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

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BIO
Marc Garrett is co-director and co-founder, with artist Ruth Catlow of the Internet arts collectives and communities – Furtherfield.org, Furthernoise.org, Netbehaviour.org, also co-founder and co-curator/director of the gallery space formerly known as 'HTTP Gallery' now called the Furtherfield Gallery in London (Finsbury Park), UK. Co-curating various contemporary Media Arts exhibitions, projects nationally and internationally. Co-editor of 'Artists Re:Thinking Games' with Ruth Catlow and Corrado Morgana 2010. Hosted Furtherfield's critically acclaimed weekly broadcast on UK's Resonance FM Radio, a series of hour long live interviews with people working at the edge of contemporary practices in art, technology & social change. Currently doing an Art history Phd at the University of London, Birkbeck College.

Net artist, media artist, curator, writer, street artist, activist, educationalist and musician. Emerging in the late 80′s from the streets exploring creativity via agit-art tactics. Using unofficial, experimental platforms such as the streets, pirate radio such as the locally popular ‘Savage Yet Tender’ alternative broadcasting 1980′s group, net broadcasts, BBS systems, performance, intervention, events, pamphlets, warehouses and gallery spaces. In the early nineties, was co-sysop (systems operator) with Heath Bunting on Cybercafe BBS with Irational.org.

Our mission is to co-create extraordinary art that connects with contemporary audiences providing innovative, engaging and inclusive digital and physical spaces for appreciating and participating in practices in art, technology and social change. As well as finding alternative ways around already dominating hegemonies, thus claiming for ourselves and our peer networks a culturally aware and critical dialogue beyond traditional hierarchical behaviours. Influenced by situationist theory, fluxus, free and open source culture, and processes of self-education and peer learning, in an art, activist and community context.
Discussions (1712) Opportunities (15) Events (175) Jobs (2)
DISCUSSION

Easynet 'categorically denies' child porn allegations


Easynet 'categorically denies' child porn allegations
By Tim Richardson
Posted: 28/01/2003 at 10:42 GMT

Easynet has strongly denied allegations made in a Sunday newspaper that it
is "peddling child porn" and "making money from child porn".

The Observer article claimed that Easynet customers have access to
newsgroups which contained images of children engaged in sex acts.

But in a statement the ISP said: "The Observer published an article on
Sunday alleging Easynet was involved with the sale of child pornography on
the Internet and that it profited from this activity.

"Easynet categorically denies the Observer's allegations.

http://www.theregister.co.uk/content/6/29062.html

DISCUSSION

Re: Re: RHIZOME_RARE: Publishing opportunity - YLEM journal


Hi Ryan,

I agree with your statement below. It is a problem that needs to be
approached...

marc

> science-art collaborative's are intersting and many
> have done great work through such endeavors, but, more
> and more, it starts to sound like art being used as PR
> or R+D for tech industry problems. there are of
> course, plenty of ways that artists are working with
> data sets in a critical relationship to the
> science-tec industry, but the framing of the activity
> says a lot. just some thoughts...
> best,
> ryan
>
> > Of particular interest are papers relating to
> projects that demonstrate the strategies, traditions,
> and practices common to or employed within the
> practice of art (and art/science collaboration), that
> might inform productive and innovative approaches to
> "The problem of Large Data"
>
> > We all know Moore's law, the famous and prescient
> > prediction that the
> > speed of CPUs doubles approximately every 18 months.
> > What is less well
> > understood is the exponential growth of scientific
> > data, and the
> > relationship between its collection and our ability
> > to process and
> > understand it. Genomic data is not the only large
> > data set that is
> > presenting both processing and conceptual challenges
> > to science and
> > information technology; we can also point to
> > astrophysics, geography,
> > geology, fusion energy, climatology, nanotechnology
> > and many branches of
> > materials science as areas of study that are
> > producing quantities of data
> > that challenge the technical limits of super
> > computers, distributed
> > computing, grid computing, and superscalar
> > simulation techniques. Even
> > given Moore's law, semiconductor advances, fast
> > networks, and cheap mass
> > storage, "The Problem of Large Data" is nevertheless
> > looming larger as our
> > ability to collect data begins to outpace our
> > ability to process and
> > digest it.
> >
> > If you are an artist who is working with extremely
> > large data sets,
> > particularly those relating to scientific endeavor,
> > we invite you to
> > submit abstracts for papers to be considered for
> > publication in an
> > upcoming issue of the YLEM journal. Of particular
> > interest are papers
> > relating to projects that demonstrate the
> > strategies, traditions, and
> > practices common to or employed within the practice
> > of art (and
> > art/science collaboration), that might inform
> > productive and innovative
> > approaches to "The problem of Large Data".
>
>
> __________________________________________________
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> + ti esrever dna ti pilf nwod gniht ym tup
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>

DISCUSSION

Power and Jtwine


An Interview with Jtwine and review by Lewis Lacook.

