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

Rhizome is a Living Being


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BlankRhizome is a Living Entity (A Creative Consciousness)

I have also been pondering on the sidelines, mulling over different

interpretations of 'social sculpture' & can't help mistaking it for

'social non-linear structure', a network of many groups/individuals

that have (together) created and formulated rhizome and what it is

today.

If one looks at Rhizome as a living entity, an actual being. Then

discovering its essence becomes possible, you then begin to observe and

view its conscience, its many personalities. And we are its

personalities. Our presence, our souls give it life. All the doubters,

the shaman, the realists, the dreamers, the pragmatists, the left-

wingers, hunters, gatherers, shouters, singers, moaners, post-

humanists, humanists etc; build up a fluid network (veins), blood

pumped into the veins. Into the larger entity. It breaths, transforms and=

grows in accordance to the ratio of subjective donation, integration and

collective.

1. movements - (such as circulation of blood) - information collected, reta=
ined,
displayed, observed, interaction, knowledge, input, questioning,debate,
sharing, meeting, consumed, information, bodies, influence, action, thought=
,
ideas, notion, apprehension, argument, reasoning, non reasoning, fear, poli=
tics,
decision, vulnerability, imagination, declaration, collaboration, invention=
, laughter,
hatred, distortion, emotion, input, flux, consumption, hybrids, hope, greed=
,
deception, truth, trends.

2. transformative movement - (such as digestion) Like a child that grows an=
d gains
non-linear consciousness, changing the now and becoming...never stays in th=
e same
place - it shifts.

3. surface & skin - (shell to the official world) survival, customs, money,=
needs,
existence. Propaganda, marketing, role, evidence, personality, endurance, p=
roof,
acting, a product, a decree, an enactment, a quantifiable sum, a mannerism,=

impersonation, impression, image, archetype, depiction, gambit, guise.

--------------------------------------------------------------------

The function, the action of rhizome (to me) speaks louder than

comments. We do not need to cut open any deep crevices from within

rhizome's administrational data-banks, to comprehend what it actually

is. One does not need to question Mark's Tribe's ethical stand-point to

know what rhizome really is. This is a mere political diversion from

the potentials and possible depths of Rhizome; and what it is actually

doing, ignoring a productive (more than virtual) tool for the many. If

singular, neurotic deconstruction engulfs our vision; then micro

unrealized assumptions will extricate its meaning.

Rhizome only exists as a possibility, it is a collective resource

consisting of many directions, many worlds, many ways of creating, many

individuals/groups. It is offering you the 'participant' during its life-sp=
an,

various options of the future and the now. It is a much needed paradigm

shift declaring options beyond what we all had before. Surviving by using=

technological invention to procure and bring about social change and

elevate creative interaction beyond material limitations. It is imagination=
in flux.

Many assumptions appear and work from a single point, one place, x

marks that spot. Mark out that spot and stick to it and then you have

an idea, a reason, an excuse, a flag, a wall, a weapon. Most static

forms of thinking rely on answers that are not allowed be challenged,

cannot be answered, and many are not allowed to be questioned.

By taking part in this social experiment we are defying the Sisyphus

myth, reinventing new relations, directions, potential beliefs and ways

of connecting. It is not only Mark tribe and the crew who has given

rhizome life - the guts, the breath, the blood comes from elsewhere,

the people in the world visiting and being part of it. We all have

given it a sustainable life-force by recognizing that it is here.

We all perceive it via collective experience, recognizing its

moveability with its significant occurrence or happening, patterns and

changing moods - it is a place of possible mutualism, a space, it is a

platform, it is a behavior, it is a playground, it is a diary, it has memor=
y, it is a

consciousness, it is alive...

