ARTBASE (1)
PORTFOLIO (3)
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.
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.
The Next Documenta
The Next Documenta Should Be Curated By An Artist
The Next Documenta Should not be Curated...
The Next Documenta Should not be Curated...
It's a Proven Fact!
You're in Serious Trouble - It's a Proven Fact!
Deleting "Internet Cache and History" will NOT protect you because any
of the Web Pages, Pictures, Movies, Videos, Sounds, E-mail, Chat Logs and
Everything Else you see or do could easily be recovered to Haunt you
forever!
How would you feel if a snoop made this information public to your Spouse,
Mother & Father, Neighbors, Children, Boss, Church or the Media? It could
easily Ruin Your Life! Solve all your problems and enjoy all the benefits of
an "As New PC" Right Now! Evidence Eliminator can Speed-Up your
PC/Internet Browser, reclaim Hard Disk space and Professionally Clean
your PC in one easy mouse click!
CLICK HERE TO DOWNLOAD NOW!
Deleting "Internet Cache and History" will NOT protect you because any
of the Web Pages, Pictures, Movies, Videos, Sounds, E-mail, Chat Logs and
Everything Else you see or do could easily be recovered to Haunt you
forever!
How would you feel if a snoop made this information public to your Spouse,
Mother & Father, Neighbors, Children, Boss, Church or the Media? It could
easily Ruin Your Life! Solve all your problems and enjoy all the benefits of
an "As New PC" Right Now! Evidence Eliminator can Speed-Up your
PC/Internet Browser, reclaim Hard Disk space and Professionally Clean
your PC in one easy mouse click!
CLICK HERE TO DOWNLOAD NOW!
Re: Net Art World 1.0
It looks scary...
marc
Hello Everyone,
I am releasing a project that is part of the upcoming InteractivA 03 New =
Media Biennale taking place at MACAY in Merida, Yucatan.
here it is: http://www.navasse.net/netartworld
The official InteractivA website is not officially up yet, so I will not =
provide that link in this e-mail. But I am sure Rhizomers will hear about =
the exhibit when July 10 hits -- if not before.
I am sending this notice now as I will not be online for the next couple =
of weeks. So, if anyone is kind enough to comment on the work, I will not =
be able to respond until after July 19.
I have included a contexualization at the bottom of this message for conv=
enience. The writing is actually an integral part of the Net Art World 1.0=
project and can be found under the "Context" link.
Take care,
Eduardo Navas
http://www.navasse.net
---------------------------------------
The Global Context of Net-Art.
The online project Net Art World 1.0 was developed for The InteractivA 20=
03 New Media Biennale taking place in Merida, Yucatan. The piece deliberate=
ly focuses on globalization because InteractivA features international arti=
sts with bilingual and/or multicultural backgrounds. As I did research for =
the project, it became reasonable to create a net piece which provided acce=
ss to a large number of net-artist websites that were not necessarily part =
of the exhibition and juxtapose these with all the flags, countries and ter=
ritories of the World. The result is an art work aiming to expose the compl=
exities that the term globalization imposes on diverse cultures.
All of the information comes from popular websites. The Country maps were=
accessed at The 2002 World Factbook, the Country flags were taken from The=
World Flag Database, and the artist links were accessed at the 2003 Net Ar=
t Links website. This approach seemed to be the most reasonable because it =
uses pre-existing resources that hold a certain cultural authority. This al=
so enabled me to take on the role of compiler rather than being a sort of c=
urator; and although it is true that I did choose the online resources, I o=
nly did so based on their reliability and popularity, which is not differen=
t from how the average person may choose to surf the web. The approach as a=
compiler also exposes the many roles net-practitioners take when functioni=
ng in the community, which are of artists, curators, writers, and administr=
ators.
This project consists of four framesets, functioning as follows:
a The main area presents a net-artist selected at random from a=
list created by Dr. Reinhold Grether.
a The top-right frame presents a country flag selected at rando=
m from a database. This flag links to a series of images on Google related =
to the country the flag represents.
a The middle-right frame presents a country map at random. This=
map links to statistical information about a country. Please note that the=
country map does not correspond with the flag. This is done to present the=
complexity of nationalism, patriotism and colonialism that has developed d=
ue to globalization.
a The bottom-right frame presents an image selected at random f=
rom a series of images that were accessed on Google when searching the term=
"Globalization."
