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.
Furthernoise issue February 2010
Dates:
Wed Feb 10, 2010 00:00 - Wed Feb 10, 2010
Welcome to the new issue of Furthernoise.org
As always we have a host of new reviews and features for your reading and listening pleasure. Our audio player is again stacked with new sounds, so whether your sweltering with us down south or chilled to the bone in the north, sit back, turn up the volume, and enjoy this new issue of Furthernoise.org.
Furthernoise issue February 2010
http://www.furthernoise.org/index.php?iss=84
"Dragon's Eye Fourth Anniversary" (feature)
Over the past 4 years, Dragon's Eye has established itself as a resource for the enquiring listener seeking experimental ambient and sound art. Its 4th anniversary is marked by Flowers, compiling label veterans and newcomers, and which, with five other still fresh releases, prompts a timely mini profile.
http://www.furthernoise.org/page.php?ID=318
feature by Alan Lockett
"ini.itu : Featuring Anaphoria and Francisco López" (feature)
After two years and a handful of beautifully crafted limited edition vinyl releases in their roster, ini.itu have redesigned the topography of the small independent label rationale. This being, that conceptual sound works can be released on vinyl, and that eclecticism and diversity of output enhance the listening experiences of those who might be more familiar with one particular genre over another.
http://www.furthernoise.org/page.php?ID=324
feature by Roger Mills
"" (review)
Loren Dent's recent Infraction release, Anthropology Vol. 1, is a long, drawn out suite of sustained tones and shifting harmonies, a bright and shimmering drift accumulating across an extensive cloudscape. It's very slow moving music, nothing with a clear definition until more than half way through the album, where thin wisps of sound delicately flitter in the spaces around Loss of Eternal Life.
http://www.furthernoise.org/page.php?ID=319
review by Caleb Deupree
"Dining Needle's Nocturnal Reflections" (review)
Dining Needle's recent EP Extended Night is an alluring set of tantalizing fragments, guitar-based vignettes that combine dreamy arpeggios with echoes of surface noise and varying kinds of preparations.
http://www.furthernoise.org/page.php?ID=321
review by Caleb Deupree
"Gears Shifting" (review)
2009 saw the Gears of Sand label quietly compute a half-century of releases over a half decade, shifting through all points north and south of ambient and electronic atmospherica. Ben Fleury-Steiner, enquiring-minded curator, has a knack for snaring interesting newcomers as well as coaxing established acts to his GoS roster. These tendencies are well represented here by recent releases from Chubby Wolf and Drape.
http://www.furthernoise.org/page.php?ID=323
review by Alan Lockett
"Magnetic Injuries - TL0741" (review)
The second full length from Pat Gillis’s Washington, DC based TL071 called Magnetic Injuries is a smoldering slab of radiation burnt body parts. As more electronic noise artist jump the fence and concern themselves with propulsive hypnogogic psychedelia, Gillis probes the dark side of electronic anima.
http://www.furthernoise.org/page.php?ID=322
review by Derek Morton
"Seasick Blackout - Matt Weston" (review)
Matt Weston’s Seasick Blackout is his fourth solo EP on his own 7272Music imprint, and I must admit I have been enjoying Mr. Weston’s prolific output of plaintive yet agitated sounds.
http://www.furthernoise.org/page.php?ID=320
review by Derek Morton
Roger Mills
Editor, Furthernoise
As always we have a host of new reviews and features for your reading and listening pleasure. Our audio player is again stacked with new sounds, so whether your sweltering with us down south or chilled to the bone in the north, sit back, turn up the volume, and enjoy this new issue of Furthernoise.org.
Furthernoise issue February 2010
http://www.furthernoise.org/index.php?iss=84
"Dragon's Eye Fourth Anniversary" (feature)
Over the past 4 years, Dragon's Eye has established itself as a resource for the enquiring listener seeking experimental ambient and sound art. Its 4th anniversary is marked by Flowers, compiling label veterans and newcomers, and which, with five other still fresh releases, prompts a timely mini profile.
http://www.furthernoise.org/page.php?ID=318
feature by Alan Lockett
"ini.itu : Featuring Anaphoria and Francisco López" (feature)
After two years and a handful of beautifully crafted limited edition vinyl releases in their roster, ini.itu have redesigned the topography of the small independent label rationale. This being, that conceptual sound works can be released on vinyl, and that eclecticism and diversity of output enhance the listening experiences of those who might be more familiar with one particular genre over another.
http://www.furthernoise.org/page.php?ID=324
feature by Roger Mills
"" (review)
Loren Dent's recent Infraction release, Anthropology Vol. 1, is a long, drawn out suite of sustained tones and shifting harmonies, a bright and shimmering drift accumulating across an extensive cloudscape. It's very slow moving music, nothing with a clear definition until more than half way through the album, where thin wisps of sound delicately flitter in the spaces around Loss of Eternal Life.