marc garrett

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<BODY id=ridBody bgColor=#ffffff
background=cid:00ba01c28ded$b8240890$0100a8c0@FURTHERFIELD><U><FONT
color=#000080>
<P><STRONG>Rhizome is a Living&nbsp;Entity (A Creative
Consciousness)</STRONG></U></FONT><STRONG> </STRONG></P><FONT color=#0000=
80>
<P><STRONG>I have also been pondering on the sidelines, mulling over differ=
ent
</STRONG></P>
<P><STRONG>interpretations of 'social sculpture' &amp; can't help mistaking=
it
for </STRONG></P>
<P><STRONG>'social non-linear structure', a network of many groups/individu=
als
</STRONG></P>
<P><STRONG>that have (together) created and formulated rhizome and what it =
is
</STRONG></P>
<P><STRONG>today. </STRONG></P>
<P><STRONG>If one looks at Rhizome as a living entity, an actual being. The=
n
</STRONG></P>
<P><STRONG>discovering its essence becomes possible, you then begin to obse=
rve
and </STRONG></P>
<P><STRONG>view its conscience, its many personalities. And we are its
</STRONG></P>
<P><STRONG>personalities. Our presence, our souls give it life. All the
doubters, </STRONG></P>
<P><STRONG>the shaman, the realists, the dreamers, the pragmatists, the
left-</STRONG></FONT><STRONG> </STRONG></P><FONT color=#000080>
<P><STRONG>wingers, hunters, gatherers, shouters, singers, moaners,
post-</STRONG></FONT><STRONG> </STRONG></P><FONT color=#000080>
<P><STRONG>humanists, humanists etc; build up a fluid network (veins), bloo=
d
<BR><BR>pumped into the veins. Into the larger entity. It breaths, transfor=
ms
and <BR><BR>grows in accordance to the ratio of subjective donation, integr=
ation
and <BR><BR>collective.</STRONG></FONT><STRONG> </STRONG></P><FONT
color=#000080>
<P><STRONG>1. movements - (such as circulation of blood) - information
collected, retained, <BR>displayed, observed, interaction, knowledge, input=
,
questioning,debate, <BR>sharing, meeting, consumed, information, bodies,
influence, action, thought, <BR>ideas, notion, apprehension, argument,
reasoning, non reasoning, fear, politics, <BR>decision, vulnerability,
imagination, declaration, collaboration, invention, laughter, <BR>hatred,=

distortion, emotion, input, flux, consumption, hybrids, hope, greed,
<BR>deception, truth, trends.</STRONG></FONT><STRONG> </STRONG></P><FONT
color=#000080>
<P><STRONG>2. transformative movement - (such as digestion) Like a child th=
at
grows and gains <BR>non-linear consciousness, changing the now and
becoming...never stays in the same <BR>place - it
shifts.</STRONG></FONT><STRONG> </STRONG></P><FONT color=#000080>
<P><STRONG>3. surface &amp; skin - (shell to the official world) survival,=

customs, money, needs, <BR>existence. Propaganda, marketing, role, evidence=
,
personality, endurance, proof, <BR>acting, a product, a decree, an enactmen=
t, a
quantifiable sum, a mannerism, <BR>impersonation, impression, image, archet=
ype,
depiction, gambit, guise. </STRONG></P>
<P><STRONG>----------------------------------------------------------------=
----</STRONG></FONT><STRONG>
</STRONG></P><FONT color=#000080>
<P><STRONG>The function, the action of rhizome (to me) speaks louder than=

</STRONG></P>
<P><STRONG>comments. We do not need to cut open any deep crevices from with=
in
</STRONG></P>
<P><STRONG>rhizome's administrational data-banks, to comprehend what it act=
ually
</STRONG></P>
<P><STRONG>is. One does not need to question Mark's Tribe's ethical stand-p=
oint
to </STRONG></P>
<P><STRONG>know what rhizome really is. This is a mere political diversion =
from
</STRONG></P>
<P><STRONG>the potentials and possible depths of Rhizome; and what it is
actually </STRONG></P>
<P><STRONG>doing, ignoring a productive (more than virtual) tool for the
</STRONG></FONT><STRONG><FONT color=#000080>many. If <BR><BR>singular, ne=
urotic
deconstruction engulfs our vision; then micro <BR><BR>unrealized assumption=
s
will extricate its meaning.</FONT> </STRONG></P><FONT color=#000080>
<P><BR><STRONG>Rhizome only exists as a possibility, it is a collective res=
ource
</STRONG></P>
<P><STRONG>consisting of many directions, many worlds, many ways of creatin=
g,
many </STRONG></P>
<P><STRONG>individuals/groups. It is offering you the 'participant' during =
its
life-span, <BR><BR>various options of the future and the now. It is a much=

needed paradigm <BR><BR>shift declaring options beyond what we all had befo=
re.
Surviving by using <BR><BR>technological invention to procure and bring abo=
ut
social change and <BR><BR>elevate creative interaction beyond material
limitations. It is imagination in flux.</STRONG></FONT><STRONG>
</STRONG></P><FONT color=#000080>
<P><BR><STRONG>Many assumptions appear and work from a single point, one pl=
ace,
x </STRONG></P>
<P><STRONG>marks that spot. Mark out that spot and stick to it and then you=
have
</STRONG></P>
<P><STRONG>an idea, a reason, an excuse, a flag, a wall, a weapon. Most sta=
tic
</STRONG></P>
<P><STRONG>forms of thinking rely on answers that are not allowed be challe=
nged,
<BR><BR>cannot be answered, and many are not allowed to be questioned.
</STRONG></P>
<P><BR><STRONG>By taking part in this social experiment we are defying the=

