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.
Re: Re: "digital poetry" vs net art
Hi Lewis,
In respect of current projects we are embarking on at furtherfield, we use =
the 'network' as part of the conceptual function but not as a means to an e=
nd, therefor it is part of the art (presentation) itself. For instance the =
FurtherStudio project is an online digital art residency. It uses software =
designed especially for the project, it can only be experienced via the net=
. The public visits and participates online, also creating their own versio=
ns of what they witness/view online, whilst being able to ask the artist(s)=
, collaborators questions in chat mode. While the work (at the same time) c=
an be seen being created online. Plus to spice it up, while this is happeni=
ng - certain visiting artists will pilfer other artists work from the Inte=
rnet & then redesigning and remake them (live) for all to see. A live perfo=
rmance that everyone can be part of, even though there are invited digital =
artists chosen for the online residency.
Then there is...
Skin/Strip Online is a collaboration between Completely Naked, curators of =
interactive live arts events, and Furtherfield.org. An interactive, digital=
photography installation in which the participating audience create expres=
sive images of their own naked bodies, displaying them next to others in th=
e context of an artwork. The general public are invited to express their na=
ked identities in a work that explores social activity and communication an=
d frees us from mediated ideas of the 'perfect' body. This project is a cel=
ebration of difference and expression. Furtherfield is collaborating with C=
ompletely Naked to stage Skin/Strip Online as an online event. Skin Strip e=
xhibition events have already taken place at The Museum of the Unknown in L=
ondon, UK and at the Centre of Contemporary Culture in Barcelona, Spain. Th=
e exhibitions clearly represented distinct expressions of cultural identity=
connected with their geographical locations and we anticipate a similar di=
stinctness with Skin Strip Global.
Even though we do not literalize the use of network function, it cannot exi=
st without net art or network fundementals...
marc
> RUTH:It's just that I thought I got a whiff of a kind of purist, muscular=
, Greenbergian ethos (which I've never experienced in any of Lewis's work o=
r writing). I'm glad I did too, as it catalyzed the sharpening of a few of =
my own blunt thoughts.
>
> LL: Oh no, no greenberg...i mean, there's a purist ethos involved, but i'=
m definitely not advocating any dogmatic approach...simply saying i'm more =
attracted to works like that, and trying to examine the distinction ----and=
the wonderful blurrings of that distinction!
> bliss
> l
>
>
>
>
> >
> "digital poetry" vs net art
> ruth catlow <ruth.catlow@furtherfield.org>
>
>
>
>
> > > lewis wrote:
> > >> me, i just want a net art that is truly an art fitted to its medium.=
..i > > want a net art that literally requires the net work in order to man=
ifest > > itself...
> >
>
> ruth wrote:
>
>
> > > I think this gives the institutions and the structures of the net wor=
k > > far too much respect. Isn't this like saying that we only want art th=
at > > requires the cubey white walls of a gallery? Why are you so eager to=
> > squash your squishy, expressive, human flesh sourced imaginations into=
> > the predetermined and rigid labyrinths of mathematically determined > =
> structures?
>
>
> ivan wrote:
>
>
> > My reading of lewis's statement is that he calls for network art that >=
fundamentallly uses the network. i.e. not network art that could just as >=
easily be displayed on a disconnected computer in a gallery. But pieces th=
at > use the network in some way to become themselves. And this should not =
> necessarily mean the network of wires and routers and IP protocols but th=
e > network of information or the network of human activity. There are of c=
ourse > many works that do this already, so Im not saying much ... and, Im =
not > claiming value for this approach. But I think to equate this with wan=
ting > art that fits in a white cube gallery is missing a point?
>
>
> It's just that I thought I got a whiff of a kind of purist, muscular, Gre=
enbergian ethos (which I've never experienced in any of Lewis's work or wri=
ting). I'm glad I did too, as it catalyzed the sharpening of a few of my ow=
n blunt thoughts.