http://www.furthernoise.org/page.php?ID=319
review by Caleb Deupree
"Dining Needle's Nocturnal Reflections" (review)
Dining Needle's recent EP Extended Night is an alluring set of tantalizing fragments, guitar-based vignettes that combine dreamy arpeggios with echoes of surface noise and varying kinds of preparations.
http://www.furthernoise.org/page.php?ID=321
review by Caleb Deupree
"Gears Shifting" (review)
2009 saw the Gears of Sand label quietly compute a half-century of releases over a half decade, shifting through all points north and south of ambient and electronic atmospherica. Ben Fleury-Steiner, enquiring-minded curator, has a knack for snaring interesting newcomers as well as coaxing established acts to his GoS roster. These tendencies are well represented here by recent releases from Chubby Wolf and Drape.
http://www.furthernoise.org/page.php?ID=323
review by Alan Lockett
"Magnetic Injuries - TL0741" (review)
The second full length from Pat Gillis’s Washington, DC based TL071 called Magnetic Injuries is a smoldering slab of radiation burnt body parts. As more electronic noise artist jump the fence and concern themselves with propulsive hypnogogic psychedelia, Gillis probes the dark side of electronic anima.
http://www.furthernoise.org/page.php?ID=322
review by Derek Morton
"Seasick Blackout - Matt Weston" (review)
Matt Weston’s Seasick Blackout is his fourth solo EP on his own 7272Music imprint, and I must admit I have been enjoying Mr. Weston’s prolific output of plaintive yet agitated sounds.
http://www.furthernoise.org/page.php?ID=320
review by Derek Morton
Roger Mills
Editor, Furthernoise
Review of Mark Napier's Venus 2.0 by Angela Ferraiolo
Dates:
Tue Feb 09, 2010 00:00 - Tue Feb 09, 2010
Angela Ferraiolo meets Mark Napier in New York and asks him what's behind the Venus 2.0 project.

Venus 2.0 was created from software written by the artist, collecting images of various body parts of Pamela Anderson, an erotic icon of our time. All images were scraped from the hundreds of pictures of Pamela Anderson available on the Internet, recreating mobile, three-dimensional figures out of these flat fragmentary pictures. Mark Napier reflects and redefines on our perceptions of images in this Internet age, on network structures and on the Internet's influence on our lives.
Now that I'm done' I find the artwork disturbing. It freaks me out. Maybe I'll do landscapes for a while to detox." -- Mark Napier
Mark Napier (http://www.potatoland.org/), well-known for the net classics Shredder (http://www.potatoland.org/shredder/) Riot (http:www.potatoland.org/riot/) and Digital Landfill (http://www.potatoland.org/landfill/) recently exhibited his latest work Venus 2.0 at
the DAM Gallery (http://www.dam-berlin.de/) in Berlin.
Mark Napier (1961, USA) lives in New York. He became inspired by software development soon after completing his training as a painter. He has been working on Net art since 1995 and was one of the first artists to deal thematically and formally with the Internet. His works explore terms such as 'ownership' and 'authority' in the Net and interrogate browser functions and Web design. He has been commissioned to create Net art works by the Solomon R. Guggenheim Museum and the San Francisco Museum of Modern Art and took part in the Whitney Biennale in 2002. Institutions and festivals that have exhibited his works include the Centre Pompidou in Paris, P.S.1 New York, the Walker Art Center in Minneapolis, Ars Electronica in Linz, The Kitchen, Künstlerhaus Vienna, ZKM Karlsruhe, Transmediale, iMAL Brussels, Eyebeam, the Princeton Art Museum, and la Villette, Paris. He has also received awards from Creative Capital, the Greenwall Foundation and the New York Foundation for the Arts.
Angela Ferraiolo is an interactive writer and filmmaker experimenting with text, video, and animation for the web, installation, and mobile applications. She is currently working on a new interactive movie titled "The Loop". Her digital story "Map of a Future War" was published in the Fall 2008 issue of the New River Journal. Her plays have been produced at La Mama Galleria and Expanded Arts in New York City and at the Brick Playhouse in Philadelphia, USA. She is also the author of the RPG Aidyn Chronicles and the MMORPG Earth and Beyond. Angela teaches game programming and theories of game design in the Film and Media Department of Hunter College in New York.
------------>
Other Info:
A living, breathing, thriving networked neighbourhood...