Sisyphus </STRONG></P>
<P><STRONG>myth, reinventing new relations, directions, potential beliefs a=
nd
ways </STRONG></P>
<P><STRONG>of connecting. It is not only Mark tribe and the crew who has gi=
ven
</STRONG></P>
<P><STRONG>rhizome life - the guts, the breath, the blood comes from elsewh=
ere,
</STRONG></P>
<P><STRONG>the people in the world visiting and being part of it. We all ha=
ve
</STRONG></P>
<P><STRONG>given it a sustainable life-force by recognizing that it is
here.</STRONG></FONT><STRONG> </STRONG></P><FONT color=#000080>
<P><STRONG>We all perceive it via collective experience, recognizing its
</STRONG></P>
<P><STRONG>moveability with its significant occurrence or happening, patter=
ns
and </STRONG></P>
<P><STRONG>changing moods - it is a place of possible mutualism, a space, i=
t is
a </STRONG></P>
<P><STRONG>platform, it is a behavior, it is a playground, it is a diary, i=
t has
memory, it is a </STRONG></P>
<P><STRONG>consciousness, it is alive...</STRONG></FONT><STRONG> </STRONG><=
/P>
<P><BR><FONT color=#000080><STRONG>marc garrett</STRONG></P></FONT><FONT=

face=Arial size=2></FONT></BODY></HTML>

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DISCUSSION

TERROR WAR


Blankby John Pilger
October 25, 2002

TERROR WAR
What passing bells for these who die as cattle?" wrote the great First World
War poet Wilfred Owen. His famous line might have been written for those who
perish in today's secret wars and terrorist outrages.

His generation never used the word "terrorism", but the slaughter they
suffered was terrorism on a breathtaking scale, whose perpetrators were not
shadowy zealots but governments: men who spoke up for king and country while
blowing millions of human beings to bits.

Last week's atrocity in Bali, like the September 11 attacks on America, did
not happen in isolation. They were products, like everything, of the past.
According to George W Bush, Tony Blair and now Australia's pri

The fact that the Bush posse has caught no terrorist of proven importance
since September 11 makes a grim parody of Bush's semi-literate threats and
Blair's missionary deceptions as they prepare a terrorist attack on Iraq
that will be the horror of Bali many times over. "Terrorist attack" is not
rhetorical; the Attorney General, Lord Goldsmith, has told the government it
could find itself before the International Criminal Court if it goes ahead.

State terrorism is a taboo term. Politicans never utter it. Newspapers
rarely describe it. Academic "experts" suppress it; and yet, in many cases,
it helps us understand the root causes of non-state atrocities like Bali and
September 11. It is by far the most menacing form of terrorism, for it has
the capacity to kill not 200, but hundreds of thousands. In each shower of
cluster bombs that will fall on Iraq will be countless Sari Clubs. The
dropping of the atomic bomb on the city of

State terrorism, backed by America, Britain and Australia, has scarred
Indonesia
In West Papua, the army openly supports an Islamic group, Lashkar Jihad,
which is linked to al-Qaeda.

This is the same army which the Australian government trained for decades
and publicly defended when its terrorism became too blatant.

In 1999, when the people of Australia's closest northern neighbour, East
Timor, which had been invaded and annexed by the Indonesia dictatorship of
General Suharto, finally had an opportunity to vote for independence and
freedom, it was the government of John Howard that betrayed them. Although
warned by Australia's intelligence agencies that the Indonesian army was
setting up militias to terrorise the population, Howard and his foreign
minister, Alexander Downer, claimed they knew nothing; and the massacres
went ahead. As leaked documents have since revealed, they did know.

This was only the latest in Australia's long complicity with state terrorism
in Indonesia, which makes a mockery of the self-deluding declarations last
week that Australia had "lost its innocence" in Bali. Certainly, few
Australians are aware that not far from their holiday hotels are mass graves
with the remains of some 80,000 people murdered in Bali in 1965-66 with the
connivance of the Australian government.

Recently-released files reveal that when the Indonesian tyrant General
Suharto seized power in the 1960s, he did so with the secret backing of the
American, British and Australian governments, which looked the other way or
actively encouraged the slaughter of more than half a million "communists".
This was later described by the CIA as "one of the worst mass murders of the
20th Century".