> As for:-
>
>
> > Maybe there's a
> > May68 type slogan here: The Network Is Not A Gallery
>
>
> Hurrah! :-D
>
>
> cheers
> Ruth
>
>
> furtherfield.org
>
>
> + KNORRRRRRR
> -> 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
>
>
In respect of current projects we are embarking on at furtherfield, we use =
the 'network' as part of the conceptual function but not as a means to an e=
nd, therefor it is part of the art (presentation) itself. For instance the =
FurtherStudio project is an online digital art residency. It uses software =
designed especially for the project, it can only be experienced via the net=
. The public visits and participates online, also creating their own versio=
ns of what they witness/view online, whilst being able to ask the artist(s)=
, collaborators questions in chat mode. While the work (at the same time) c=
an be seen being created online. Plus to spice it up, while this is happeni=
ng - certain visiting artists will pilfer other artists work from the Inte=
rnet & then redesigning and remake them (live) for all to see. A live perfo=
rmance that everyone can be part of, even though there are invited digital =
artists chosen for the online residency.
Then there is...
Skin/Strip Online is a collaboration between Completely Naked, curators of =
interactive live arts events, and Furtherfield.org. An interactive, digital=
photography installation in which the participating audience create expres=
sive images of their own naked bodies, displaying them next to others in th=
e context of an artwork. The general public are invited to express their na=
ked identities in a work that explores social activity and communication an=
d frees us from mediated ideas of the 'perfect' body. This project is a cel=
ebration of difference and expression. Furtherfield is collaborating with C=
ompletely Naked to stage Skin/Strip Online as an online event. Skin Strip e=
xhibition events have already taken place at The Museum of the Unknown in L=
ondon, UK and at the Centre of Contemporary Culture in Barcelona, Spain. Th=
e exhibitions clearly represented distinct expressions of cultural identity=
connected with their geographical locations and we anticipate a similar di=
stinctness with Skin Strip Global.
Even though we do not literalize the use of network function, it cannot exi=
st without net art or network fundementals...
marc
> RUTH:It's just that I thought I got a whiff of a kind of purist, muscular=
, Greenbergian ethos (which I've never experienced in any of Lewis's work o=
r writing). I'm glad I did too, as it catalyzed the sharpening of a few of =
my own blunt thoughts.
>
> LL: Oh no, no greenberg...i mean, there's a purist ethos involved, but i'=
m definitely not advocating any dogmatic approach...simply saying i'm more =
attracted to works like that, and trying to examine the distinction ----and=
the wonderful blurrings of that distinction!
> bliss
> l
>
>
>
>
> >
> "digital poetry" vs net art
> ruth catlow <ruth.catlow@furtherfield.org>
>
>
>
>
> > > lewis wrote:
> > >> me, i just want a net art that is truly an art fitted to its medium.=
..i > > want a net art that literally requires the net work in order to man=
ifest > > itself...
> >
>
> ruth wrote:
>
>
> > > I think this gives the institutions and the structures of the net wor=
k > > far too much respect. Isn't this like saying that we only want art th=
at > > requires the cubey white walls of a gallery? Why are you so eager to=
> > squash your squishy, expressive, human flesh sourced imaginations into=
> > the predetermined and rigid labyrinths of mathematically determined > =
> structures?
>
>
> ivan wrote:
>
>
> > My reading of lewis's statement is that he calls for network art that >=
fundamentallly uses the network. i.e. not network art that could just as >=
easily be displayed on a disconnected computer in a gallery. But pieces th=
at > use the network in some way to become themselves. And this should not =
> necessarily mean the network of wires and routers and IP protocols but th=
e > network of information or the network of human activity. There are of c=
ourse > many works that do this already, so Im not saying much ... and, Im =
not > claiming value for this approach. But I think to equate this with wan=
ting > art that fits in a white cube gallery is missing a point?
>
>
> It's just that I thought I got a whiff of a kind of purist, muscular, Gre=
enbergian ethos (which I've never experienced in any of Lewis's work or wri=
ting). I'm glad I did too, as it catalyzed the sharpening of a few of my ow=
n blunt thoughts.