We are on Twitter
http://twitter.com/furtherfield
Other reviews/articles/interviews
http://www.furtherfield.org/reviews.php
Furtherfield - online media arts community, platforms for creating,
viewing, discussing and learning about experimental practices at the
intersections of art, technology and social change.
http://www.furtherfield.org
HTTP Gallery - physical media arts Gallery (London).
http://www.http.uk.net
Netbehaviour - an open email list community engaged in the process of
sharing and actively evolving critical approaches, methods and ideas
focused around contemporary networked media arts practice.
http://www.netbehaviour.org
Furtherfield Blog - shared space for personal reflections on media art
practice. http://blog.furtherfield.org
VisitorsStudio - real-time, multi-user, online arena for creative 'many
to many' dialogue, networked performance and collaborative polemic.
http://www.visitorsstudio.org/x.html
Furthernoise - an online platform for the creation, promotion,
criticism and archiving of innovative cross genre music and sound art
for the information & interaction of the public and artists alike.
http://www.furthernoise.org

Venus 2.0 was created from software written by the artist, collecting images of various body parts of Pamela Anderson, an erotic icon of our time. All images were scraped from the hundreds of pictures of Pamela Anderson available on the Internet, recreating mobile, three-dimensional figures out of these flat fragmentary pictures. Mark Napier reflects and redefines on our perceptions of images in this Internet age, on network structures and on the Internet's influence on our lives.
Now that I'm done' I find the artwork disturbing. It freaks me out. Maybe I'll do landscapes for a while to detox." -- Mark Napier
Mark Napier (http://www.potatoland.org/), well-known for the net classics Shredder (http://www.potatoland.org/shredder/) Riot (http:www.potatoland.org/riot/) and Digital Landfill (http://www.potatoland.org/landfill/) recently exhibited his latest work Venus 2.0 at
the DAM Gallery (http://www.dam-berlin.de/) in Berlin.
Mark Napier (1961, USA) lives in New York. He became inspired by software development soon after completing his training as a painter. He has been working on Net art since 1995 and was one of the first artists to deal thematically and formally with the Internet. His works explore terms such as 'ownership' and 'authority' in the Net and interrogate browser functions and Web design. He has been commissioned to create Net art works by the Solomon R. Guggenheim Museum and the San Francisco Museum of Modern Art and took part in the Whitney Biennale in 2002. Institutions and festivals that have exhibited his works include the Centre Pompidou in Paris, P.S.1 New York, the Walker Art Center in Minneapolis, Ars Electronica in Linz, The Kitchen, Künstlerhaus Vienna, ZKM Karlsruhe, Transmediale, iMAL Brussels, Eyebeam, the Princeton Art Museum, and la Villette, Paris. He has also received awards from Creative Capital, the Greenwall Foundation and the New York Foundation for the Arts.
Angela Ferraiolo is an interactive writer and filmmaker experimenting with text, video, and animation for the web, installation, and mobile applications. She is currently working on a new interactive movie titled "The Loop". Her digital story "Map of a Future War" was published in the Fall 2008 issue of the New River Journal. Her plays have been produced at La Mama Galleria and Expanded Arts in New York City and at the Brick Playhouse in Philadelphia, USA. She is also the author of the RPG Aidyn Chronicles and the MMORPG Earth and Beyond. Angela teaches game programming and theories of game design in the Film and Media Department of Hunter College in New York.
------------>
Other Info:
A living, breathing, thriving networked neighbourhood...
We are on Twitter
http://twitter.com/furtherfield
Other reviews/articles/interviews
http://www.furtherfield.org/reviews.php
Furtherfield - online media arts community, platforms for creating,
viewing, discussing and learning about experimental practices at the
intersections of art, technology and social change.
http://www.furtherfield.org
HTTP Gallery - physical media arts Gallery (London).
http://www.http.uk.net
Netbehaviour - an open email list community engaged in the process of
sharing and actively evolving critical approaches, methods and ideas
focused around contemporary networked media arts practice.
http://www.netbehaviour.org
Furtherfield Blog - shared space for personal reflections on media art
practice. http://blog.furtherfield.org
VisitorsStudio - real-time, multi-user, online arena for creative 'many
to many' dialogue, networked performance and collaborative polemic.
http://www.visitorsstudio.org/x.html
Furthernoise - an online platform for the creation, promotion,
criticism and archiving of innovative cross genre music and sound art
for the information & interaction of the public and artists alike.
http://www.furthernoise.org
Keyworx
Hi Alan,
Yes, when we did the collaborative project in 2004, we had big screens streaming the live-work then, across different venues such as postmaters gallery and cafe's, and outside walls and shop windows - it works weel in that context, and people can collaborate bringing their laptops as well...
wishing you well.
marc
Yes, when we did the collaborative project in 2004, we had big screens streaming the live-work then, across different venues such as postmaters gallery and cafe's, and outside walls and shop windows - it works weel in that context, and people can collaborate bringing their laptops as well...
wishing you well.
marc
Keyworx
Hi Alan,
It is a shame about Keyworks not being available anymore.