Power and Jtwine
The splash page for his site cautions: "Be aware of your surroundings and
exercise caution when visual reflections refer to you." It's an awareness of
just how much of human perception is grounded in human predisposition. One
piece on his site, "mindgame", opens a flash animation of a seated figure
(it's one of those egg-shaped chairs, in fact, supposed to yield such
comfort in the office) superimposed against an exploding color background
that keeps declaring, looped, ad infinitem, "empty refill."

Lewis LaCook is our first critic in residence on Furtherfield. Offering
regular and informative reviews of varied explorative projects & artworks
featured on furtherfield, plus other works by artists who are currently
exhibiting on the Internet.

http://www.furtherfield.org/crit/docs/Power_and_Jtwine.htm - Power and
Jtwine

http://www.furtherfield.org/crit/index.htm - Crit Index

http://www.furtherfield.org
http://www.furthernoise.org
http://www.dido.uk.net
We Can Make Our Own World.

DISCUSSION

Re: 2000 gal deaths


Well, this is of course a massive issue. Many women around the world do not
need veils to reflect the male's weakness. In the UK, if statistics are to
be believed, I in 3 households harbour men that beat their spouse's.

I feel that there is a serious global issue with the psychology of males,
especially with wars, corporate control and organized religions - the
constant crushing of positive intimacy and emotional space, this is a large
part of the male's main weakness. History has witnessed so much pain created
by the male due to their lack of intuitive understanding of mutual repsect.

