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

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.
Discussions (1712) Opportunities (15) Events (175) Jobs (2)
DISCUSSION

R0lG///~BlankHISTOR-RECTUM-ME


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I remember looking at a horse turd when I was a slip of a lad; my family wa=
s on holiday. We, my mother, father, sister and I, spent our family break m=
ostly wandering around the countryside on enforced walking =
adventures. I recall it vividly and the cottage we were staying in did =
not have a television, which caused much stress for my sister Annie and =
I. we were immensely disturbed of the fact that we were missing all our =
favourite children's programs.

Dad was keen on walking and always said that it would do us the world of =
=
good if we followed suit. Annie and I were not as infused by the idea =
but he still dragged us out into the painfully boring, countryside all =
the same. I never did appreciate the nature scene; there was never any =
people to accidentally bump into, no policemen for mimicking silly =
walks. Not enough streets and houses for us to play knock down ginger =
in, no shops to steal sweets from, just very slow tractors.

Anyway it was a scorching hot day in the year 1976, the Indian Summer. =
There was a draught across the whole country and we were roasting like =
bacon under the blazing sun. We came across this field and there it was =
a massive turd and it smelled wonderful. Flies buzzed around our heads =
as we all flicked them aside. The horse that had laid the shit stood =
proud, it was taller than my dad and he was six foot odd. Everyone =
laughed and made the usual jokes about the size of the horse's dick as =
it hung, unselfconscious, vulnerable and bare. I was more interested in =
its droppings, hypnotized as another turd escaped from the horse's ass =
and plopped onto the dry grass, scorched by the sun.
It fascinated me so much so that my father had to drag me away from the =
scene as I moaned loudly. He had a different agenda planned, so we had =
to carry on with the days booked mission, the family's official =
expedition.

That night in our rented cottage a few hours after everyone had finally =
gone to bed. I sneaked down the stairs out of the back door and followed =
=
the lane for a while, until I came across the field where we had seen =
the horse earlier that day. My small frame climbed over the steel gate =
and jumped into the field. There was no sign of the creature so I began =
collecting as much horse shit as possible and placed it all in one big =
pile. After spending about half an hour building a heap of horse shit in =
=
the middle of the field I decided to undress.
It was very warm and the excreta glistened under the silvery, shine of a =
=
crescent moon. My naked, white body stood above the mass, pausing =
apprehensively. I took a deep breath and smelled the aroma on my hands =
and stood still captured by the moment, excited and nervous at the same =
time. I slowly knelt and dipped my hands into the half-crusty, slimy =
solution and then dipped my nose into it. Then immersed the rest of my =
body into the abundantly large amount of horse-shit.

As I rolled around in it, experiencing its voluptuous stickiness, my =
mind flashed back to the memory of my father's mud wrestling videos. Of =
course he was not aware that I knew of their existence, but you know =
kids, they can instinctively discover all the best hiding places.

I stumbled across them on one of my 'seeking out the family secrets', =
adventures. Amongst numerous nude magazines, condoms, straps and other =
strange and fascinating objects I found three videotapes. The covers =
displayed females fighting in mud; these images immediately caught my =
eye. I ran downstairs, drew the curtains so no one could see from =
outside and placed one of the videocassettes into the video player. The =
video player was not like the digital ones that we use theses days, =
although it was exactly like the one they had at my school. It was big, =
clumsy, and noisy and it didn't always work. This time it did work and =
the visuals that appeared onto the screen at first made me laugh. The =
sight of full grown naked, woman who were probably the same age as my =
mother, throwing each other around in mud seemed hilarious and pointless =
=
at first. Suddenly my attention focused on the mud that the two females =
were playing around in. A close-up of one of the women's buttocks filled =
=
the screen. I paused the frame and looked more in detail at the image =
before me; I began to feel a slight tingle in my bones. I could just =
make out her bum-hole as her bare ass was covered in mud. Then it hit =
me; they were fighting in pretend shit.

