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.
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DISCUSSION

Satement by US Senator Robert Byrd


by US Senator Robert Byrd

Wednesday 12 February 2003

"To contemplate war is to think about the most horrible of human

experiences. On this February day, as this nation stands at the brink of

battle, every American on some level must be contemplating the horrors

of war.

Yet, this Chamber is, for the most part, silent -- ominously,

dreadfully silent. There is no debate, no discussion, no attempt to lay

out for the nation the pros and cons of this particular war. There is

nothing.

We stand passively mute in the United States Senate, paralyzed by our

own uncertainty, seemingly stunned by the sheer turmoil of events. Only

on the editorial pages of our newspapers is there much substantive

discussion of the prudence or imprudence of engaging in this particular

war.

And this is no small conflagration we contemplate. This is no simple attempt

to defang a villain. No. This coming battle, if it materializes, represents

a turning point in U.S. foreign policy and possibly a

turning point in the recent history of the world.

This nation is about to embark upon the first test of a revolutionary

doctrine applied in an extraordinary way at an unfortunate time. The

doctrine of preemption -- the idea that the United States or any other

nation can legitimately attack a nation that is not imminently

threatening but may be threatening in the future -- is a radical new twist
on the

traditional idea of self defense. It appears to be in contravention of

international law and the UN Charter. And it is being tested at a time

of world-wide terrorism, making many countries around the globe wonder if

they will soon be on our -- or some other nation's -- hit list. High

level Administration figures recently refused to take nuclear weapons off of

the table when discussing a possible attack against Iraq. What could be

more destabilizing and unwise than this type of uncertainty, particularly

in a world where globalism has tied the vital economic and security

interests of many nations so closely together? There are huge cracks
emerging in

our time-honored alliances, and U.S. intentions are suddenly subject to

damaging worldwide speculation. Anti-Americanism based on mistrust,

misinformation, suspicion, and alarming rhetoric from U.S. leaders is

fracturing the once solid alliance against global terrorism which

existed after September 11.

Here at home, people are warned of imminent terrorist attacks with

little guidance as to when or where such attacks might occur. Family

members are being called to active military duty, with no idea of the

duration of their stay or what horrors they may face. Communities are

being left with less than adequate police and fire protection. Other

essential services are also short-staffed. The mood of the nation is

grim.

The economy is stumbling. Fuel prices are rising and may soon spike

higher.

This Administration, now in power for a little over two years, must be

judged on its record. I believe that that record is dismal.

In that scant two years, this Administration has squandered a large

projected surplus of some $5.6 trillion over the next decade and taken

us to projected deficits as far as the eye can see. This Administration's

domestic policy has put many of our states in dire financial

condition, under funding scores of essential programs for our people. This

Administration has fostered policies which have slowed economic

growth.

This Administration has ignored urgent matters such as the crisis in

health care for our elderly. This Administration has been slow to

provide adequate funding for homeland security. This Administration has been

reluctant to better protect our long and porous borders.

In foreign policy, this Administration has failed to find Osama bin

Laden. In fact, just yesterday we heard from him again marshaling his

forces and urging them to kill. This Administration has split

traditional alliances, possibly crippling, for all time, International

order-keeping entities like the United Nations and NATO. This Administration
has

called into question the traditional worldwide perception of the United

States as well-intentioned, peacekeeper. This Administration has turned the

patient art of diplomacy into threats, labeling, and name calling of the
sort

that reflects quite poorly on the intelligence and sensitivity of our

leaders, and which will have consequences for years to come.

Calling heads of state pygmies, labeling whole countries as evil,

denigrating powerful European allies as irrelevant -- these types of

crude insensitivities can do our great nation no good. We may have massive

military might, but we cannot fight a global war on terrorism alone.

We need the cooperation and friendship of our time-honored allies as well

as the newer found friends whom we can attract with our wealth. Our

awesome military machine will do us little good if we suffer another

devastating attack on our homeland which severely damages our economy. Our

military manpower is already stretched thin and we will need the augmenting

support of those nations who can supply troop strength, not just sign
letters

cheering us on.

The war in Afghanistan has cost us $37 billion so far, yet there is evidence
that

terrorism may already be starting to regain its hold in that region.

We have not found bin Laden, and unless we secure the peace in

Afghanistan, the dark dens of terrorism may yet again flourish in that

remote and devastated land.