best - marc

>
> why should a woman veil herself
> for a man's weakness?
>
> > "marc.garrett" <marc.garrett@furtherfield.org> <list@rhizome.org>
RHIZOME_RAW: 2000 gal deaths Date: Mon, 27 Jan 2003 23:53:13 -0000
> >Reply-To: "marc.garrett" <marc.garrett@furtherfield.org>
> >
> >
> >
> >2000 gal deaths ~~~~~~~~~~~~~~~~~~~~~~~~~~~~
> >
> >
> > they've been chopped
> > slashed suffocated
> >
> >
> >
> > stripped ~ burnt
> > cuffed and
> >
> > spleaned
> >
> >
> >add your own list up
> >
> > it's in kill thrill horror
> >
> >
> > visual slavery on the screen
> >
> > americano not so secret dream
> >
> >
> > how many do you think that you have seen as you cream?
> >
> > a passive pouting gal
> >
> >
> >
> >it could be a trigger ~ happy
> >trashy cop movie
> >
> > she strips
> > cute lamb for your slaughter
> > the camera watches with you
> > watching with you
> > as she strips in front of you
> >
> >the killer waits
> > watching with you
> >
> >
> >
> >oh yeah
> >
> >
> >I almost forgot
> >
> > the obligatory
> > screeeeeeeeee
> >
> >,,,,,,,,,ijtitffffffjfjjtttjjjjjjjjjjfffffLLLLfttti,,,,,,,,,
> >,,,,,,,ifLLfjtjjjtjjjttjjffLLGGLLGGGLfjjjjtjjtjjffLfj,,,,,,,
> >,,,,,iGLttttttiiiiiiiiiiitttttttttttiiiiiiiiiiittttttGG,,,,,
> >,,,,jGjtii;tffjjGGGffffLGDGfjfffffffffffjjjffLLGfiiitttLt,,,
> >,,,tffttjDKGGGGEfttfjGGf;ijLj,,,jfLft;;;jft;,;jLGGGjiitjGf,,
> >,,,GfjjLEKL::,KD...LKj:...,jGjffjijGGiijGLDLfLLiGDLGLittfL,,
> >,,LjjfDK;tt...EL...iE......,iKDi....,#Et..L#G...jLEEfLjtjft,
> >,fGjjEGDLDDttf#K...;D.......;EG:.. WG:..L#E..tt.KEtLWjjjf,
> >,fGjD#KEEKKKEEKKKKKWWLjjjjtfLWDi..,,;W#EfLKWWEDKWKKKKKKDjjL,
> >,fGfDWKEEEEEEEKKKKKKKKKWWWWWWWWKDGKEKWWWWKKKKKEEEEEEEKKKGjEW
> >,LDfEWKEEEEEEEEEEEEEEEEEEEEEEKKKKKKKKKKKKKEEEEEEEEEEEEKWDjD#
> >,LDjEWKEEEEEEKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKEEEEKWKfD#
> >,LDfEWKEEEEEKKKKKKKEEEEEEEEDDEEEEEEDDEEEEEEEEEEKKKEEEEEWWGE#
> >,LDfEWKEEEEEEEEEEEEEEEEEKKKEEEEEEEEDDEEEDEEEEEEEKKKKEEEWWDE#
> >,fEjDWKEKKEEEEEEEEDEEKKWWKKWWKEEKWWWWWWWKKEEEEEEEEKKEEEKWDE#
> >,fEjDWKEKKKEEEEEKEEEKWKEDDDDEWEK#WDGDDDDWWEEKKKEKKKKKEEWWDEW
> >,,LjDWKEKKKEEEKKEKKK#EDDDGDDKKEEKWDDDDDDDKWKKEKKEKKKEEEW#DLG
> >,,LfDWKEKKKEEEWKGDDKWGDDDDDDEKEEW#GGDDDDEWWKDGEKEEWKEEKWWGL,
> >,,LfGWKEKKKEEE#KDGGEKDDDGDDDDWWWWWGGDDDDKWKEDDEWKEKKEEKWKLL,
> >,,LjLKKKEEKKEDWWEDEKWWWWKKEEDGGDDGDDDEEKWWKEEKKKEEKKKEKWDfL,
> >,iGjLKWKEKKKKDDEDDDDDDDDDDDEEKEKKKEEDGGLLLfffLLLLLEKWKKKLLt,
> >,,LLjDEfKWEDGGLfjjjtttiiiiitttttjtttiiiitttittjLLLDDEWWGjDi,
> >,,LGjLf:GWEDGGLftiiiiiiiiiiiiiiitiiiittiiiiiiitLLLGGDEKfjD,,
> >,,,EfjKG.;DEDLLfjttiiiiiiiiiiiittiittiiiiiiiitjLLGDEWKKjLD,,
> >,,,fDffGLLtGWEEDLLLjtiiiiiiiiiiiiiiiiiiiiitttfLLGDKKfDfjGL,,
> >,,,iGDjjKKLEf,iGKEDLLfjtiiiiiiiiiiiiitttjfLGGGDKKWf,jjjfGt,,
> >,,,,iGfjfDDWt jDDEEGGLffjjtttttttjjjLfLGGEEEKDjiiDLLtjGf,,,
> >,,,,,jDfjtfWKL.f.:,KWEEKEDDDDDDDEEEKKEEEWKfttWf.. fLijjDj,,,
> >,,,,,,GDttifDEfD .#D.:,WELffW#DtjKDt,::WE ..KDLfGtijjLj,,,,
> >,,,,,,iLfjt;;jLD;iGGG..:Wt.. EWj..EEt...EK;..EGLLjittLG,,,,,
> >,,,,,,,iGftiiijLEEGtfj;jGf;..DDf.:Dff:.,LfGfLEGi;itttGj,,,,,
> >,,,,,,,,iLGttti;;tjLLLffLGDfGffLLDfffLGLffjti,;tttjfLi,,,,,,
> >,,,,,,,,,,iGLjttiii;;,,,,,,,,,,,,,,,,,,,,,;iiitjjjLji,,,,,,,
> >,,,,,,,,,,,,iifLjjjjjtii;;;,,,,,,,,,,;;;iitttjfGji,,,,,,,,,,
> >,,,,,,,,,,,,,,,,jLLDGfjjtttttttttttttttttjLLLLf,,,,,,,,,,,,,
> >,,,,,,,,,,,,,,,,,,,jLLGDLLfjjjjjjjtjjjffffjji,,,,,,,,,,,,,,,
> >,,,,,,,,,,,,,,,,,,,,,,,,,,GKKDKKGGGDGK,,,,,,,,,,,,,,,,,,,,,,
> >aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaammm!
> >
> >
> >that high pitch screech of terror
> >that which eagerly you sweat for
> >
> >heart rates
> >
> >
> >pulsing, pulsing, pulsing, pulse
> >
> > she slumps
> >onto the floor
> >
> >
> >dead, naked eyes open
> >
> > you can still see the fright
> >
> >
> > Written
> >
> >across her face
> >
> > 2001 gal deaths
> >
> >that's the amount
> >
> > I think I've seen
> >
> >on the screen
> >
> >
> >I feel polluted
> > by someone else's fantasy
> >
> >
> >historic disposability
> >
> >slaves on tv
> >material fodder
> > transpozed
> >
> > inttttttttttttto virtual snuff dream
> > and it seems
> >
> >
> >
> > that it will continue
> > with a sequel
> > a trilogy
> >
> >with perpetual ease
> >
> > yes it's easy
> > to kill hope via the screen
> >
> >
> >marc garrett ~ make your own dreamz...
> ><< msg2.html >>
>
>
>
>
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> -> 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
>

DISCUSSION

Michael Moore Trifecta: Next Stop, Broadway?


Media Mash: Back by Popular Demand

By The Masher, AlterNet
January 27, 2003

Before the blog was even a figment of anyone's imagination, there was Media
Mash - a potpourri of news, gossip, insight and web links all connected to
the world of communications, be it print, internet, film, music, TV or
simply word-of-mouth (called viral these days). So with the advent of
bloggermania, especially of the obnoxious conservative variety, the Masher
feels it's time to jump back into the fray and try to provide some balance
to the bloggers of the right and center.

Michael Moore Trifecta: Next Stop, Broadway?

Media Mash: Back by Popular Demand

You may know that Michael Moore's documentary, "Bowling for Columbine," has
been voted the best documentary of all time in a poll taken of 2,000
documentary filmmakers around the U.S. and the world by the International
Documentary Association. The film has doubled the record for the amount of
money earned by a documentary. And you may even be aware that Moore's book,
"Stupid White Men," is in its 40th printing and has been on the New York
Times bestseller list for 39 weeks.

http://www.alternet.org/story.html?StoryID040