Net Art World 1.0 was created to examine the state of net-art in 2003, wh=
ich is why the links throughout the project are not dynamically updated as =
the information changes on the net. This approach was chosen in order to po=
int to the period in new media history from June to September of 2003. Afte=
r this time, the links may become broken and/or the actual resources become=
updated with new information; this way, the piece becomes time specific. A=
nyone interested in accessing the latest information can always go to the r=
esource page and choose particular links for the latest updates.
In order to better understand Net Art World 1.0, it is important to note =
some events in the recent and not so recent past. An important event that p=
oints to a transition in new media is Rhizome's decision to become a resour=
ce with an annual membership; which could be taken as a sign of a more inst=
itutionalized and perhaps even commercialized state of net-art.[1] Also, re=
considering the efficiency of mailing lists, along with the rapid growth of=
weblogs, are definite signs that the net community is entering a new stage=
of development.[2] Another sign of change that has been developing for som=
etime now is net-art being part of major museum exhibitions; some examples =
are the Whitney and Venice Biennales which have included net-art in their s=
urveys--as well as Documenta 11 which had a major emphasis on new media.[3]=
This is also the time when a new generation of net-artists is coming on bo=
ard with hopes of becoming successful practitioners, similar to previous ge=
nerations in the art world at large. This may be, in part, due to the fact =
that new media is now taught in universities around the world; and this has=
led early net-artists like Vuc Cosic to call what the students produce "ne=
t-art mannerisms." This is a far cry from the mid-nineties when only a few =
artists were working online and strategically displacing the labeling of th=
eir practice.[4] Net-art developed after a late postmodern period when art =
practices were influenced by poststructural theories. It is impossible to g=
ive a decent account in this short contextualization of what the term "post=
modern" means, but two particular thinkers associated with postmodernism ar=
e worth noting for their extreme positions. While the philosopher Jean-Fran=
cois Lyotard came to entertain grand narratives as problematic and consid=
ered the world to be reaching a high pluralist state,[5] Jurgen Habermas cl=
aimed that the project of modernity had not been completed because such a p=
roject is split into three separate cultural areas: science, morality and a=
rt. [6] Also, Post-Colonialism can be considered part of the postmodern dis=
course as well, as it has been questioned along with poststructural writing=
s--most recently, by writers Michael Hardt and Antonio Negri; who have revi=
sited Marx with an interdisciplinary approach to better understand globaliz=
ation.[7] These among other theories are now affecting the contextualizatio=
n of net-art.
In spite of all the events noted, and the multi-faceted theories affectin=
g the current state of cultural production, what is clear is that people ha=
ve always strived to progress. This has never stopped being true, even duri=
ng postmodern times. And with all of the above in mind, Net Art World 1.0 w=
as developed to expose the many layers that run behind net-art practice. In=
a way, the project brings together two aspects in art making that have bee=
n in conflict since Kant wrote his Critique of Judgment.[8] Net Art World 1=
.0 presents the object of contemplation, which according to Kant should be =
considered with disinterest, functioning in a political context that, if ac=
knowledged, would question the principles supporting the ability to pass a =
true judgment of taste. With this, two extreme positions in art practice ar=
e challenged: the privileged position of disinterest and the position aimin=
g to develop a more democratic state of production by questioning the privi=
leged position. This is done in order to push both ideological camps into a=
productive state of education, while knowing that the two areas crossover =
in multiple ways--which is why art practice has become extremely slippery. =
Net Art World 1.0 was designed to create global awareness, as I believe tha=
t only by deconstructing such tensions, only by placing them next to each o=
ther, can culture move on to a new state of development. Global awareness i=
s not a luxury but a necessity, and Net Art World 1.0 was developed as a re=
source where people can enjoy net-art and learn something about the world s=
imultaneously.