> As for:-
>
>
> > Maybe there's a
> > May68 type slogan here: The Network Is Not A Gallery
>
>
> Hurrah! :-D
>
>
> cheers
> Ruth
>
>
> furtherfield.org
>
>
> + KNORRRRRRR
> -> 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
>
>
Re: Re: "digital poetry" vs net art
Andreas Broeckmann states...
"They do not aim at a beautiful or effective artistic expression, or at
convincing representation of an abstract principle, but use the fact of the
machinic and interpersonal communication across the network, the
technological structure and functions of the network dispositive, and
amplify, mock or playfully subvert them."
marc
> RUTH:It's just that I thought I got a whiff of a kind of purist, muscular,
Greenbergian ethos (which I've never experienced in any of Lewis's work or
writing). I'm glad I did too, as it catalyzed the sharpening of a few of my
own blunt thoughts.
>
> LL: Oh no, no greenberg...i mean, there's a purist ethos involved, but i'm
definitely not advocating any dogmatic approach...simply saying i'm more
attracted to works like that, and trying to examine the distinction ----and
the wonderful blurrings of that distinction!
> bliss
> l
>
>
>
>
> >
> "digital poetry" vs net art
> ruth catlow <ruth.catlow@furtherfield.org>
>
>
>
>
> > > lewis wrote:
> > >> me, i just want a net art that is truly an art fitted to its
medium...i > > want a net art that literally requires the net work in order
to manifest > > itself...
> >
>
> ruth wrote:
>
>
> > > I think this gives the institutions and the structures of the net work
> > far too much respect. Isn't this like saying that we only want art that
> > requires the cubey white walls of a gallery? Why are you so eager to > >
squash your squishy, expressive, human flesh sourced imaginations into > >
the predetermined and rigid labyrinths of mathematically determined > >
structures?
>
>
> ivan wrote:
>
>
> > My reading of lewis's statement is that he calls for network art that >
fundamentallly uses the network. i.e. not network art that could just as >
easily be displayed on a disconnected computer in a gallery. But pieces that
> use the network in some way to become themselves. And this should not >
necessarily mean the network of wires and routers and IP protocols but the >
network of information or the network of human activity. There are of course
> many works that do this already, so Im not saying much ... and, Im not >
claiming value for this approach. But I think to equate this with wanting >
art that fits in a white cube gallery is missing a point?
>
>
> It's just that I thought I got a whiff of a kind of purist, muscular,
Greenbergian ethos (which I've never experienced in any of Lewis's work or
writing). I'm glad I did too, as it catalyzed the sharpening of a few of my
own blunt thoughts.
> As for:-
>
>
> > Maybe there's a
> > May68 type slogan here: The Network Is Not A Gallery
>
>
> Hurrah! :-D
>
>
> cheers
> Ruth
>
>
> furtherfield.org
>
>
> + KNORRRRRRR
> -> 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
>
>
"They do not aim at a beautiful or effective artistic expression, or at
convincing representation of an abstract principle, but use the fact of the
machinic and interpersonal communication across the network, the
technological structure and functions of the network dispositive, and
amplify, mock or playfully subvert them."
marc
> RUTH:It's just that I thought I got a whiff of a kind of purist, muscular,
Greenbergian ethos (which I've never experienced in any of Lewis's work or
writing). I'm glad I did too, as it catalyzed the sharpening of a few of my
own blunt thoughts.
>
> LL: Oh no, no greenberg...i mean, there's a purist ethos involved, but i'm
definitely not advocating any dogmatic approach...simply saying i'm more
attracted to works like that, and trying to examine the distinction ----and
the wonderful blurrings of that distinction!
> bliss
> l
>
>
>
>
> >
> "digital poetry" vs net art
> ruth catlow <ruth.catlow@furtherfield.org>
>
>
>
>
> > > lewis wrote:
> > >> me, i just want a net art that is truly an art fitted to its
medium...i > > want a net art that literally requires the net work in order
to manifest > > itself...
