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

Re: backward engineering


Come here and say that and i'll buy you a beer :-)

marc

> >Governments and the many idiotic (mostly) males that have cruelly
> >abused their power disappoint me greatly - I do not trust them at
> >all.
>
> haha. An understatement on all counts!

Are you agreeing with me on that one Judson?

yup. Agreeing with your thesis but also agreeing enthusiastically with yo=
ur self-evaluation.

~~~~~~~~~~~~~~~~~~~~~~~~~~

PLASMA STUDII
http://plasmastudii.org
223 E 10th Street
PMB 130
New York, NY 10003

DISCUSSION

Bombs Away...


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

Blank
In the year 2000, the Government approved nearly 700 export licences for we=
apons and military equipment to both countries. These had a total value of =

DISCUSSION

Re: your thoughts on upcoming online classes


mmm,

So someone will judge it all via historical context. Let's make sure then t=
hat it involves you and myself and many others..not just the suspects...

marc

I'm sure that someone somewhere will have to codify and organize these ob=
jects into discreet units that are part of a specific shell.

The net.art shell is good for at least 6 months.

Sebastian

>I believe that the dark days of 'Official' net art has gone now and that=
all
>will be seen.
>
>marc
>
>
> >
> > > Subject: Re: RHIZOME_RAW: your thoughts on upcoming online classes=

> >
> > T. Whid replied:
> > > i'm curious tho, are these classes going to deal with only the
> > > 'official' net.art (cosic, shulgin, jody, lialina, etc). imo, net.a=
rt
> > > is a very specific thing relating to a small group of artists,
> > > whereas net art (no dot) is the generic phrase most people use to=

> > > describe art made using networks, the web, the internet etc.
> >
> > Im interested in this concept of official net art v. net art. Are you=
in
> > favour of there being an official net art and an unofficial one, or=

>not
> > I cant tell from this post. Or maybe probably you dont care?
> > Ivan
> >
> > + bostoniscoolerthannewyorkbostoniscoolerthannewyorkbostoniscoolertha=
nne
> > -> Rhizome.org
> > -> post: list@rhizome.org
> > -> questions: info@rhizome.org
> > -> subscribe/unsubscribe: http://rhizome.org/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.p=
hp3
> >
>
>
>
>+ bostoniscoolerthannewyorkbostoniscoolerthannewyorkbostoniscoolerthanne=

>-> Rhizome.org
>-> post: list@rhizome.org
>-> questions: info@rhizome.org
>-> subscribe/unsubscribe: http://rhizome.org/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=

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DISCUSSION

Re: your thoughts on upcoming online classes


Hi Ivan,

You can claim it alright, you probaly were. I remember the name as well. I
used to frequent it myself many times. I don't think I was suggesting to be
the originator of BBS in the Uk. In fact, I left all the comp 'Wildcat'
stuff to Heath - I was the one who shoved a ot of the content in, that's my
best quality really, ideas, research and content. It was the same for radio
station stuff, always been good at finding content. Was that the Originator
or the Terminator? :-)

much respect marc

> In 1991 I ran a BBS (bulletin board) called UK ArtNet. It was funded by
the
> Arts Council. OK, I got the words the wrong way round, but I claim to be
the
> originator :)
> >
> > I believe that the dark days of 'Official' net art has gone now and that
all
> > will be seen.
> >
> > marc
> >
> >
> >>
> >>> Subject: Re: RHIZOME_RAW: your thoughts on upcoming online classes
> >>
> >> T. Whid replied:
> >>> i'm curious tho, are these classes going to deal with only the
> >>> 'official' net.art (cosic, shulgin, jody, lialina, etc). imo, net.art
> >>> is a very specific thing relating to a small group of artists,
> >>> whereas net art (no dot) is the generic phrase most people use to
> >>> describe art made using networks, the web, the internet etc.
> >>
> >> Im interested in this concept of official net art v. net art. Are you
in
> >> favour of there being an official net art and an unofficial one, or
> > not
> >> I cant tell from this post. Or maybe probably you dont care?
> >> Ivan
> >>
> >> +
bostoniscoolerthannewyorkbostoniscoolerthannewyorkbostoniscoolerthanne
> >> -> Rhizome.org
> >> -> post: list@rhizome.org
> >> -> questions: info@rhizome.org