---------------------------------------------------------------------------=
---
[1] This transition happened between November and January of 2003. Rhizom=
e received heavy criticism from the net-art community at large. Some of thi=
s criticism can be found at http://www.nettime.org. Threads worth reading t=
o better understand the complexity of the matter are: http://amsterdam.nett=
ime.org/Lists-Archives/nettime-l-0301/msg00059.html, http://amsterdam.netti=
me.org/Lists-Archives/nettime-l-0301/msg00089.html, and http://amsterdam.ne=
ttime.org/Lists-Archives/nettime-l-0301/msg00131.html
[2] Google buying Blogger is perhaps the most noted event bringing mass p=
opularity to blogging: http://blogger.com/about/blogger_google_faq.pyra. Si=
nce this merge, several blogs have been launched.
[3] Documenta 11: http://www.documenta.de/documenta_blau.html, Venice Bie=
nnale: http://www.documenta.de/documenta_blau.html, Whitney Biennale: http:=
//artport.whitney.org/exhibitions/past-exhibitions.shtml.
[4] Josephine Bosma, "The Dot on a Velvet Pillow -- Net.Art Nostalgia and=
Net Art Today" June 20, 2003 (March 03, 2003). http://www.student.uib.no/~=
stud2081/utstilling/bosma.htm.
[5] Jean-Francois Lyotard, "The Nature of the Social Bond," The Postmod=
ern Condition, (Minneapolis: Minnesota, 1984), 11-14. In these particular p=
ages Jean-Francois Lyotard dismisses grand-narratives including Marxism, an=
d claims the way for little narratives. Lyotard is used as an example of po=
stmodernism because of his extreme position--especially against Jurgen Habe=
rmas. The two philosophers have been compared by scholars in order to bette=
r understand what the term postmodern might mean. See: Emilia Steuerman, "H=
abermas vs. Lyotard? Modernity vs. Postmodernity," Judging Lyotard, ed. And=
rew Benjamin (New York: Routledge, 1992) 99-118.
[6] Jurgen Habermas, "An Incomplete Project," The Anti-Aesthetic, ed. Hal=
Foster (New York: The New Press, 1983), 3-15. In this short essay, which i=
s an acceptance speech for the Theodor Adorno Prize from the city of Frankf=
urt, Habermas focuses on three cultural areas; which, when stepping away fr=
om art and looking at culture at large, form the project of modernity; thes=
e areas are science, morality, and art. Habermas proposes that the project =
of modernity has not been reached because the three particular areas need t=
o work together, but due to the development of specialized fields of practi=
ce brought by the 20th Century, the project was split into the three aforem=
entioned areas. In this way, Habermas is still holding on to the narratives=
of emancipation and speculation that Lyotard overtly dismissed as mentione=
d in footnote 5.
[7] Michael Hardt & Antonio Negri, "Symptoms of Passage," Empire, (Cambri=
dge, Massachusetts: 2000) 137-156. These particular pages are the most rele=
vant to the idea of the postmodern as discussed in terms of Habermas and Ly=
otard.
[8] Immanuel Kant, "Part One, Critique of the Aesthetical Judgment," Crit=
ique of Judgment, (New York: Hafner, 1951) 37-82. The approach taken to dev=
elop Net Art World 1.0 is influenced by the work of Marcel Duchamp. Like Du=
champ, I have taken everyday objects, in my case sources from the internet,=
and recontextualized these as art. This creates a slippery bridge between =
the space of aesthetics and the everyday world. See: Thierry de Duve, "Kant=
after Duchamp," Kant after Duchamp, (Cambridge, Massachusetts: 1996) 283-3=
25.
marc
Hello Everyone,
I am releasing a project that is part of the upcoming InteractivA 03 New =
Media Biennale taking place at MACAY in Merida, Yucatan.
here it is: http://www.navasse.net/netartworld
The official InteractivA website is not officially up yet, so I will not =
provide that link in this e-mail. But I am sure Rhizomers will hear about =
the exhibit when July 10 hits -- if not before.
I am sending this notice now as I will not be online for the next couple =
of weeks. So, if anyone is kind enough to comment on the work, I will not =
be able to respond until after July 19.
I have included a contexualization at the bottom of this message for conv=
enience. The writing is actually an integral part of the Net Art World 1.0=
project and can be found under the "Context" link.
Take care,
Eduardo Navas
http://www.navasse.net
---------------------------------------
The Global Context of Net-Art.