The Australian Prime Minister at the time, Harold Holt, quipped: "With
500,000 to a million communist sympathisers knocked off, I think it's safe
to assume a reorientation has taken place." Holt's remark accurately
reflected the collaboration of the Australian foreign affairs and political
establishment. The Australian embassy in Jakarta described the massacres as
a "cleansing process". In Canberra, officals in the Prime Minister's
department expressed support for "any measures to assist the Indonesian arm

Suharto's bloody rise might not have succeeded had the United States not
secretly equipped his troops. A state-of-the-art field communications
system, flown in at night by the US Air Force planes, had high frequencies
that were linked directly to the CIA and the National Security Agency
advising President Johnson. Not only did this allow Suharto's generals to
co-ordinate the killings, it meant that the highest echelons of the US
administration were listening in and t

The bloodbath was the price of Indonesia becoming, as the World Bank
described it, "a model pupil of the global economy". That meant a green
light for western corporations to exploit Indonesia's abundant natural
resources. The Freeport Company got a mountain of copper and gold in the
province
IN 1975, the violence that had brought Suharto to power was transferred to
the Portuguese colony of East Timor. Suharto's troops invaded, and over the
next 23 years more than 200,000 people, a third of the population, perished.
During much of East Timor's bloody occupation, Suharto's biggest supplier of
arms and military equipment was Britain
Today, Suharto has gone, but decades of foreign plunder, in league with one
of the greatest mass murderers, have produced fault-lines right across
Indonesian society. The "model pupil" of the global economy is more indebted
than any country; and millions of Indonesians have descended into abject
poverty. It is hardly surprising there are resentments and tensions, and
support for extreme religious groups.

Who was responsible for the Bali bombing? We do not know, but Indonesia's
generals have plenty of motives to destabilise the elected government of
President Megawati. A number of them are implicated in war crimes, and,
unlike the Balkans, there has been minimal pressure from the West for the
guilty to be tried. Democracy has ended important army privileges, including
a block of guaranteed seats in the parliament. Last month, the army appeared
to be sending a message that it is now targeting foreigners when

What is likely is that the pressure exerted by America, Australia and
Britain on the secular government in Jakarta

John Pilger's new book, The New Rulers Of The World, is published by Verso.

DISCUSSION

8 New Works on furtherfield...


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Blank8 New works featured & hosted on furtherfield.org

http://www.furtherfield.org

[Explorations & discoveries of non-singular Net creativity]

[Sailing & White Mice]
Two docu/info/diary/performative pieces by 'Joseph & Donna McElroy'. 'Saili=
ng' is JavaScript work incorporating photographic images that change each t=
ime you click on the page. Featuring interviews by people talking about the=
ir experience and perceptions on life and ways of living, life in New York,=
working and living on the River. 'White Mice' is a JavaScript work with se=
ries of automated images. Accompanied by a verbal-reflection about the sens=
ory experience of the mouth, its flavours, the kiss and the memory. Discove=
r the performance, fun and functionality in the works of this corporate, dy=
namic duo.
http://www.furtherfield.org/jfdmcelroy/sailing_mice/index.html

[One among 400,000]
A personal interactive document by 'Ruth Catlow' of the protest that took p=
lace in London, UK on September 28th 2002 to stop the war against Iraq. 'I =
am an artist but on this day I was one among 400,000 (or there abouts) prot=
esters. It seems more relevant these days, for me as an artist to jump in w=
ith both feet, to be in the middle of a crowd of human beings when so much =
of our experience of the world is so passive and mediated by TV and film'. =
This piece uses javascripts and is accompanied by a flash soundtrack made i=
n collaboration with 'Ouch Those Monkeys'
http://www.furtherfield.org/rcatlow/stop/index.html

[Art or Action]
'Joy Garnett's' Bomb Project (Reviewed by Lewis Lacook). 'To say that Joy G=
arnett's Bomb Project is monumental would be an understatement. To say that=
it's a necessary reminder of the power unleashed at the end of World War I=
I, and of the power the whole world cringed under during the Cold War--that=
would be more like it. And yet there's more going on here than activism (a=
s if that weren't enough)'.
http://www.furtherfield.org/crit/docs/bomb_project.html

[Tales from a Corporate Crib]
Nick Fry's Literary consequences of corporate life: anecdote, correspondenc=
e, image and documentation produced from within the fold of a corporate wor=
king environment. 'Graham arrived when I was back at my desk - he hit me on=
the head with a bacon-avocado-an-mayonaisse baguette. It was a nervous pok=
ey little assault - a compromise between not hitting me too hard so as not =
to upset me and not disturbing the sodden limb of lard smearing the inside =
of its plastic sheath'.
http://www.furtherfield.org/nfry/crib.html
Other writings by Nick Fry - http://www.furtherfield.org/nfry/index.html

[Goat Boy 2]
Many remember 'micki Tschur's' first self exploratory nature fest & her man=
y encounters in the Alps, and her meeting with the Goat Boy. At last, you c=
an now visit & experience the sequel. Does she meet the Goat Boy again? We'=
ll see...a comic strip that leaves you wondering whether these hot naughty =
encounters were real or fantasies. We suspect they were real, what do you t=
hink? http://www.furtherfield.org/mtschur/goatboy2/index.htm