> >> -> subscribe/unsubscribe: http://rhizome.org/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
> >>
> >
> >
> >
> > + bostoniscoolerthannewyorkbostoniscoolerthannewyorkbostoniscoolerthanne
> > -> Rhizome.org
> > -> post: list@rhizome.org
> > -> questions: info@rhizome.org
> > -> subscribe/unsubscribe: http://rhizome.org/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
> >
>
> + bostoniscoolerthannewyorkbostoniscoolerthannewyorkbostoniscoolerthanne
> -> Rhizome.org
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe: http://rhizome.org/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

Re: backward engineering


Hi there Andres,

What do we as a comunity have to say about it, or do we just let the forces=
that be flow even if it means endangering my liberties.

Are you asking yourself and us, as a net community or in relation to your o=
wn physical community and locality?

In respect of your own community I believe that there are various ways of d=
eclaring the critical issues when resources are being stolen by corporate c=
ompanies. Forming links with other groups who feel similar is a start, thus=
furthering the information of the exploitation that is currently and has h=
istorically been happening to your own culture. Also, if you so happen to b=
e an artist, then start mobalizing your projects around your questions, thu=
s placing those important questions in your work so others are aware of the=
problems. Also form new D.I.Y networks, radio stations that link with comm=
unities outside, onto the Internet etc, reclaim the land the property and =
give it back to its rightful owners, the people in the community. Sounds ea=
sy I'm sure, and in real life a very different story. The zapatistas http:/=
/www.eco.utexas.edu/faculty/Cleaver/zapsincyber.html
have been doing that exact thing and getting people all over the world inte=
rested in their actions in forging ways in reclaiming their own lands again=
. Forging links and asking advice from such organizations wil no doubt help=
in some way, but as we all know positive change is always slow and negativ=
e change happens too quickly.

(The international circulation through the Net of the struggles of the Zapa=
tistas in Chiapas, Mexico has become one of the most successful examples of=
the use of computer communications by grassroots social movements. That ci=
rculation has not only brought support to the Zapatistas from throughout Me=
xico and the rest of the World, but it has sparked a world wide discussion =
of the meaning and implications of the Zapatista rebellion for many other c=
onfrontations with contemporary capitalist economic and political policies.=

The indigenous character of the Zapatista rebellion has also provoked new a=
wareness, respect and study of the much broader phenomenon of indigenous re=
vival and struggle in this period.)

marc

>
> >
> > > >Governments and the many idiotic (mostly) males that have cruelly
> > > >abused their power disappoint me greatly - I do not trust them at
> > > >all.
> > >
> > > haha. An understatement on all counts!
> >
> > Are you agreeing with me on that one Judson?
> >
>
> > yup. Agreeing with your thesis but also agreeing enthusiastically with=
your self-evaluation.
> >
>
> Thanks for joining the discusion, but just to harness the forces unleashe=
d by the original question I posted
>
> Yes, we are talking in substancece about the ruling paradigm but lest not=
forget the parallel I was stablishing between the rules for software and t=
he ones that are being stablished for DNA engineering.
>
> I think theres in interesting and important discussion on that level, fro=
m the artisitic, legal, ethic, economical stand points.
>
> I live in Colombia and both sides of the parallel are important here, as =
an artist and as a grass roots activist in the electronic arena I have a qu=
estion about the access to these technologies in countries such as mine.
>
> As a person who is in touch with the knowledge of the ancient aboriginal =
wise men, who have been exploited for their knowledge by the great farmaceu=
tical companies and whose DNA has been harvested with no clear ends by the =
so called genome project.
>
> What do we as a comunity have to say about it, or do we just let the forc=
es that be flow even if it means endangering my liberties.
>
> Andres
>
>
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