> >
>
> ruth wrote:
>
>
> > > I think this gives the institutions and the structures of the net work
> > far too much respect. Isn't this like saying that we only want art that
> > requires the cubey white walls of a gallery? Why are you so eager to > >
squash your squishy, expressive, human flesh sourced imaginations into > >
the predetermined and rigid labyrinths of mathematically determined > >
structures?
>
>
> ivan wrote:
>
>
> > My reading of lewis's statement is that he calls for network art that >
fundamentallly uses the network. i.e. not network art that could just as >
easily be displayed on a disconnected computer in a gallery. But pieces that
> use the network in some way to become themselves. And this should not >
necessarily mean the network of wires and routers and IP protocols but the >
network of information or the network of human activity. There are of course
> many works that do this already, so Im not saying much ... and, Im not >
claiming value for this approach. But I think to equate this with wanting >
art that fits in a white cube gallery is missing a point?
>
>
> It's just that I thought I got a whiff of a kind of purist, muscular,
Greenbergian ethos (which I've never experienced in any of Lewis's work or
writing). I'm glad I did too, as it catalyzed the sharpening of a few of my
own blunt thoughts.
> As for:-
>
>
> > Maybe there's a
> > May68 type slogan here: The Network Is Not A Gallery
>
>
> Hurrah! :-D
>
>
> cheers
> Ruth
>
>
> furtherfield.org
>
>
> + KNORRRRRRR
> -> 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
>
>
Tredder...
------=_NextPart_001_0202_01C28AA9.CDC1C710
Content-Type: text/plain;
charset="Windows-1252"
Content-Transfer-Encoding: quoted-printable
BlankTredder:
To become part of the larger frame, part of the world around & walk around =
(deliberately) without an aim or intent of direction , get lost, get walkin=
g.
http://www.furtherfield.org/otmonkeys/docs/tredder.htm
(OTM)
we do appear and wander
become a part of the larger sum
a dispersion
melting into the larger frame
we are one the same aim
externally activating
historically fascinating
and physically validating
our presence continues to effect
and influence what was
once here
changing the now....
------=_NextPart_001_0202_01C28AA9.CDC1C710
Content-Type: text/html;
charset="Windows-1252"
Content-Transfer-Encoding: quoted-printable
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD><TITLE id=ridTitle>Blank</TITLE>
<META http-equiv=Content-Type content="text/html; charset=windows-125=
2"><BASE
href="file://C:Program FilesCommon FilesMicrosoft SharedStationery">
<STYLE>BODY {
MARGIN-TOP: 25px; FONT-SIZE: 10pt; MARGIN-LEFT: 25px; COLOR: #000000; FONT=
-FAMILY: Arial, Helvetica
}
P.msoNormal {
MARGIN-TOP: 0px; FONT-SIZE: 10pt; MARGIN-LEFT: 0px; COLOR: #ffffcc; FONT-F=
AMILY: Helvetica, "Times New Roman"
}
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MARGIN-TOP: 0px; FONT-SIZE: 10pt; MARGIN-LEFT: 0px; COLOR: #ffffcc; FONT-F=
AMILY: Helvetica, "Times New Roman"
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<META content="MSHTML 6.00.2800.1106" name=GENERATOR></HEAD>
<BODY id=ridBody bgColor=#ffffff
background=cid:020001c28aa9$cdc1c710$0100a8c0@FURTHERFIELD>
<DIV>
<P align=center><FONT face="Courier New, Courier, mono" color=#000000=
size=2><B><SPAN class=unnamed2>Tredder:</SPAN></B></FONT><BR><FONT colo=
r=#000000
size=2><FONT face="Courier New"><STRONG>To become part of the larger fr=
ame, part
of the world around & walk around (deliberately) without an aim or inte=
nt of
direction , get lost, get walking. <BR><BR></STRONG></FONT><A
href="http://www.furtherfield.org/otmonkeys/docs/tredder.htm"><FONT
face="Courier New"><STRONG>http://www.furtherfield.org/otmonkeys/docs/tre=
dder.htm</STRONG></FONT></A><BR><BR></FONT><FONT
face="Courier New"><STRONG>(OTM)</STRONG></FONT><BR><BR><BR><STRONG>we do=
appear
and wander <BR>become a part of the larger sum<BR>a dispersion<BR>melting i=
nto
the larger frame <BR>we are one the same aim<BR>externally activating
<BR>historically fascinating <BR>and physically validating <BR>our presence=
continues to effect <BR>and influence what was<BR>once here <BR>changing th=
e
now....</STRONG></P></DIV>
<P> </P></BODY></HTML>
------=_NextPart_001_0202_01C28AA9.CDC1C710--
Content-Type: text/plain;
charset="Windows-1252"
Content-Transfer-Encoding: quoted-printable
BlankTredder:
To become part of the larger frame, part of the world around & walk around =
(deliberately) without an aim or intent of direction , get lost, get walkin=
g.