[Transubstance]
3 recent works exploring the less disenchanted states of being. In one of h=
er works 'Miranda Matthews' starts to locate the migrant 'soul' of myth & m=
agic, via performance, installation & sculpture. With 'Seal Suits' I decide=
d to locate my own seal spirit and make my own seal skin. The 'seal suit' i=
s made from neoprene, which is used to make wet suits. "It feels like an ex=
tra layer of the self. The silkies are creatures of Celtic myth, who have a=
hidden seal identity. The tale goes that women (and sometimes men) would h=
ide their seal skins in a place known only to themselves. When tired of the=
ir ordinary existence, they would slip into their seal skins and swim off i=
nto the oceans". http://www.furtherfield.org/mmatthews/transubstance/index.=
html

[WOWM.org]
'Wrapping Our Warped Minds' are visual and multimedia artists; exploring im=
aginative visual-scapes that users can interact with. You can either be the=
'VJ' and change what you are seeing before your eyes, as pixels, code and =
images, shift and glide like a 'virtual contemporary Joseph Albers' on your=
screen. Or the 'DJ-sound mixer' changing the sound levels of the music on =
each of these sound/viz- scapes'. The beauty of it is, that there is an int=
imacy in the way it hangs around floating, unbothered about whether someone=
is interacting or not, although participants are encouraged to create new =
moods using the phasers supplied. http://www.furtherfield.org/wowm/pictures=
.html

[Drawing Conclusions]
Catherine Daly has created a poetic experiment in response to old school bo=
ok exercises in perception -- without the pages, poems from the series have=
also been featured at xStream and Delirium. http://www.furtherfield.org/cd=
aly/drawing.html

[note]
All contributors on furtherfield can viewed by this page...
http://www.furtherfield.org/contributors.html

[what are we & do?]
Furtherfield is an online platform for the creation, promotion, and archivi=
ng of new work for public viewing and interaction. Furtherfield collaborate=
s with independent visual artists, digital/net artists, writers, critical t=
hinkers, musicians and noisemakers with a special focus on work developed a=
nd produced outside the recognised institutional support structures. We exp=
lore new and imaginative strategies for communicating ideas and issues in a=
range of digital & terrestrial media contexts.

Furtherfield's activities focus on presenting works online and organising g=
lobal, contributory projects, which exist simultaneously on the Internet, t=
he streets and public venues. Liberating our imaginations from specializati=
on.

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<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=
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<DIV><B><FONT size=2>
<P align=center><FONT face="Courier New" size=3>8 New works featured =
&amp;
hosted on furtherfield.org</FONT></P></B>
<P align=center><A href="http://www.furtherfield.org"><FONT
face="Courier New">http://www.furtherfield.org</FONT></A></P>
<P align=center><FONT face="Courier New"></FONT></P><B>
<P align=center><FONT face="Courier New">[Explorations &amp; discoverie=
s of
non-singular Net creativity]</FONT></P></B>
<P align=center><FONT face="Courier New"></FONT></P><B>
<P align=center><BR><FONT face="Courier New">[Sailing &amp; White
Mice]<BR></FONT></B><FONT face="Courier New">Two docu/info/diary/performa=
tive
pieces by 'Joseph &amp; Donna McElroy'. 'Sailing' is JavaScript work
incorporating photographic images that change each time you click on the pa=
ge.
Featuring interviews by people talking about their experience and perceptio=
ns on
life and ways of living, life in New York, working and living on the River.=

'White Mice' is a JavaScript work with series of automated images. Accompan=
ied
by a verbal-reflection about the sensory experience of the mouth, its flavo=
urs,
the kiss and the memory. Discover the performance, fun and functionality in=
the
works of this corporate, dynamic duo.<BR></FONT><A
href="http://www.furtherfield.org/jfdmcelroy/sailing_mice/index.html"><FO=
NT
face="Courier New">http://www.furtherfield.org/jfdmcelroy/sailing_mice/in=
dex.html</FONT></A></P>
<P align=center><FONT face="Courier New"></FONT></P><B>
<P align=center><FONT face="Courier New">[One among 400,000]<BR></FONT>=
</B><FONT
face="Courier New">A personal interactive document by 'Ruth Catlow' of th=
e
protest that took place in London, UK on September 28th 2002 to stop the wa=
r
against Iraq. 'I am an artist but on this day I was one among 400,000 (or t=
here
abouts) protesters. It seems more relevant these days, for me as an artist =
to
jump in with both feet, to be in the middle of a crowd of human beings when=
so
much of our experience of the world is so passive and mediated by TV and fi=
lm'.
This piece uses javascripts and is accompanied by a flash soundtrack made i=
n
collaboration with 'Ouch Those Monkeys' <BR><A
href="http://www.furtherfield.org/rcatlow/stop/index.html">http://www.fur=
therfield.org/rcatlow/stop/index.html</A><BR><BR><BR><B>[Art
or Action]</B> <BR></FONT><FONT face="Courier New">'Joy Garnett's' Bomb P=
roject
(Reviewed by Lewis Lacook). 'To say that Joy Garnett's Bomb Project is
monumental would be an understatement. To say that it's a necessary reminde=
r of
the power unleashed at the end of World War II, and of the power the whole =
world
cringed under during the Cold War--that would be more like it. And yet ther=
e's
more going on here than activism (as if that weren't enough)'.<BR></FONT><A=

