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

Re: molotov web ring update (mar 12 - 4:25pm EST)


Who is Pepsi?

marc

>it's interesting that people are willing to argue passionately over points
>that are in fact assumptions they've made which bear no relation to the
>actual details of the situation!
>
>much like the Italian fellow who wrote: "produce the t-shirt! fuck
>pepsi!"
>
>;)
>cheers,
>j
>
>
>On Fri, 12 Mar 2004, liza sabater wrote:
>
>
>
>>On Friday, March 12, 2004, at 04:26 PM, Joy Garnett wrote:
>>
>>
>>>http://www.culturekitchen.com/archives/000555.html
>>>
>>>
>>There's a discussion going on in my blog about JoyWar.
>>
>>
>>l i z a
>>=========================
>>www.culturekitchen.com
>>
>>
>
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DISCUSSION

Re: ANY MORE IDIOT?


Hi Manik,

Just because, as you say - you suffered and have experienced hard times,
does not mean that you are not an idiot. Who is not an idiot every now
and then?

I have suffered also - but not the same things as you, different - but
this does not make me better or even more inforemd than others.

To not bother question whether one is an idiot occassionally - is surely
close to being idiotic its self?

So from one idiot to another - let's move beyond where we all are now,
stuck in isolation from each other...

You are not my enemy.

marc

DISCUSSION

Re: thoughts on Appropriation versus Sampling


Hi Joy,

I do not wish to answer specifically to your post below but rather
declare what I have noticed...

Yes - what is interesting to me personally with something like the act
of sampling is that the process has a genealogy. It moves in time like
chinese whispers.

A mutation takes place. And even when we look at what we say or may be
perceive as a beginning in embodied form such as a riot, a protest.
Someone, or people making a protest, an activist responding to a
situation with action, is repeating human history, it has a kind of
story of its own, a journey, even a narrative(s), like many other
aspects in life.

What is interesting is that appropriation regarding what is now termed
as 'Joywar', which was spawned from a different image originally - lives
on, it has evolved.

It seems that we cannot help but be influenced by each other - the
behaviour of copying and re-distributing is an essential strategy for
survival and potential mutualist understanding, or enemy defining, not
necessarily and always in the grand scheme of things but in an everyday
sense, it can be subtle and close to instinct, even intuitive.
Appropriation is like acknowledging then understanding and then in some
cases possessing, it is also territorial, and in most cases it must
change and become something else yet maintain an essence of its source,
its gene. Or it will not and cannot be seen, for it looses its reference
and linked-definition - so, the updating has re-contexutalised (yuk
word), has given it a new lease of life.

The proof is here, various people have explored their own definitions,
not only because they wished to support you but because - copying and
re-invention, re-recording is the act of reclaiming something. Making it
part of our their own, our own history, it was updated because it was
time to live once more, you were its carrier to fresh pastures...

marc :-D

>I keep saying to myself: Sampling is the Appropriation of the 21st century.
>So what are the differences? Some distinctions stand to be made.
>
>I'm beginning to realize that the plaintiff in my case regards Molotov as
>pure Appropriation; but I've been thinking about what I do as pure
>Sampling off the Web -- and that these two things describe our respective
>cultures. (The fact that I go on to paint my sampled bits with my eye/hand
>is probably just perverse). She hasn't yet made any distinctions between
>the two, but I'm bent on doing so.
>
>Here are a few thoughts that have crossed my mind since the beginning of
>our discussion:
>
>Appropriation:
>- refers specifically to an artistic practice of the 20th century
>whereby other artworks (usually) are derived or copied wholesale with
>specific conceptual artistic intentions;
>- Appropriation usually functions in terms of "parody" or "comment" upon
>the original artwork;
>- Appropriation always draws attention to the fact or act of the
>appropriation, rather than to try to hide the fact; the act of
>appropriating is foregrounded in the resulting artwork.
>- Therefore, Appropriated artworks are always clearly and closely wedded
>to the original, rather than divorced from it; the idea is NOT to make
>something entirely new.
>
>Sampling:
>- originally meant the taking--stealing--of short segments of
>pre-recorded music to be used and remixed in/as a new work;
>- the term "Sampling" is increasingly used to denote the use of
>pre-existing anything: film, photographs, logos, ads, texts, etc.,
>- One difference, therefore, is that Sampling makes use of not just
>pre-existing artworks, as does most of Appropriation, but of any or all
>material existing in the larger culture. Anything can be sampled. The
>increased use of Sampling is certainly a result of the ubiquity of the Web
>and digital copying, and the increasing cheapness and ease and ubiquity
>of the technology we use to access our "larger culture";
>- Sampling is always about taking found bits and pieces in order to make
>something entirely new. Remixes disregard and discard the context,
>the intended meaning/s and artistic import of the original work being
>sampled. Sampling is about creating something new, and not about
>commenting on an original.
>
>
>That's all I've got for now. Clearly the Joywar pieces are both
>Appropriations and Sampled Remixes, in varying degrees.
>
>Any thoughts/comments/disagreements ?
>
>-Joy
>
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>
>
>

DISCUSSION

Furtherfield live on Resonance Fm march 17th.


Furtherfield will be live on Resonance Fm tomorrow.

Time: 9.30pm till 10.30pm GMT.
Date: Wednesday March 17th.
Internet Radio Broadcast.
http://www.resonancefm.com

Ruth Catlow & Marc Garrett be will be discussing Furtherfield's
activites and projects, including their plans for 6 summer broadcasts at
ResonanceFM, each running for one and a half hours.

They will also will be playing records, cd's of music that have inspired
their noncomformist outlook - soundscapes, spoken word taken from early
pirate radio days and current sound explorations from a selction of the
current artists featured by Furthernoise.org (Editor Roger Mills).

We would like to be able to mention every single project and artwork
ever featured by Furtherfield but there are obviously restraints of time
and sanity;-) So, listen, enjoy and think to yourselves -'hmmm, I'm a
net artist, activist, new media artist, why can't I be heard on there?'
...and you can, this summer - send us an email if you are
interested.info@furtherfield.org

Listen here: http://www.resonancefm.com/listings/20040317.html
and scroll down page for info - click on top right page to listen.

The people putting us on air are-

The Interviewers:Tobi Maier & Anna Colin

Dosensos art projects
Email: info@dosensos.org
www.dosensos.org

Dosensos is a mobile arts organisation and collective of curators based
in London. The collective runs a fortnightly radio programme on
contemporary visual arts on Resonance 104.4FM. Other activities include
the production of international artist exchange projects and critical
writing. Dosensos is particularly interested in combinations of sound
and contemporary visual arts, new media and net art and public
interventions.

DISCUSSION

The Ides of March- there they lie


Just read this poem by Mac Dunlop...

The Ides of March- there they lie
(on the bombing of Madrid)

Perhaps the worst is still to come
fear of the worst being the best one
can do I'm
afraid
to feel the gravest grief
inclining toward the bombed belief
it could be you.

- like any holocaust - afraid
of those who amputate reality
and force bodies out of gravity
far removed from the faintest echo of humanity
the smoke, dust, and silence rising
wedged in wreckage

a silence shot by mobile phones
their signals screaming
"please pick up" dial tones
amplifying this anonymous call to arms
echoing across the ripped up tracks
SMS's unread, unchecked, unanswered back

like discarded shoes and piety they lie,
not in tidy rows outside a mosque
or in the cupboard neatly stacked
there they lie
my sister's and brother's
lifeless eyes
an arial photograph
a line of headstones
another cenotaph
an instant of our lives lived on
a rush hour blown
to kingdom come.

13/3/04