http://www.furtherfield.org/otmonkeys/docs/tredder.htm
(OTM)
we do appear and wander
become a part of the larger sum
a dispersion
melting into the larger frame
we are one the same aim
externally activating
historically fascinating
and physically validating
our presence continues to effect
and influence what was
once here
changing the now....
------=_NextPart_001_0202_01C28AA9.CDC1C710
Content-Type: text/html;
charset="Windows-1252"
Content-Transfer-Encoding: quoted-printable
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD><TITLE id=ridTitle>Blank</TITLE>
<META http-equiv=Content-Type content="text/html; charset=windows-125=
2"><BASE
href="file://C:Program FilesCommon FilesMicrosoft SharedStationery">
<STYLE>BODY {
MARGIN-TOP: 25px; FONT-SIZE: 10pt; MARGIN-LEFT: 25px; COLOR: #000000; FONT=
-FAMILY: Arial, Helvetica
}
P.msoNormal {
MARGIN-TOP: 0px; FONT-SIZE: 10pt; MARGIN-LEFT: 0px; COLOR: #ffffcc; FONT-F=
AMILY: Helvetica, "Times New Roman"
}
LI.msoNormal {
MARGIN-TOP: 0px; FONT-SIZE: 10pt; MARGIN-LEFT: 0px; COLOR: #ffffcc; FONT-F=
AMILY: Helvetica, "Times New Roman"
}
</STYLE>
<META content="MSHTML 6.00.2800.1106" name=GENERATOR></HEAD>
<BODY id=ridBody bgColor=#ffffff
background=cid:020001c28aa9$cdc1c710$0100a8c0@FURTHERFIELD>
<DIV>
<P align=center><FONT face="Courier New, Courier, mono" color=#000000=
size=2><B><SPAN class=unnamed2>Tredder:</SPAN></B></FONT><BR><FONT colo=
r=#000000
size=2><FONT face="Courier New"><STRONG>To become part of the larger fr=
ame, part
of the world around & walk around (deliberately) without an aim or inte=
nt of
direction , get lost, get walking. <BR><BR></STRONG></FONT><A
href="http://www.furtherfield.org/otmonkeys/docs/tredder.htm"><FONT
face="Courier New"><STRONG>http://www.furtherfield.org/otmonkeys/docs/tre=
dder.htm</STRONG></FONT></A><BR><BR></FONT><FONT
face="Courier New"><STRONG>(OTM)</STRONG></FONT><BR><BR><BR><STRONG>we do=
appear
and wander <BR>become a part of the larger sum<BR>a dispersion<BR>melting i=
nto
the larger frame <BR>we are one the same aim<BR>externally activating
<BR>historically fascinating <BR>and physically validating <BR>our presence=
continues to effect <BR>and influence what was<BR>once here <BR>changing th=
e
now....</STRONG></P></DIV>
<P> </P></BODY></HTML>
------=_NextPart_001_0202_01C28AA9.CDC1C710--
protect the international justice system
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charset="Windows-1252"
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BlankThe new system of international justice, which came about with the cre=
ation of the International Criminal Court (ICC), is under attack. The USA i=
s trying to ensure that US nationals are exempt from ICC jurisdiction over =
genocide, crimes against humanity and war crimes.