After this revelation my interest for excreta became an obsession, my =
attention for shit references started go wild and innuendoes flourished, =
=
as well as taking the odd sneaky trip to my parents bedroom when the =
rest of my family was out. Television was my lifeline in my youth, there =
=
were plenty of films and adventure serials on the box that gave me =
constant information and pleasure, feeding my new found very secret =
hobby. The Amazing Adventures of Tarzan was one of my favourites, =
serialized on BBC1 every Saturday morning and Tarzan always seemed to in =
=
some kind of kinky scrape. He would be half-naked, swimming and =
splashing around in dense, insect, infested water and looking pretty =
sexy, or he would be wallowing in my most cherished medium - mud. =
Whenever I saw someone being swallowed by quicksand on the television, =
my nerves tingled and I would imagine that it was shit and that it was I =
=
who was in it, with my naked, vulnerable flesh being engulfed.

http://www.furtherfield.org/mgarrett/shit.htm

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DISCUSSION

New FurtherCritic - Ryan Griffis...


Furtherfield welcomes Ryan Griffis who is now our current resiedent critic
for next year.

http://www.furtherfield.org/furthercritic.php

FurtherCritic offers regular and informative reviews of varied explorative
projects & artworks featured and hosted by furtherfield, as well as other
digital/net art works and activities in virtual space.

US based Ryan Griffis replaces Lewis LaCook as Furtherfield's current critic
in residence. His interests, professional and personal, include activism,
technology, education, skateboarding, art, loud music and anthropology. He
has produced articles, reviews and interviews on art for print and
electronic journals and zines. Ryan's most recent project, Yougenics, is an
exhibition investigating the social implications of biotechnology. He is
also a founding member of ArtOfficial Construction Media, a collaborative
effort to screw in a lightbulb. Ryan's Site

Lewis LaCook has now stepped aside, as Ryan takes on the FurtherCritic
role. Lewis will now be a regular reviewer at Furtherfield on works featured
on the site; along with Neil Jenkins, Marc Garrett and Ruth Catlow. As
FurtherCritic he has contibuted various reviews that have offered insightful
and intelligent text's, communicating beyond the converted audience of the
net art world. A warm big thank you to Lewis for daring to join us
dysfunctional 'upstarts' at Furtherfield.

If you wish to read Lewis's past reviews at furtherfield simply click on the
above link also...

for more info - info@furtherfield.org

(If you are wish to unsubscribe to the furtherfield mailing list or you are
not supposed to be on it, simply put unsubscribe in the 'subject header'.
And you will no longer receive any creative information by us...)

DISCUSSION

meet us a FurtherStudio Today...


All are invited to visit Furtherfield's latest project live online today.

Tuesday 26th 8-9pm ------- Open Studio (UK time)
Times and dates given in Greenwich Mean Time.

This project begins with the production of the unique FurtherStudio facility
that enables audiences to watch artists develop their work online in
real-time, offering a landmark interactive tool for digital artists.

The residency programme consists of a series of open studio events in which
visitors can observe artists work processes and chat with them online. Over
9 months 3 artists will create their proposed digital/ net art projects with
feedback from net art critics. The programme runs for 9 months starting
August 15th 2003.

This is currently in Beta-mode - the real kick-off date is Thursday 18th
September. We cureently working it all out and testing with the 1st selected
artist Jess Loseby.

So pop in & say hello in the chat facility...

http://www.furtherfield.org/furtherstudio/

DISCUSSION

Reach OUT and touch your FREEDOM!


Got this spam,

Hilarious, pretentious & scary...the world is buggered.
All spam is Spoof now...

marc
................................................................

Some chances come only once.

http://200.187.137.10/v4u/

Live and Work in the United States of America!

You only have one life to live.
Reach OUT and touch your FREEDOM!

The UNITED STATES of AMERICA is welcoming 55,000 NEW PEOPLE this year!
Get one of the thousands of Green Cards and turn your DREAMS into REALITY.
The American Dream is calling you, start a better life in the Free World!

http://200.187.137.10/v4u/ - Visit this address for you chance to win!

Wealth, Freedom and the chance to live life the way YOU want it!

Some chances only come once in a life time - Apply for your Green Card and
create a Better Tomorrow!

http://200.187.137.10/v4u/

Cut and paste the URL above in your browser or simply press the link above
NOW.

