd be throwing a dirty stinky mess out of the house=
but shit tempera, hey it works man--maybe.

I also have the cleaned and sterilized brush I used, it was NOT done with=
a finger! I'll rhetoricate anyone who says different of denies the eviden=

Because shit stinks.

Max Herman,

The Genius 2000 Network