Act now to protect the international justice system.
The ICC will investigate and prosecute people accused of genocide, crimes a=
gainst humanity and war crimes. The USA is attacking this new system of int=
ernational justice by pressing states around the world to enter into impuni=
ty agreements not to surrender US nationals to the ICC. In many cases the U=
S government is threatening to withdraw military assistance from countries =
that will not agree.
http://web.amnesty.org/web/icc_petition.nsf/action_english
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Content-Type: text/html;
charset="Windows-1252"
Content-Transfer-Encoding: quoted-printable
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD><TITLE id=ridTitle>Blank</TITLE>
<META http-equiv=Content-Type content="text/html; charset=windows-125=
2"><BASE
href="file://C:Program FilesCommon FilesMicrosoft SharedStationery">
<STYLE>BODY {
MARGIN-TOP: 25px; FONT-SIZE: 10pt; MARGIN-LEFT: 25px; COLOR: #000000; FONT=
-FAMILY: Arial, Helvetica
}
P.msoNormal {
MARGIN-TOP: 0px; FONT-SIZE: 10pt; MARGIN-LEFT: 0px; COLOR: #ffffcc; FONT-F=
AMILY: Helvetica, "Times New Roman"
}
LI.msoNormal {
MARGIN-TOP: 0px; FONT-SIZE: 10pt; MARGIN-LEFT: 0px; COLOR: #ffffcc; FONT-F=
AMILY: Helvetica, "Times New Roman"
}
</STYLE>
<META content="MSHTML 6.00.2800.1106" name=GENERATOR></HEAD>
<BODY id=ridBody bgColor=#ffffff
background=cid:02af01c28ac5$6a779f10$0100a8c0@FURTHERFIELD>
<DIV>
<P><FONT face="Verdana, Arial, Helvetica, sans-serif" size=2>The new sy=
stem of
international justice, which came about with the creation of the Internatio=
nal
Criminal Court (ICC), is under attack. The USA is trying to ensure that US=
nationals are exempt from ICC jurisdiction over genocide, crimes against
humanity and war crimes. </FONT></P>
<P><FONT face="Verdana, Arial, Helvetica, sans-serif" size=2><B>Act now=
to
protect the international justice system.</B><BR><BR>The ICC will investiga=
te
and prosecute people accused of genocide, crimes against humanity and war=
crimes. The USA is attacking this new system of international justice by
pressing states around the world to enter into impunity agreements not to=
surrender US nationals to the ICC. In many cases the US government is
threatening to withdraw military assistance from countries that will not ag=
ree.
</FONT><BR><BR><A
href="http://web.amnesty.org/web/icc_petition.nsf/action_english">http://=
web.amnesty.org/web/icc_petition.nsf/action_english</A></P></DIV>
<P> </P></BODY></HTML>
------=_NextPart_001_02B1_01C28AC5.6A7A1010--
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charset="Windows-1252"
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BlankThe new system of international justice, which came about with the cre=
ation of the International Criminal Court (ICC), is under attack. The USA i=
s trying to ensure that US nationals are exempt from ICC jurisdiction over =
genocide, crimes against humanity and war crimes.
Act now to protect the international justice system.
The ICC will investigate and prosecute people accused of genocide, crimes a=
gainst humanity and war crimes. The USA is attacking this new system of int=
ernational justice by pressing states around the world to enter into impuni=
ty agreements not to surrender US nationals to the ICC. In many cases the U=
S government is threatening to withdraw military assistance from countries =
that will not agree.
http://web.amnesty.org/web/icc_petition.nsf/action_english
------=_NextPart_001_02B1_01C28AC5.6A7A1010
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<P><FONT face="Verdana, Arial, Helvetica, sans-serif" size=2>The new sy=
stem of
international justice, which came about with the creation of the Internatio=
nal
Criminal Court (ICC), is under attack. The USA is trying to ensure that US=
nationals are exempt from ICC jurisdiction over genocide, crimes against
humanity and war crimes. </FONT></P>
<P><FONT face="Verdana, Arial, Helvetica, sans-serif" size=2><B>Act now=
to
protect the international justice system.</B><BR><BR>The ICC will investiga=
te
and prosecute people accused of genocide, crimes against humanity and war=
crimes. The USA is attacking this new system of international justice by
pressing states around the world to enter into impunity agreements not to=
surrender US nationals to the ICC. In many cases the US government is
threatening to withdraw military assistance from countries that will not ag=
ree.