DISCUSSION

Re: Future of War conf., reviewed by Tom Vanderbilt


Pretty intriguing stuff...

marc

> hey all -
> this just in:
> ------------
>
> War as Architecture
> by Tom Vanderbilt
>
> [published summer 2003 in The Knowledge Circuit, Design
> Institute, University of Minnesota]
>
> http://design.umn.edu/go/knowledgeCircuit/smr03.1.vanderbilt
>
> NEW YORK, NY. War, as the old Clausewitzian saw goes, is the extension of
> politics by other means. As we have been reminded in recent months, there
> may be cause for a new dictum: War is the extension of architecture by
> other means.
>
> Apart from the obvious architectural connotations of war the need for
> defensive shelter, the status of architecture as a target there is a
> breadth of associative meaning between the two enterprises: both are about
> the exercise of control over a territory; both involve strategic
> considerations of the most apt site-specific solutions; both involve the
> use of symbol, rhetoric, and cultural context.
>
> In the Iraq campaign, the architectural connotations were legion, from the
> New York Times Op-Ed writer who commented upon the fact that the
> Hausmannian avenues and relatively low, dispersed skyline of Baghdad boded
> well for its military penetration; to the surgical extraction of
> architectural assets, shown in remarkable overhead clarity by the
> satellite imagery of Evans and Sutherland, looking like the aerial mosaics
> employed by urban planners (in fact, aerial warfare and urban planning
> have long shared an eerie confluence of language and tactics, and even
> practioners, as in the Air Forces Curtis LeMay, who studied urban planning
> before overseeing the devastating aerial campaign on Japan); to the mere
> fact that the rebuilding of Iraq will cost far more than its invasion.
> More than a war of destruction, this is a war of construction. The terrain
> itself was filled with three-dimensional militarism; an absolutist regime
> produces absolutist architecture, after all, and nowhere was that better
> signified than in Saddam Husseins crossed swords monument, fashioned from
> the melted metal of Iraqi weaponry, festooned with myriad helmets (some
> even functioned as speed bumps) taken from some of the one million
> soldiers who died in the Iran-Iraq war. Architecture, or a gesture of war
> itself?
>
> Architecture, like war, is never entirely one thing, but a condition,
> occasioned by culture and history, mediated by time and opinion. As Wayne
> Ashley, curator of Thundergulch (the new media initiative of the Lower
> Manhattan Cultural Council) and organizer of "The Future of War," said in
> leading off the event, buildings can be seen as secure environments, but
> also as objects to be destroyed. Is that really a hospital, or a weapons
> cache? Is that an office building, or a symbol of imperialist domination?
> As participants were to reiterate in different ways, architecture can be
> the object of terrorism, or it can be terrorism: Mohammed Atta was a
> student of urban planning; and as cultural theorist Benjamin Bratton
> pointed out, a member of the "Black September" team of terrorists at the
> 1976 Munich Olympics was an architect who had worked on the complex they
> occupied. War can be erased by terrorism or in some strange way
> constructed by terrorism; who knew anything about the unremarkable Alfred
> P. Murrah building before "Oklahoma City" as the event itself has come to
> be known? The entire city has been collapsed by the metaphoric weight of
> the bombing, turning the building into a shrine, more visited than any
> architectural landmark known for its aesthetic merits.
>
> One might reduce war to violence and art to aesthetics, but it is more
> useful, albeit more unsettling, to explore what happens when one removes
> those perceived oppositions. This was one of the underlying themes of the
> "Future of War" conference, to "challenge comfortable categories" as
> moderator Helen Nissenbaum phrased it at the outset of the opening panel,
> "The Aesthetics and Politics of Technologized Warfare." While the first
> presenter, the artist Joy Garnett, spoke while behind her on the screen
> flashed images of her paintings drawn from the haunting imagery of the
> military complex, stark images of contrails streaking through a night sky
> ("Tracer Fire") or stealth bombers in patterned flight. Her paintings,
> which seek to use a more primal medium to wrest meaning out of an image
> saturated environment, evoked from one audience member a comparison to the
> recent use of "satellite phones" by embedded correspondents in Iraq. Did
> the shaky, pixellated images, with literal and figurative gaps in their
> composition, obscure the "reality" of what was happening or did their
> low-tech immediacy actually enhance the realism? We needed a McLuhan was
> the satphone a "hot" or "cool" medium?
>
> Imagery is another condition shared by war and architecture: just as most
> of us do not experience war, we often do not experience architecture;