Pakistan as well is at risk of destabilizing forces. This

Administration has not finished the first war against terrorism and

yet it is eager to embark on another conflict with perils much greater than

those in Afghanistan. Is our attention span that short? Have we not learned

that after winning the war one must always secure the peace?

And yet we hear little about the aftermath of war in Iraq. In the

absence of plans, speculation abroad is rife. Will we seize Iraq's oil

fields, becoming an occupying power which controls the price and

supply of that nation's oil for the foreseeable future? To whom do we
propose to

hand the reigns of power after Saddam Hussein?

Will our war inflame the Muslim world resulting in devastating attacks

on Israel? Will Israel retaliate with its own nuclear arsenal? Will

the Jordanian and Saudi Arabian governments be toppled by radicals,

bolstered by Iran which has much closer ties to terrorism than Iraq?

Could a disruption of the world's oil supply lead to a world-wide

recession? Has our senselessly bellicose language and our callous

disregard of the interests and opinions of other nations increased the

global race to join the nuclear club and made proliferation an even

more lucrative practice for nations which need the income?

In only the space of two short years this reckless and arrogant

Administration has initiated policies which may reap disastrous

consequences for years.

One can understand the anger and shock of any President after the

savage attacks of September 11. One can appreciate the frustration of

having only a shadow to chase and an amorphous, fleeting enemy on

which it is nearly impossible to exact retribution.

But to turn one's frustration and anger into the kind of extremely

destabilizing and dangerous foreign policy debacle that the world is

currently witnessing is inexcusable from any Administration charged

with the awesome power and responsibility of guiding the destiny of the

greatest superpower on the planet. Frankly many of the pronouncements

made by this Administration are outrageous. There is no other word.

Yet this chamber is hauntingly silent. On what is possibly the eve of

horrific infliction of death and destruction on the population of the

nation of Iraq -- a population, I might add, of which over 50% is

under age 15 -- this chamber is silent. On what is possibly only days before

we send thousands of our own citizens to face unimagined horrors of

chemical and biological warfare -- this chamber is silent. On the eve of
what

could possibly be a vicious terrorist attack in retaliation for our attack

on Iraq, it is business as usual in the United States Senate.

We are truly "sleepwalking through history." In my heart of hearts I

pray that this great nation and its good and trusting citizens are not

in for a rudest of awakenings.

To engage in war is always to pick a wild card. And war must always be

a last resort, not a first choice. I truly must question the judgment

of any President who can say that a massive unprovoked military attack on

a nation which is over 50% children is "in the highest moral traditions

of our country". This war is not necessary at this time. Pressure appears

to be having a good result in Iraq. Our mistake was to put ourselves in a

corner so quickly. Our challenge is to now find a graceful way out of

a box of our own making. Perhaps there is still a way if we allow more

time.

DISCUSSION

Re: Re: data diaries


Hi Jess,

Alex said he was going to buy me drink about a year ago and Im quite thirst=
y...

marc

One of the things that I would really be interested in knowing is what...
"But the greatest thing about Cory's net art is that he's not a net artis=
t. He never was and never will be"

is all about in Galloway's introduction.

Why and How does that sentence contextualise the work for me? Will I see =
or understand the piece better knowing this? I'm not on the attack I just w=
ould be interested in what people make of this sentence. I know the debates=
to whether joshua davis (for example) is a 'real' net artist affect the wa=
y people view his work... Is this why arcangel can (sorry, marisa) deliver =
concept over form..?

I'm in NY next week (If I can get my wheels past the snow) and I having j=
ust slurred one of their own I'll probably be having coffee by myself too. =
keep yer' mouth shut loseby.

j.

> --> dear all, i'm taking these a bit out of order, but wanted to
> respond to a few of the things that have been said about _data
> diaries_...
>
> t.whid said:
> "All art builds on what has come before, sometimes it leaps forward,
> sometimes it steps forward. to deny that is to deny how human
> creativity functions."
>
> --> this is well put and also reminds us of the conceptual &
> structural overlaps between language and visual art (and, perhaps
> even more so, here, its history). let's think of ourselves as working=

> with a dictionary. we only have so many words at our disposal. we may=

> come up with new ways to combine or alter them, new poetics, new
> narratologies, even, but we are constantly working within the domain
> of language and, whether we like it or not, our use of it--even or
> attempts to "deny" it--simply act to underscore it. that said, it's
> great when an artist (in any medium) can work in a way that is
> appropriately self-reflexive, that is aware of its conditions while
> doing something about or within them. at times, this means going back=