The online project Net Art World 1.0 was developed for The InteractivA 20=
03 New Media Biennale taking place in Merida, Yucatan. The piece deliberate=
ly focuses on globalization because InteractivA features international arti=
sts with bilingual and/or multicultural backgrounds. As I did research for =
the project, it became reasonable to create a net piece which provided acce=
ss to a large number of net-artist websites that were not necessarily part =
of the exhibition and juxtapose these with all the flags, countries and ter=
ritories of the World. The result is an art work aiming to expose the compl=
exities that the term globalization imposes on diverse cultures.
All of the information comes from popular websites. The Country maps were=
accessed at The 2002 World Factbook, the Country flags were taken from The=
World Flag Database, and the artist links were accessed at the 2003 Net Ar=
t Links website. This approach seemed to be the most reasonable because it =
uses pre-existing resources that hold a certain cultural authority. This al=
so enabled me to take on the role of compiler rather than being a sort of c=
urator; and although it is true that I did choose the online resources, I o=
nly did so based on their reliability and popularity, which is not differen=
t from how the average person may choose to surf the web. The approach as a=
compiler also exposes the many roles net-practitioners take when functioni=
ng in the community, which are of artists, curators, writers, and administr=
ators.
This project consists of four framesets, functioning as follows:
a The main area presents a net-artist selected at random from a=
list created by Dr. Reinhold Grether.
a The top-right frame presents a country flag selected at rando=
m from a database. This flag links to a series of images on Google related =
to the country the flag represents.
a The middle-right frame presents a country map at random. This=
map links to statistical information about a country. Please note that the=
country map does not correspond with the flag. This is done to present the=
complexity of nationalism, patriotism and colonialism that has developed d=
ue to globalization.
a The bottom-right frame presents an image selected at random f=
rom a series of images that were accessed on Google when searching the term=
"Globalization."
Net Art World 1.0 was created to examine the state of net-art in 2003, wh=
ich is why the links throughout the project are not dynamically updated as =
the information changes on the net. This approach was chosen in order to po=
int to the period in new media history from June to September of 2003. Afte=
r this time, the links may become broken and/or the actual resources become=
updated with new information; this way, the piece becomes time specific. A=
nyone interested in accessing the latest information can always go to the r=
esource page and choose particular links for the latest updates.
In order to better understand Net Art World 1.0, it is important to note =
some events in the recent and not so recent past. An important event that p=
oints to a transition in new media is Rhizome's decision to become a resour=
ce with an annual membership; which could be taken as a sign of a more inst=
itutionalized and perhaps even commercialized state of net-art.[1] Also, re=
considering the efficiency of mailing lists, along with the rapid growth of=
weblogs, are definite signs that the net community is entering a new stage=
of development.[2] Another sign of change that has been developing for som=
etime now is net-art being part of major museum exhibitions; some examples =
are the Whitney and Venice Biennales which have included net-art in their s=
urveys--as well as Documenta 11 which had a major emphasis on new media.[3]=
This is also the time when a new generation of net-artists is coming on bo=
ard with hopes of becoming successful practitioners, similar to previous ge=
nerations in the art world at large. This may be, in part, due to the fact =
that new media is now taught in universities around the world; and this has=
led early net-artists like Vuc Cosic to call what the students produce "ne=
t-art mannerisms." This is a far cry from the mid-nineties when only a few =
artists were working online and strategically displacing the labeling of th=
eir practice.[4] Net-art developed after a late postmodern period when art =
practices were influenced by poststructural theories. It is impossible to g=
ive a decent account in this short contextualization of what the term "post=
modern" means, but two particular thinkers associated with postmodernism ar=
e worth noting for their extreme positions. While the philosopher Jean-Fran=
cois Lyotard came to entertain grand narratives as problematic and consid=
ered the world to be reaching a high pluralist state,[5] Jurgen Habermas cl=
aimed that the project of modernity had not been completed because such a p=
roject is split into three separate cultural areas: science, morality and a=
rt. [6] Also, Post-Colonialism can be considered part of the postmodern dis=
course as well, as it has been questioned along with poststructural writing=
s--most recently, by writers Michael Hardt and Antonio Negri; who have revi=
sited Marx with an interdisciplinary approach to better understand globaliz=
ation.[7] These among other theories are now affecting the contextualizatio=
n of net-art.