> rather, we "know" a building (through its repeated transmission) via
> photography. But images do not just happen, they are created, and for a
> reason. Many of Garnett's paintings were drawn from weapons effects
> testing in the Nevada desert in the 1950s. The hundreds of thousands of
> images (still and moving) generated by this activity were, largely,
> classified for many decades. These were "images as dangerous as the
> isotopes that produced them," she noted. Images as toxic waste, to be
> buried beneath the sand. Inherent in her work is a questioning of the
> "effects" of classifying these "effects tests." What happens when imagery
> is removed, left in the dark for decades? What happens when it is returned
> to the light? Scratchy footage of atomic tests from the Nevada deserts, as
> men in goggles look on, functions nowadays more as historical kitsch than
> pure horror. It has been sanitized by time, rendered as a strictly
> historical document. "Declassification" speaks to their political and
> aesthetic impotence. Of course, the weapons tests were hardly secret
> people gathered on predawn Las Vegas rooftops to view them. They saw in
> the blasts (they never saw the "effects") something else: perhaps a
> sublime beauty, felt perhaps an awed speechless and frightened reverence
> towards man's ability for self-destruction.
>
> Tom Keenan, director of the Human Rights project at Bard College,
> presented a countervailing narrative of sorts: He wanted to explore what
> he calls "the paradoxes of openness." In other words, contrary to the idea
> that war is a secret activity whose violence occurs off camera, away from
> the public eye, and contrary to the notion that it could thus be fought
> against if people only knew what was going on "mobilizing shame" in the
> words of human rights groups Keenan argued that there is "nothing in art
> that resists violence." Images and exposure do not necessarily stop war
> in fact they may even "lead the charge," according to Keenan. He screened
> footage from the Kosovo campaign that showed Serbian troops looting
> villages near Pristina. They did not seem to be taking much, the BBC
> correspondent noted, they merely seemed to be putting on a symbolic
> display. The fatal moment came when one militia member, Kalishnakov rifle
> in hand, waved to the cameras. The casualness of the gesture was
> disturbing: They were not afraid of their violence being exposed, indeed
> they seemed to welcome it. Keenan followed with another example, this time
> the humanitarian intervention of U.S. troops in Somalia. He used the
> example of the first Marine landing, a supposedly secret, "tactical"
> approach that came ashore to a cavalcade of some 600 journalists, in full
> klieg light, drawn like moths to the flame. As one Marine commander
> worried about the presence of the press, a journalist chided back: "Like
> you didn't know we were going to be here." The military, the media, both
> were joint players in a performance, each feeling a bit awkward in the
> role. Later, when an audience member decried the corporate ownership of
> the U.S. media and the shortage of available imagery and information from
> Iraq, Keenan begged to differ, noting the abundance of information sources
> made possible by the internet and other outlets. The question was not, as
> he put it, what the media was doing about the war, it was what we were
> doing about it.
>
> Art has been intricately intertwined with war at least since the days of
> Leonardo da Vinci, whose drawings of siege engines and other commissions
> for the Borgias rival anything in his corpus in terms of technique and
> mastery. Those drawings, which in some cases presented fantastic new
> visions of what war could be, are echoed in the simulation programs the
> military now uses, created by partnerships involving the film and computer
> programming industries. Art can even be used in the conduct of war e.g.,
> it was recently revealed by a Spanish historian that a group of anarchists
> in Spain during the Civil War had employed specially designed cells,
> outfitted with surrealist decor inspired by Dali and Bunuel, for what they
> called "psychotechnic" torture; as El Pais described, "The avant garde
> forms of the moment surrealism and geometric abstraction were thus used
> for the aim of committing psychological torture."
>
> So too can architecture become a weapon, as revealed in a fascinating
> presentation (part of a panel entitled "Architecture, Violence, and Social
> (In)Security") by Eyal Weizman, a Tel Aviv-based architect. Weizman,
> detailing the spread of Israeli settlements in the West Bank, noted their
> "panopticon" like arrangement over neighboring Palestinian villages
> (usually at a lower elevation) as well as their linkage, in certain cases,
> by infrastructural devices (roads, tunnels) that bypass intervening zones
> of Palestinian autonomy. Thus the Israeli superhighway soars over
> Palestinian farmland, creating, as Weizman put it, "sovereignty in three
> dimensions." The landscape as a whole, as he put it, is "in effect an