</FONT><BR><BR><A
href="http://web.amnesty.org/web/icc_petition.nsf/action_english">http://=
web.amnesty.org/web/icc_petition.nsf/action_english</A></P></DIV>
<P> </P></BODY></HTML>
------=_NextPart_001_02B1_01C28AC5.6A7A1010--
Re: RHIZOME_RARE: Tredder
I'm there Joao,
thanx...
marc
>
>
> ----- Original Message -----
> From: Joao Pedro
> To: Nuria Vives
> Cc: Oliveira Pereira
> Sent: Tuesday, November 12, 2002 11:43 PM
> Subject: Re: RHIZOME_RAW: AMINA WILL BE STONING TO DEATH
>
>
>
> SAVE AMINA'S LIVE!
>
> Caso Amina Lawal:
> AMINA LAWAL CASE:
> :
> : El tribunal supremo ratifico la condena a muerte por lapidacion
>
> THE SUPREME COURT RATIFIED THE CAPITAL SENTENCE BY STONING TO DEATH
> :
> : de esta mujer, solo se ha pospuesto la aplicacion de la condena
> OF THIS WOMAN, AND THE SENTENCE ONLY WAS DEFERRED A COUPLE OF MONTHS,
F=
> OR PERMISSION TO SUCKLE HER SON.
>
> :
> : durante un par de meses por permiso de lactancia para su hijo.
Despu=
> es la
>
> AFTER THAT, THEY WILL KILL AMINA, THROWING STONES AGAINST HER BODY,
IF=
> IN THE MEANTIME, THE AUTHORITIES OF NIGERIA WOULD NOT CHANGE THEIR
VERDICT.
> :
> : mataran a pedradas, a menos que el diluvio de condena haga
> :
> : recapacitar a las autoridades nigerianas.
> :
> : No duden y haganlo por favor. Amina va a ser lapidada en
>
> AMINA WAS SENTENCED TO DEATH AND HER CRIME? HAVE A SON AFTER HER
DIVOR=
> CE. BECAUSE AMINA WAS MOTHER, BEING SEPARETED OF THE HUSBAND, THE CHILD
WA=
> S CONCEIVED BY ADULTERY PRACTISE.
> :
> : Nigeria, porque tuvo un hijo una vez divorciada, lo que se
> :
> : considera prueba de adulterio.
>
> WE NEED TO FIGHT AGAINST THIS NON-SENSE. WE SAVED A WOMEN IN THE
SAME=
> CIRCUNSTANCES, WITH A UNDERSIGNED CAMPAIGN. ON THE PRESENT CASE,
INTERNATI=
> ONAL AMNESTY NEED YOUR CONTRIBUTION. NO TIME TO LOSE! SAVE AMINA'S LIVE!
> :
> : Mediante una campana de firmas parecida a esta se salvo a otra
> :
> : mujer en la misma situacion. No se pierde tiempo y se gana mucho.
> :
> MAKE GO ROUND THIS MESSAGE!
>
> : Amnistia Internacional pidio tu apoyo a traves de tu firma en
> :
> : la pagina web.
> :
> : Parece que se han recibido menos firmas esta vez.
> :
> : Haz circular este mensaje... Van a lapidar a otra mujer en
> :
> : Nigeria, y esta vez se han reunido muy pocas firmas.
> :
> : No cuesta nada meterse en:
> GO TO THIS WEB PAGE AND SIGN THE LETTER. TO YOU WILL COST NOTHING AND
=
> FOR AMINA, COULD BE HER LAST CHANCE!
> http://www.amnistiapornigeria.org/
> :
> : y firmar, la carta ya esta hecha.