> to very basic, root structures. or repeating existing structures for
> the sake of controlled, observable repetition through which the
> artist benefits personally/creatively/intellectually (in learning
> form the repetition) and, hopefully, from which a reader/viewer can
> benefit in the experience of that performative function. arcangel has=

> done all of this.
>
> jess loseby said:
> "The fact the final product is weak is just something that we (as
> viewers and artists) seemed to have started to accept as ok in
> conceptual art..." <...> "why not take a bit more time on what the
> piece actually looks like and the aesthetics of the translation...?
> Corys work... looks...so basic."
>
> --> i think that the latter would be a compliment to arcangel. this
> mostly subjective/comparative interpretation should not serve to
> deface a work or its "value," should we feel compelled to assign it
> one. beyond this, i am curious why, more specifically, it would be
> called "weak."
>
> lewis lacook said:
> "the thing about works as conceptual as this is that there's all too
> often a poverty of sensory material...which is the point behind
> conceptual work...to avoid there being any sort of art object at
> all...this of course is a hybrid, and i find this fascinating..."
> <...> "codepoetry? <...> the innerworkings of something we're not
> meant to see..."
>
> --> i'd like to better understand what you are saying here. i think
> that we (those of us engaged in this discussion) need to better flesh=

> out our use of the term "conceptual," as i do not see "minimalist"
> or, as i said, "arte poverte" being wholly constitutive of
> "conceptual" art, nor is the latter an appropriate description of
> _data diaries_.
>
> --> "codepoetry" is a great term and quite applicable, here. of
> course, rather than having a revelation of the code, there is a new
> iteration or translation of the code, into another, visual lexicon...
>
> michael szpakowski said:
> "What makes all the above notable for me?- engagement with the human
> and with the human being in society; high degree of technical ability=

> (and a willingness to undertake drudgery) sometimes bordering on
> virtuosity but not to an obsessional extent & rarely entirely for
> it's own sake; universality - relatively independent of context -even=

> though often very much of it's time nevertheless it resonates for us
> now.. ..and I think I'd want to argue that somewhere in there lies a
> framework for what justifies art as a human activity." {and}: "(in
> the long run we're all dust) but not in the historical, hundreds of
> yearsy medium term scale which is the only really graspable and
> meaningful one for us humans- us and our culturally preserved
> memories"
>
> --> i find this interesting criteria and, just for the sake of
> dragging it out, i'd like to lay it over _data diaries_. DD is an
> autobiographical project and its basic elements are unique to so many=

> of us. (both its content and delivery vehicle.) this is, in fact,
> quite "human." i would also absolutely say that arcangel's work is
> "virtuoso" (with all the flair that connotes) but not obsessionally.
> the kid can code but he's applied his skills to what reads as minimal=

> work and uses equipment/software/media that subvert the fetishization=

> of the highest technology. (yes, there is, indeed a retroactive
> fetishization, here, but let's just say that i obviously favor it in
> difference to the new, new, new.)
>
> --> it is difficult to call software-driven art timeless, in any way.=

> it is ephemeral and takes a central place in the very constellation
> of pseudo-darwinian technolution that privileges the new.
> nevertheless, _data diaries_ is very aware of its time, looking back
> to a bygone aesthetic, revolving around a person's use of time and a
> computer's processing of it, and giving us a project which contorts
> time at a time in which is is urgently demanded that we consider the
> after-effects of said technolution.
>
> marisa
>
> _________________
> Marisa S. Olson
> Associate Director
> SF Camerawork
> 415. 863. 1001

o
/^ rssgallery.com
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lable online at http://rhizome.org/info/29.php

DISCUSSION

Re: Paris Connection in relation to early net.art


I could say loads, in fact I wrote a more compelling statement regarding
Alex's intro but I do not wish to cause upset; I'm not interested in being
too sceptical, must remain calm. So I am rethinking my txt and leaving it in
my drafts folder for a little while to see if I was being too hot headed,
along with loads of other noisy txt's rumbling, screaming to be let out.

in respect of Cory's...

positve - It's ok.

negative - It ain't punk.

respect from marc (caught in a dualistic loop today)