href="http://www.furtherfield.org/crit/docs/bomb_project.html"><FONT
face="Courier New">http://www.furtherfield.org/crit/docs/bomb_project.htm=
l</FONT></A></P>
<P align=center><FONT face="Courier New"></FONT></P><B>
<P align=center><FONT face="Courier New">[Tales from a Corporate
Crib]<BR></FONT></B><FONT face="Courier New">Nick Fry's Literary conseque=
nces of
corporate life: anecdote, correspondence, image and documentation produced =
from
within the fold of a corporate working environment. 'Graham arrived when I =
was
back at my desk - he hit me on the head with a bacon-avocado-an-mayonaisse=

baguette. It was a nervous pokey little assault - a compromise between not=

hitting me too hard so as not to upset me and not disturbing the sodden lim=
b of
lard smearing the inside of its plastic sheath'.<BR></FONT><A
href="http://www.furtherfield.org/nfry/crib.html"><FONT
face="Courier New">http://www.furtherfield.org/nfry/crib.html</FONT></A><=
BR><FONT
face="Courier New">Other writings by Nick Fry - </FONT><A
href="http://www.furtherfield.org/nfry/index.html"><FONT
face="Courier New">http://www.furtherfield.org/nfry/index.html</FONT></A>=
<BR></P><B>
<P align=center><FONT face="Courier New">[Goat Boy 2]<BR></FONT></B><FO=
NT
face="Courier New">Many remember 'micki Tschur's' first self exploratory =
nature
fest &amp; her many encounters in the Alps, and her meeting with the Goat B=
oy.
At last, you can now visit &amp; experience the sequel. Does she meet the G=
oat
Boy again? We'll see...a comic strip that leaves you wondering whether thes=
e hot
naughty encounters were real or fantasies. We suspect they were real, what =
do
you think? </FONT><FONT face="Courier New"><A
href="http://www.furtherfield.org/mtschur/goatboy2/index.htm">http://www.=
furtherfield.org/mtschur/goatboy2/index.htm</A><BR>
</FONT></P>
<P align=center><FONT face="Courier New"></FONT></P><B>
<P align=center><FONT face="Courier New">[Transubstance]<BR></FONT></B>=
<FONT
face="Courier New">3 recent works exploring the less disenchanted states =
of
being. In one of her works 'Miranda Matthews' starts to locate the migrant=

'soul' of myth &amp; magic, via performance, installation &amp; sculpture. =
With
'Seal Suits' I decided to locate my own seal spirit and make my own seal sk=
in.
The 'seal suit' is made from neoprene, which is used to make wet suits. "It=

feels like an extra layer of the self. The silkies are creatures of Celtic =
myth,
who have a hidden seal identity. The tale goes that women (and sometimes me=
n)
would hide their seal skins in a place known only to themselves. When tired=
of
their ordinary existence, they would slip into their seal skins and swim of=
f
into the oceans".
http://www.furtherfield.org/mmatthews/transubstance/index.html</FONT></P>
<P align=center><FONT face="Courier New"></FONT></P><B>
<P align=center><BR><FONT face="Courier New">[WOWM.org]</FONT></B><FONT=

face="Courier New"> <BR></FONT><FONT face="Courier New">'Wrapping Our W=
arped
Minds' are visual and multimedia artists; exploring imaginative visual-scap=
es
that users can interact with. You can either be the 'VJ' and change what yo=
u are
seeing before your eyes, as pixels, code and images, shift and glide like a=