In spite of all the events noted, and the multi-faceted theories affectin=
g the current state of cultural production, what is clear is that people ha=
ve always strived to progress. This has never stopped being true, even duri=
ng postmodern times. And with all of the above in mind, Net Art World 1.0 w=
as developed to expose the many layers that run behind net-art practice. In=
a way, the project brings together two aspects in art making that have bee=
n in conflict since Kant wrote his Critique of Judgment.[8] Net Art World 1=
.0 presents the object of contemplation, which according to Kant should be =
considered with disinterest, functioning in a political context that, if ac=
knowledged, would question the principles supporting the ability to pass a =
true judgment of taste. With this, two extreme positions in art practice ar=
e challenged: the privileged position of disinterest and the position aimin=
g to develop a more democratic state of production by questioning the privi=
leged position. This is done in order to push both ideological camps into a=
productive state of education, while knowing that the two areas crossover =
in multiple ways--which is why art practice has become extremely slippery. =
Net Art World 1.0 was designed to create global awareness, as I believe tha=
t only by deconstructing such tensions, only by placing them next to each o=
ther, can culture move on to a new state of development. Global awareness i=
s not a luxury but a necessity, and Net Art World 1.0 was developed as a re=
source where people can enjoy net-art and learn something about the world s=
imultaneously.
---------------------------------------------------------------------------=
---
[1] This transition happened between November and January of 2003. Rhizom=
e received heavy criticism from the net-art community at large. Some of thi=
s criticism can be found at http://www.nettime.org. Threads worth reading t=
o better understand the complexity of the matter are: http://amsterdam.nett=
ime.org/Lists-Archives/nettime-l-0301/msg00059.html, http://amsterdam.netti=
me.org/Lists-Archives/nettime-l-0301/msg00089.html, and http://amsterdam.ne=
ttime.org/Lists-Archives/nettime-l-0301/msg00131.html
[2] Google buying Blogger is perhaps the most noted event bringing mass p=
opularity to blogging: http://blogger.com/about/blogger_google_faq.pyra. Si=
nce this merge, several blogs have been launched.
[3] Documenta 11: http://www.documenta.de/documenta_blau.html, Venice Bie=
nnale: http://www.documenta.de/documenta_blau.html, Whitney Biennale: http:=
//artport.whitney.org/exhibitions/past-exhibitions.shtml.
[4] Josephine Bosma, "The Dot on a Velvet Pillow -- Net.Art Nostalgia and=
Net Art Today" June 20, 2003 (March 03, 2003). http://www.student.uib.no/~=
stud2081/utstilling/bosma.htm.
[5] Jean-Francois Lyotard, "The Nature of the Social Bond," The Postmod=
ern Condition, (Minneapolis: Minnesota, 1984), 11-14. In these particular p=
ages Jean-Francois Lyotard dismisses grand-narratives including Marxism, an=
d claims the way for little narratives. Lyotard is used as an example of po=
stmodernism because of his extreme position--especially against Jurgen Habe=
rmas. The two philosophers have been compared by scholars in order to bette=
r understand what the term postmodern might mean. See: Emilia Steuerman, "H=
abermas vs. Lyotard? Modernity vs. Postmodernity," Judging Lyotard, ed. And=
rew Benjamin (New York: Routledge, 1992) 99-118.
[6] Jurgen Habermas, "An Incomplete Project," The Anti-Aesthetic, ed. Hal=
Foster (New York: The New Press, 1983), 3-15. In this short essay, which i=
s an acceptance speech for the Theodor Adorno Prize from the city of Frankf=
urt, Habermas focuses on three cultural areas; which, when stepping away fr=
om art and looking at culture at large, form the project of modernity; thes=
e areas are science, morality, and art. Habermas proposes that the project =
of modernity has not been reached because the three particular areas need t=
o work together, but due to the development of specialized fields of practi=
ce brought by the 20th Century, the project was split into the three aforem=
entioned areas. In this way, Habermas is still holding on to the narratives=
of emancipation and speculation that Lyotard overtly dismissed as mentione=
d in footnote 5.