> artificial arrangement of a totally synthetic environment, as designed as
> any built environment, within which all 'natural' elements like streams
> and mountains, forest orchards, rocks and ruins function not as the things
> being fought for but as the very weapons of the conflict."
>
> Weizman surveyed the architectural history of West Bank settlement, from
> the frontier like "tower and stockade" outposts of the 1930s, in which
> walled compounds were connected visually by tower reconnaissance and Morse
> Code; to the energetic campaign to colonize the mountaintops (so often
> containing the historical sites where Zionists hoped to return) in 1967.
> As Weizman noted, as there was little experience of building in the
> mountains, the "battle for the hilltops" began with an intensive aerial
> photography project; the West Bank became "the most photographed terrain
> in the world," to the topographic groundwork for occupation and
> cultivation. His photos of settlements were haunting, capturing such
> bizarre imagery as the trompe l'oeil paintings of an idealized rural scene
> on a looming wall dividing Israelis from Palestinians. His images of
> stucco-and-tiled houses surrounded by walls and deserts eerily replicated
> Las Vegas suburbia (the American gated community represents a similar, if
> less overtly political, securitization of space). For Weizman, the
> land-use patterns characterized by vast walls, barricades, even the
> planting of pine trees to forestall the planting of olive groves (by
> Palestinians) amount to a military action, and he says architects should
> be prosecuted for war crimes. Weizman did not disagree when an audience
> member compared the settlements (a "postmodern diaspora," he called it, ad
> hoc nation-building) to some new version of the shtetl, the Jewish ghetto
> so ruthlessly and architecturally demarcated by the Nazis. The "two-state
> solution," Weizman conclude, "is a design solution that doesn't work."
>
> During the weeks of war coverage, it became typical to see a military
> analyst or general standing before an aerial photograph of Baghdad,
> pointer in hand, cataloging the damage done to a ministry building while
> its neighbors, in most cases, appeared remarkably intact (Michael Sorkin
> recently referred to this as a "good building/bad building" dichotomy)no
> indication of casualties, no "on the ground" perspective. And yet how
> often have we seen this same presentation by architects and planners, this
> Olympian perspective of spatial rearrangement in which humans are absent
> or simply a statistical "user mix"? Listening to a number of
> presentations, it soon occurred to me, as I grew lost in the fog of
> architectural discourse, that much of what passes for the language of
> architecture icy, jargon-laden, bolstered by a reliance on dehumanized,
> abstract "spatial production" and other clinical terms bears a certain
> resemblance to the language of modern military planning, with its
> "battlespace," "kill boxes," "network-centric warfighting operations," and
> the deck of cards depicting high ranking Iraquis as characters.
>
> What both of these languages, and both of these practices which both
> involve the physical manipulation of human relations neglect is the human
> equation, the people who live and die in these theorized constructs. When
> Bratton discussed the suicide bomber as the proponent of a
> "counter-habitation" of space, the act of bombing a "suspension of the
> premise of habitation itself," or when he described the World Trade Center
> attack as a form of architectural criticism, he was, beyond offering an
> implicit condonement, resorting to the spatial, strategic primacy of
> military thinking itself (suicide bombing victims would thus be
> "collateral damage" to act of counter-habitation), wherein there are no
> crimes, no victims. Bratton's formulation was of a symbolic piece with
> that influential Naval War College thesis, which bore the infamous title
> "Shock and Awe," with the lesser known subtitle, "Achieving Rapid
> Dominance." That document, which seeks the immediate control of the
> "operational environment," articulates its mantra thus: "The goal of Rapid
> Dominance will be to destroy or so confound the will to resist that an
> adversary will have no alternative except to accept our strategic aims and
> military objectives."
>
> Neither war nor architecture are immune from the violence of language.
>
> +++
>
> "The Future of War: Aesthetics, Politics, Technologies" took place at The
> New School, New York, NY, USA, May 2-3, 2003 and was organized by the
> Lower Manhattan Cultural Council's new media initiative, Thundergulch.
>
> Tom Vanderbilt is a Brooklyn-based writer and the author of Survival City:
> Adventures Among the Ruins of Atomic America (Princeton Architectural
> Press, 2002.) http://www.papress.com/bookpage.tpl?isbn68983050
>
>
>
>
>
>
>
> + ti esrever dna ti pilf nwod gniht ym tup
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