> :
> : No pienses que no sirve para nada.
> :
> : A la otra mujer le salvo la vida. Si lo consideras pertinente
> :
> : haz circular este mensaje entre las personas que conozcas sensibles
> :
> : a esta horrible amenaza de muerte.
> :
> : Se tarda 1 minuto (de reloj).
>
> WE DON'T HAVE A MINUTE TO LOSE!
> :
>
>
thanx...
marc
>
>
> ----- Original Message -----
> From: Joao Pedro
> To: Nuria Vives
> Cc: Oliveira Pereira
> Sent: Tuesday, November 12, 2002 11:43 PM
> Subject: Re: RHIZOME_RAW: AMINA WILL BE STONING TO DEATH
>
>
>
> SAVE AMINA'S LIVE!
>
> Caso Amina Lawal:
> AMINA LAWAL CASE:
> :
> : El tribunal supremo ratifico la condena a muerte por lapidacion
>
> THE SUPREME COURT RATIFIED THE CAPITAL SENTENCE BY STONING TO DEATH
> :
> : de esta mujer, solo se ha pospuesto la aplicacion de la condena
> OF THIS WOMAN, AND THE SENTENCE ONLY WAS DEFERRED A COUPLE OF MONTHS,
F=
> OR PERMISSION TO SUCKLE HER SON.
>
> :
> : durante un par de meses por permiso de lactancia para su hijo.
Despu=
> es la
>
> AFTER THAT, THEY WILL KILL AMINA, THROWING STONES AGAINST HER BODY,
IF=
> IN THE MEANTIME, THE AUTHORITIES OF NIGERIA WOULD NOT CHANGE THEIR
VERDICT.
> :
> : mataran a pedradas, a menos que el diluvio de condena haga
> :
> : recapacitar a las autoridades nigerianas.
> :
> : No duden y haganlo por favor. Amina va a ser lapidada en
>
> AMINA WAS SENTENCED TO DEATH AND HER CRIME? HAVE A SON AFTER HER
DIVOR=
> CE. BECAUSE AMINA WAS MOTHER, BEING SEPARETED OF THE HUSBAND, THE CHILD
WA=
> S CONCEIVED BY ADULTERY PRACTISE.
> :
> : Nigeria, porque tuvo un hijo una vez divorciada, lo que se
> :
> : considera prueba de adulterio.
>
> WE NEED TO FIGHT AGAINST THIS NON-SENSE. WE SAVED A WOMEN IN THE
SAME=
> CIRCUNSTANCES, WITH A UNDERSIGNED CAMPAIGN. ON THE PRESENT CASE,
INTERNATI=
> ONAL AMNESTY NEED YOUR CONTRIBUTION. NO TIME TO LOSE! SAVE AMINA'S LIVE!
> :
> : Mediante una campana de firmas parecida a esta se salvo a otra
> :
> : mujer en la misma situacion. No se pierde tiempo y se gana mucho.
> :
> MAKE GO ROUND THIS MESSAGE!
>
> : Amnistia Internacional pidio tu apoyo a traves de tu firma en
> :
> : la pagina web.
> :
> : Parece que se han recibido menos firmas esta vez.
> :
> : Haz circular este mensaje... Van a lapidar a otra mujer en
> :
> : Nigeria, y esta vez se han reunido muy pocas firmas.
> :
> : No cuesta nada meterse en:
> GO TO THIS WEB PAGE AND SIGN THE LETTER. TO YOU WILL COST NOTHING AND
=
> FOR AMINA, COULD BE HER LAST CHANCE!
> http://www.amnistiapornigeria.org/
> :
> : y firmar, la carta ya esta hecha.
> :
> : No pienses que no sirve para nada.
> :
> : A la otra mujer le salvo la vida. Si lo consideras pertinente
> :
> : haz circular este mensaje entre las personas que conozcas sensibles
> :
> : a esta horrible amenaza de muerte.
> :
> : Se tarda 1 minuto (de reloj).
>
> WE DON'T HAVE A MINUTE TO LOSE!
> :
>
>