[7] Michael Hardt & Antonio Negri, "Symptoms of Passage," Empire, (Cambri=
dge, Massachusetts: 2000) 137-156. These particular pages are the most rele=
vant to the idea of the postmodern as discussed in terms of Habermas and Ly=
otard.
[8] Immanuel Kant, "Part One, Critique of the Aesthetical Judgment," Crit=
ique of Judgment, (New York: Hafner, 1951) 37-82. The approach taken to dev=
elop Net Art World 1.0 is influenced by the work of Marcel Duchamp. Like Du=
champ, I have taken everyday objects, in my case sources from the internet,=
and recontextualized these as art. This creates a slippery bridge between =
the space of aesthetics and the everyday world. See: Thierry de Duve, "Kant=
after Duchamp," Kant after Duchamp, (Cambridge, Massachusetts: 1996) 283-3=
25.
Re: Re: best work with Flash? [ following curt ]
HI Curt,
I think you got the message of the work - it is about people opting for the
plasticity of life' denying its feral qualities, our primal essence; &
more...
Although, since then other work has also been done...
marc
> marc.garrett wrote:
> >You must hate my work Curt...
>
>
> Hi Marc,
>
> we've talked about this before, and I'm not sure whether this is the
> "right answer," but I find your noflesh series an evocative critique
> of the emptiness of sex without intimacy. Those image treatments
> make me very sad.
>
> cf:
> http://lyricsplayground.com/alpha/songs/a/alltouch.html
>
> peace,
> curt
>
>
>
>
>
>
> >marc
> >
> >
> > > t wrote:
> > > the point was that one who's main
> > > > objective is a visual aesthetic wouldn't pick the Web because it
> > > > delivers visuals which are poor in comparison to film, photos,
> > > > paintings etc.
> > >
> > > ...i think of
> > > > exchange of information, or, better yet, data. this information
could
> > > > be in any format it just so happens that at this time the visual
> > > > information you can exchange is extremely limited as opposed to
other
> > > > visual formats (like photos, paintings, film, etc). the visual is
> > > > extremely reduced when it's exchanged over the net but ideas are not
> > > > reduced in any way and that is why the conceptual hits closer to the
> > > > essential nature of the net in it's present state.
> > >
> > > &
> > >
> > > marisa wrote:
> > > > ok. this is why i dislike the phrase "conceptual artist." the logic
> > > > of its established use sets the phrase up as an oxymoron, as if
> > > > "other" artists are conceptless...
> > >
> > > ++++++++++++++++++++++++++++
> > >
> > > curt writes:
> > > we are honing in on a sort of crux. Somewhere along the way in the
> > > high art of the 20th century, conveying a concept got severed from
> > > technical craft and sensory aesthetics. Let's just take Beuys and
> > > compare him to Hirst. Beuys was definitely conceptual, but many of
> > > his installations/sculptures/objects still embody craft and sensory
> > > aesthetics which (surprise, surprise) substantiate and embody his
> > > concepts. Fast forward to Hirst, and he's not even building his own
> > > objects. The crafting of his objects has become much more
> > > incidental. His objects themselves have become much more incidental.
> > > They are more like "carriers/conductors" and less like
> > > "representatives/embodiers." Comparing Beuys to Hirst is not quite
> > > fair, because I think Beuys' concepts are more interesting and less
> > > self-reflexive to begin with. But it serves to highlight a gradual
> > > separation of sensory aesthetics from concept.
> > >
> > > Now fast forward to the net in 2003. You have all these media
> > > converging, and all these different artists from all these different
> > > perspectives and backgrounds converging. But it's all happening at
> > > low res. So the visual artist (read "realistic landscape painter")
> > > must now necessarily be more conceptual (or at least more iconic and
> > > symbolic). On the other end of the spectrum, now that sensory
> > > aesthetic impact is possible via the web (thanks to advancements in
> > > bandwidth, tools, and developmental practices since 1996), the
> > > concept-centric artist at least has the option (if not exactly the
> > > onus) to ramp his work up visually. Which is not to say that
> > > Mouchette now becomes praystation. It's just a chance/challenge for
> > > the "object-incidental conceptual artist" to begin to re-integrate
> > > sensory aesthetics into the vocabulary of his work.