'virtual contemporary Joseph Albers' on your screen. Or the 'DJ-sound mixer=
'
changing the sound levels of the music on each of these sound/viz- scapes'.=
The
beauty of it is, that there is an intimacy in the way it hangs around float=
ing,
unbothered about whether someone is interacting or not, although participan=
ts
are encouraged to create new moods using the phasers supplied. </FONT><FONT=

face="Courier New"><A
href="http://www.furtherfield.org/wowm/pictures.html">http://www.furtherf=
ield.org/wowm/pictures.html</A><BR></FONT></P>
<P align=center><FONT face="Courier New"></FONT></P>
<P align=center><B><FONT face="Courier New"><BR>[Drawing
Conclusions]<BR></FONT></B><FONT face="Courier New">Catherine Daly has cr=
eated a
poetic experiment in response to old school book exercises in perception --=

without the pages, poems from the series have also been featured at xStream=
and
Delirium. </FONT><FONT face="Courier New"><A
href="http://www.furtherfield.org/cdaly/drawing.html">http://www.furtherf=
ield.org/cdaly/drawing.html</A></FONT></P>
<P align=center><FONT face="Courier New"></FONT></P><B>
<P align=center><FONT face="Courier New"><BR>[note]<BR></FONT></B><FONT=

face="Courier New">All contributors on furtherfield can viewed by this
page...<BR></FONT><FONT face="Courier New"><A
href="http://www.furtherfield.org/contributors.html">http://www.furtherfi=
eld.org/contributors.html</A><BR></FONT></P>
<P align=center><FONT face="Courier New"></FONT></P><B>
<P align=center><FONT face="Courier New"><BR>[what are we &amp;
do?]<BR></FONT></B><FONT face="Courier New">Furtherfield is an online pla=
tform
for the creation, promotion, and archiving of new work for public viewing a=
nd
interaction. Furtherfield collaborates with independent visual artists,
digital/net artists, writers, critical thinkers, musicians and noisemakers =
with
a special focus on work developed and produced outside the recognised
institutional support structures. We explore new and imaginative strategies=
for
communicating ideas and issues in a range of digital &amp; terrestrial medi=
a
contexts.</FONT></P>
<P align=center><FONT face="Courier New"></FONT></P>
<P align=center><FONT face="Courier New">Furtherfield's activities focu=
s on
presenting works online and organising global, contributory projects, which=

exist simultaneously on the Internet, the streets and public venues. Libera=
ting
our imaginations from specialization.&nbsp;</FONT></P>
<P align=center><FONT face="Courier New"></FONT></P></FONT></DIV>
<P><FONT face="Courier New"></FONT>&nbsp;</P></BODY></HTML>

------=_NextPart_001_0074_01C28B36.CEFDCE70--

DISCUSSION

Re: [syndicate] Re: RHIZOME_RAW: Care2 E-Card from Rachel Greene


Hi Valery,

Why don't you wait till he can answer for himself, before throwing
pebbles...

I am quite interested in what he has to say about it - but to start all this
backstabbing when someone is quite obviously elsewhere, is a bit low...

marc

> Hereafter the new answer I'm getting from rachel greene? regarding the
> previous message I sent to mark regarding his statement in new langton art
> center in San Francisco "day jobs" exhibition where he's defining his art
> work as a social sculpture through the rhizome.org project ...
>
> here the link to it:
>
http://www.newlangtonarts.org/view_event.php?category=Network&archive=&&even
> tId5
>
> just regarding this:
> "Mark TribeProjects
>
> Day: Rhizome.org http://www.rhizome.org
> Night: Rhizome.org http://www.rhizome.org
> Mark Tribe's art work featured in this exhibition can be seen as
performance
> as much as media art. Rhizome.org is an online community that Mark
describes
> as "social sculpture" in the tradition of Bueys. Here, product is not as
> important as process, though it would be a disservice to abstract
> Rhizome.org to the level of a conceptual art prank when, in fact, it has
had
> a very real effect on the social lives of many new media artists and
offers
> many practical services. This close-knit integration of a conceptual
social
> work combined, inextricably, with practical real-world services is
exemplary
> of how new media artists are sometimes able to play and work in the same
> media. Since media is the built environment that we now live in full-time
> (as opposed to a weekend leisure destination), artists find it possible to
> move into the "main house" -- sometimes without anyone noticing them sneak
> in.
>
> -- Richard Rinehart"
>
> I asked: if we answer by giving money to rhizome campaing who we are
> sponsorizing ?
> a non profit organization ? or a social sculpture by Mark Tribe ? ;-)))
>
> as answer I'm getting this kind of message first from mark? and then
rachel
> ?
> so this anwser may be clear i don't need to comment, for sure this is not
a
> non profit organization answer regarding people who has already give money
> in previous year ...
>
> so it is not possible to make clear this point ... no comment
> just one question what would we think ? who are the real person behind
these
> identities who are firing ?
>
> anyway enjoy yourself rachel? and mark?, this year you didn't convinced me
> to use my visa card on your website ! that's it
>
> anyway rachel if you're looking for job, don't worry you will find one in
> paris !
>
> So good luck
>
> the point I asked this question on one list and now I cann see this
childish
> reaction spreaded out over four list !!! great !!!
> this is not me who's asking money and support, but before paying I used to
> know where this money is going and for what kind of use ...
>
> So I just have one advice for all sponsors, be prudent about the finality
of
> this campaign : personnal promotion ? or real non profit organization ?
>
> anyway I guess this fake answer from fake rachel and fake mark should
reveal
> something...
>
> I'm still waiting for the whole truth from the real Mark !!!!!
>
> Valery Grancher
>
>
> rachel greene:
>
> >er lee..valery..
> >it's not i take you as bigest idiot in rhizome community the proof it's
> mark who the first really
> >believe he write this note. now he doesnt want to be less than 2 feet to
> any computer, being sure
> >he will write another one telling the whole truth... for the moment he is
> locked up in the wc shouting
> >he is sweaping right now his ass with rhizome grant... i know he is my
boss
> but yesterday
> >he sweap himself with my credit card and in giving it back he says he is
> shitting gold...
> >valery have you a job for me in paris ? cause since napoleon bonaparte i
> know the froggies are perfectly aware
> >they are shitting only streaming and stinking shit at least...
> >sincerly yours (vive la france !)
> >Rachel Green
>
>
>