If you are interested we created visitorsstudio in 2003, an online place for real-time, multi-user mixing, collaborative creation, many to many dialogue and networked performance and play. http://www.visitorsstudio.org
We won the 'grand netart 2009 prize' for it last year - http://www.netarts.org/2009/grand_prize_2009.html
Also, here is some other info regarding context, articles etc...
http://www.visitorsstudio.org/about_vs.html#background
http://www.furtherfield.org/dissensionconvention/
A CONTEXT MAP OF VisitorsStudio
http://blog.visitorsstudio.org/?q=node/31/
wishing you well.
marc
http://www.furtherfield.org
http://www.http.uk.net/
http://www.netbehaviour.org/
It is a shame about Keyworks not being available anymore.
If you are interested we created visitorsstudio in 2003, an online place for real-time, multi-user mixing, collaborative creation, many to many dialogue and networked performance and play. http://www.visitorsstudio.org
We won the 'grand netart 2009 prize' for it last year - http://www.netarts.org/2009/grand_prize_2009.html
Also, here is some other info regarding context, articles etc...
http://www.visitorsstudio.org/about_vs.html#background
http://www.furtherfield.org/dissensionconvention/
A CONTEXT MAP OF VisitorsStudio
http://blog.visitorsstudio.org/?q=node/31/
wishing you well.
marc
http://www.furtherfield.org
http://www.http.uk.net/
http://www.netbehaviour.org/
post- media art manifesto
Hi Sinae kim,
"Reflecting on the New Media Art that cannot create any more an aesthetically meaningful or artistically inspirational works beyond a mere presentation of technological advancement"
I find this 1st demand rather confusing. I guess what you are saying here, is that you are calling for people to explore an art that does not necessarily rely on processes Which are technologically determined alone - or as a means to an end.
I think that one of the issues that art faces at the moment, is how creativity itself within a digital context can continue to maintain meaning or offer any 'in-depth' values; when faced by an ever-suffocating grip from 'creative industry'. It is the artists themselves who can challenge this, and perhaps various curators. Yet, I have not seen many theorists taking on this issue in any succesful way, other than falling for the usual trick of saying that something is either dead, not in vogue or something as equally lazy. The disjuncture has been addressed to certain degrees, in respect of there beiing a cultural crossover of different practices merging, as in curator being artist, engineer being artist, activist being artist, programmer being artist and vice versa...
To argue for a 'post-media artworld' is like asking for the genie to fly back into the bottle - it's out now. Sure, there are those less interesting types within more traditonal 'gate-keeping' organisations (such as the ICA in the UK), education and similar contexts, trying to ignore it, but it will not go away - in fact, it is getting larger as a cultural movement. The other thing is, this movement has an empowerment which also critiques those who rule or try to dictate media art, traditional art and creative cultures at the same time, which is of course, extremely healthy and exciting if you are an artist or thinker worth a knickle. The challenge is, if the creative minds out there who are exploring this genre and ever expanding creative adventure, can be brave enough to move beyond their own vanity, thus engage in an art that is acknowledging and exploring with others as well. Supporting others, peers in the field and not just feverishly reflecting upon their own narcissistic desires alone. This is the big one...
I will respond to some of your other manifesto terms tomorrow...
wishing you well.
marc
"Reflecting on the New Media Art that cannot create any more an aesthetically meaningful or artistically inspirational works beyond a mere presentation of technological advancement"
I find this 1st demand rather confusing. I guess what you are saying here, is that you are calling for people to explore an art that does not necessarily rely on processes Which are technologically determined alone - or as a means to an end.
I think that one of the issues that art faces at the moment, is how creativity itself within a digital context can continue to maintain meaning or offer any 'in-depth' values; when faced by an ever-suffocating grip from 'creative industry'. It is the artists themselves who can challenge this, and perhaps various curators. Yet, I have not seen many theorists taking on this issue in any succesful way, other than falling for the usual trick of saying that something is either dead, not in vogue or something as equally lazy. The disjuncture has been addressed to certain degrees, in respect of there beiing a cultural crossover of different practices merging, as in curator being artist, engineer being artist, activist being artist, programmer being artist and vice versa...
To argue for a 'post-media artworld' is like asking for the genie to fly back into the bottle - it's out now. Sure, there are those less interesting types within more traditonal 'gate-keeping' organisations (such as the ICA in the UK), education and similar contexts, trying to ignore it, but it will not go away - in fact, it is getting larger as a cultural movement. The other thing is, this movement has an empowerment which also critiques those who rule or try to dictate media art, traditional art and creative cultures at the same time, which is of course, extremely healthy and exciting if you are an artist or thinker worth a knickle. The challenge is, if the creative minds out there who are exploring this genre and ever expanding creative adventure, can be brave enough to move beyond their own vanity, thus engage in an art that is acknowledging and exploring with others as well. Supporting others, peers in the field and not just feverishly reflecting upon their own narcissistic desires alone. This is the big one...
I will respond to some of your other manifesto terms tomorrow...
wishing you well.
marc