> > >
> > > Why would a "visual artist" select the web as his medium of choice in
> > > the first place? A million reasons. He doesn't live in a big city
> > > with a bunch of galleries, but the net gives him a worldwide
> > > audience. He wants to hybridize his visuals with other media
> > > strengths that the web offers -- non-linearity, multi-user
> > > environments, "unfinished-ness," randomness, auto-generativeness,
> > > many-to-many network-ness. The list goes on and on.
> > >
> > > It is always interesting and instructive TO ME when we get into
> > > discussions on raw about how specifically the design and visuals and
> > > pacing of a particular net art piece advance its impact and meaning.
> > > David Crawford's "Stop Motion Studies" is ripe for just such a
> > > discussion. Boring to me is merely talking denotatively about "what
> > > a piece of art means" (like the artist is some kind of riddler and
> > > it's our job to guess the right answer). Boring to me is allusive,
> > > decoder-ring art that leads to such "guess-the-righ-answer" dialogue.
> > >
> > > _
> > > _
> > > + ti esrever dna ti pilf nwod gniht ym tup
> > > -> 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.php
> > >
>
> + ti esrever dna ti pilf nwod gniht ym tup
> -> 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.php
>
I think you got the message of the work - it is about people opting for the
plasticity of life' denying its feral qualities, our primal essence; &
more...
Although, since then other work has also been done...
marc
> marc.garrett wrote:
> >You must hate my work Curt...
>
>
> Hi Marc,
>
> we've talked about this before, and I'm not sure whether this is the
> "right answer," but I find your noflesh series an evocative critique
> of the emptiness of sex without intimacy. Those image treatments
> make me very sad.
>
> cf:
> http://lyricsplayground.com/alpha/songs/a/alltouch.html
>
> peace,
> curt
>
>
>
>
>
>
> >marc
> >
> >
> > > t wrote:
> > > the point was that one who's main
> > > > objective is a visual aesthetic wouldn't pick the Web because it
> > > > delivers visuals which are poor in comparison to film, photos,
> > > > paintings etc.
> > >
> > > ...i think of
> > > > exchange of information, or, better yet, data. this information
could
> > > > be in any format it just so happens that at this time the visual
> > > > information you can exchange is extremely limited as opposed to
other
> > > > visual formats (like photos, paintings, film, etc). the visual is
> > > > extremely reduced when it's exchanged over the net but ideas are not
> > > > reduced in any way and that is why the conceptual hits closer to the
> > > > essential nature of the net in it's present state.
> > >
> > > &
> > >
> > > marisa wrote:
> > > > ok. this is why i dislike the phrase "conceptual artist." the logic
> > > > of its established use sets the phrase up as an oxymoron, as if
> > > > "other" artists are conceptless...
> > >
> > > ++++++++++++++++++++++++++++
> > >
> > > curt writes:
> > > we are honing in on a sort of crux. Somewhere along the way in the
> > > high art of the 20th century, conveying a concept got severed from
> > > technical craft and sensory aesthetics. Let's just take Beuys and
> > > compare him to Hirst. Beuys was definitely conceptual, but many of
> > > his installations/sculptures/objects still embody craft and sensory
> > > aesthetics which (surprise, surprise) substantiate and embody his
> > > concepts. Fast forward to Hirst, and he's not even building his own
> > > objects. The crafting of his objects has become much more
> > > incidental. His objects themselves have become much more incidental.
> > > They are more like "carriers/conductors" and less like
> > > "representatives/embodiers." Comparing Beuys to Hirst is not quite
> > > fair, because I think Beuys' concepts are more interesting and less
> > > self-reflexive to begin with. But it serves to highlight a gradual
> > > separation of sensory aesthetics from concept.