----------------------------------------------------------------------------
----

>
> -----Syndicate mailinglist-----------------------
> Syndicate network for media culture and media art
> information and archive: http://anart.no/~syndicate
> to post to the Syndicate list: <syndicate@anart.no>
> Shake the KKnut: http://anart.no/~syndicate/KKnut
> no commercial use of the texts without permission

DISCUSSION

Re: the scott baio litmus test


Wow, internet polling... is fun - erm, I suippose you better find out who
one and lost...

Marc Garrett vs David Bowie...
http://www.googlefight.com/cgi-bin/compare.pl?q1=marc+garrett&q2Uvid+bowie
&B1=Make+a+fight%21&compare=1&langue=us

Valery Grancher vs Mark Tribe
http://www.googlefight.com/cgi-bin/compare.pl?q1=valery+grancher&q2=mark+tri
be&B1=Make+a+fight%21&compare=1&langue=us

marc

> Dear friends on the rhizome raw list,
>
> Hi. It's me, curt.
>
> As a competetive American male intuitively seeking a simple and
> indisputable method of clearly indentifying "winners" (even in
> non-competetive areas of hazy subjectivity such as contemporary art),
> I've come up with the Scott Baio Litmus Test.
>
> "Who are the GOOD artists?" "who are the BEST artists?" I know I'm
> not allowed to ask these questions, but they continue to arise. I'm
> not allowed to answer these questions based on whether an artist's
> work is actually good or not; because there are lots of artists whose
> work really sucks, but who nevertheless assure me that they are
> succeeding as artists. Some of these sucky artists point to their
> gallery exhibits as proof of success, others point to their
> recognition in festivals, others to their academic degrees and
> research, and the more banal point to the amount of money their art
> has procured from patrons whom they both ridicule and disdain.
> Surely there must be a less subjective way of measuring success?
>
> And there is! Introducing the Scott Baio Litmus Test (hereafter
> referred to as the SBLT). Contemporary artists can't really be in it
> for the big money (since only about 3 contemporary artists are making
> any big money). Too obligatorily cynical to be in it simply for the
> joys of creation or the mere "fun of it," I figure most contemporary
> artists are in it for the fame. Well, Scott Baio was pretty famous
> in his day too. Alas, Scott's day was fleeting and is now 30 years
> gone. (The light that burns twice as bright burns half as long. Cf:
> http://www.neuralust.com/~curt/scott/baio.jpg )
>
> Scott's medium was not even the internet, whereas most contemporary
> artists are all wired and such. So I figure, if in your heyday, and
> in your own medium, you're not any more famous than Scott Baio, how
> can you call yourself a success? Hence the SBLT --
>
> ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
> the SBLT:
> 1. go to http://www.googlefight.com
> 2. enter "scott baio" in one field (don't forget the quotation marks).
> 3. enter "your name" in the other field (where "your name" is your
> name, and don't forget the quotation marks).
> 4. submit and observe the results.
> 5. if scott wins, shrink your head, keep on self-pimpin', and try
> again in a couple of years.
> 6. if you win (and your name is not something generic like "jennifer
> smith"), congratulations, you are a successful contemporary artist.
> ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
>
>
> Hopefully, this simple test will put to rest once and for all any
> sticky issues of aesthetic value, artistic worth, and ugly
> accusations of outright suckiness.
>
> your friend,
> curt
>
> _
> _
> _
> + 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
>
>