> > >
> > > Now fast forward to the net in 2003. You have all these media
> > > converging, and all these different artists from all these different
> > > perspectives and backgrounds converging. But it's all happening at
> > > low res. So the visual artist (read "realistic landscape painter")
> > > must now necessarily be more conceptual (or at least more iconic and
> > > symbolic). On the other end of the spectrum, now that sensory
> > > aesthetic impact is possible via the web (thanks to advancements in
> > > bandwidth, tools, and developmental practices since 1996), the
> > > concept-centric artist at least has the option (if not exactly the
> > > onus) to ramp his work up visually. Which is not to say that
> > > Mouchette now becomes praystation. It's just a chance/challenge for
> > > the "object-incidental conceptual artist" to begin to re-integrate
> > > sensory aesthetics into the vocabulary of his work.
> > >
> > > Why would a "visual artist" select the web as his medium of choice in
> > > the first place? A million reasons. He doesn't live in a big city
> > > with a bunch of galleries, but the net gives him a worldwide
> > > audience. He wants to hybridize his visuals with other media
> > > strengths that the web offers -- non-linearity, multi-user
> > > environments, "unfinished-ness," randomness, auto-generativeness,
> > > many-to-many network-ness. The list goes on and on.
> > >
> > > It is always interesting and instructive TO ME when we get into
> > > discussions on raw about how specifically the design and visuals and
> > > pacing of a particular net art piece advance its impact and meaning.
> > > David Crawford's "Stop Motion Studies" is ripe for just such a
> > > discussion. Boring to me is merely talking denotatively about "what
> > > a piece of art means" (like the artist is some kind of riddler and
> > > it's our job to guess the right answer). Boring to me is allusive,
> > > decoder-ring art that leads to such "guess-the-righ-answer" dialogue.
> > >
> > > _
> > > _
> > > + ti esrever dna ti pilf nwod gniht ym tup
> > > -> 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.php
> > >
>
> + ti esrever dna ti pilf nwod gniht ym tup
> -> 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.php
>
Men & Bombs
I thought that I'd publicize Men & Bombs again on here. I asked for net art
news to publicize it, but there were not takers which surprized me; it made
me feel as if I was on my own. Not using the right language, not being
correct.
That I must do art about the medium in some way alone & must not put
feelings into my net art-work - why is that? What's wrong with not wishing
to be autistic?
Offlist - I got some pretty intuitive & wel observed repsonses but on here,
it was like a communist had just entered town.
marc
Men & Bombs
A collection of cut up, collaged images found originally on the Internet and
constructed using DHTML. This means that everything featured, including the
music is using the Internet as a resource & useful palette to form, sculpt,
create visual and dynamic content. Everything has either been remixed or
changed in accordance to the main themes - atomic energy, masculinity,
bloodlust, misogyny, sadism, sex, desire, fashion, heroism, lust, bravado,
weaponry, murder etc.
The accompanying music is a soundscape influenced by a record I heard years
ago by the excellent Anarchist punk band 'Crass'. A much more incidental &
quiet piece but still capturing the flavour of their song 'Nagasaki
Nightmare'.
http://www.furtherfield.org/mgarrett/men_&_bombs/ - Opera/Explorer only.
(mac users, still tidying it up for macs but it is accessible, revisit as
time goes by)
marc garrett
news to publicize it, but there were not takers which surprized me; it made
me feel as if I was on my own. Not using the right language, not being
correct.
That I must do art about the medium in some way alone & must not put
feelings into my net art-work - why is that? What's wrong with not wishing
to be autistic?
Offlist - I got some pretty intuitive & wel observed repsonses but on here,
it was like a communist had just entered town.
marc
Men & Bombs
A collection of cut up, collaged images found originally on the Internet and
constructed using DHTML. This means that everything featured, including the
music is using the Internet as a resource & useful palette to form, sculpt,
create visual and dynamic content. Everything has either been remixed or
changed in accordance to the main themes - atomic energy, masculinity,
bloodlust, misogyny, sadism, sex, desire, fashion, heroism, lust, bravado,
weaponry, murder etc.
The accompanying music is a soundscape influenced by a record I heard years
ago by the excellent Anarchist punk band 'Crass'. A much more incidental &
quiet piece but still capturing the flavour of their song 'Nagasaki
Nightmare'.
http://www.furtherfield.org/mgarrett/men_&_bombs/ - Opera/Explorer only.
(mac users, still tidying it up for macs but it is accessible, revisit as
time goes by)
marc garrett