> Hi jim,
> You raised some really interesting points and I do particularly agree your
thoughts on
> with the alex galloway article. A kind of nostalgia does seem to permeate
this kind of text
> (although I have to say that I am not particularly fond of introductions
at all) but this
> could very well be to do with the NY scene that I have no real handle on.
>
> I do think the paris connection is incredibly interesting and stimulating,
but I admit I
> haven't spent enough time on all the artists as I rarely get past nicolas
claus, as his work
> just intrigues and delights me on so many levels (funnily enough I passed
the url of dark
> matter on to takeo the other day as something he could look at as an
example of how
> video is being used in experimental and absorbing ways)
>
> I am obviously biased towards turbulence.org as they gave me my own little
soapbox
> through the artist studio which was a buzz (I'd had them bookmarked since
discovering
> net.art) but yes, they are bringing many different approaches together and
vitally, doing
> this without dictating a style or form of 'what is net.art' but just what
feels like a real
> interest and pleasure in all the works...
> cheers,
> j.
>
>
>
> > thanks, jess, for the link to takeo at
http://www.takeo.org/nspace/ns00.htm , which you maintain
> > is highly related to and more notable than the arcangel work. i would
agree with what you say
> > about takeo vs arcangel.
> >
> > i recall a post from a while ago by curt cloninger in which he pointed
out that early computer
> > art was more or less necessarily almost solely conceptual, given the
technological constraints
> > upon it in terms of visuals, sound, and bandwidth. and he posed the
question as to whether this
> > needed to continue as the predominant modus of net.art, given that
though there are still
> > constraints on tech and bandwidth, both have advanced to a state where
such an aesthetic is not
> > necessarily required.
> >
> > also, i would point out that the rectilinear, often purposefully
'pixelated' style we associate
> > with the arcangel piece is very new york - eastern european early
net.artish in its
> > associations. to me, it's less interesting as something to look as
contemplate as a reiteration
> > of the style of early net.art. to me, the discussion about it and the
galloway essay read like
> > ads for 'classic' net.art. want a piece to be championed by the early
net.artists? do it in
> > their style. pay tribute. meet good guys.
> >
> > the 'paris connection' project at http://turbulence.org/curators/Paris
is an attempt to discuss
> > work that does not reiterate this style but, instead, has proceeded into
a shift in net art that
> > i find appealing and relates to yours and curt's observations. it is not
new york. it is paris.
> > the work is often wonderfully conceptual and philosophical, even
minimal, as in the work of
> > Antoine Schmitt and servovalve, but it is also capable of what is to me
a more fecund
> > exploration of video--in the work of clauss and birge, for
instance--than the arcangel work. and
> > the explorations of audio, for instance, in the work of servovalve,
lamarque, and birge combine
> > tech with the sensual and experiential.
> >
> > something beautiful is unfolding in paris. though there are, among the
six parisians, some top
> > art-programmers, birge, for instance, is not a programmer but is known
for his work in
> > multimedia audio in france, is the king of multimedia audio there, and
is a full collaborator
> > with the others. we see in this loosely-knit group a strong modus of
collaboration between
> > programmers, audio guys, people involved in dance--and a range of other
media and arts. we see a
> > tremendous synthesis of arts, media, and programming in their
collaborative work together.
> > toward an art for the net that is as good as any art on the planet. and
an art in which there is
> > no axe through the middle of the brain between experience and concept.
it is rich in both.
> >
> > paris connection is an attempt in english, french, spanish, and
portuguese to tell the world
> > about their work, related work, and these larger contexts in which
net.art is proceeding beyond
> > the solely conceptual cerebrations of early net.art. there is a strong
tradition in french
> > culture toward synthesis of arts and media. here is a quote from
guillaume apollinaire from
> > 1917:
> >
> > "These artifices can still go much further and achieve the synthesis of
the arts, of music,
> > painting, and literature ... One should not be astonished if, with only
the means they have now
> > at their disposal, they set themselves to preparing this new art (vaster
than the plain art of
> > words) in which, like conductors of an orchestra of unbelievable scope
they will have at their
> > disposal the entire world, its noises and its appearances, the thought
and language of man,
> > song, dance, all the arts and all the artifices, still more mirages than
Morgane could summon up
> > on the hill of Gibel, with which to compose the visible and unfolded
book of the future.... "
> > "L'Esprit Nouveau et les Poetes" Apollinaire, 1917
> >
> > interesting and encouraging that both the arcangel and paris connection
are published on
> > turbulence. turbulence at turb. that's what we like to see. turbulence
and synthesis. many
> > thanks to helen thorington and jo for publishing and encouraging both.
> >
> > ja
> >
> o
> /^ rssgallery.com
> ][
>
>
>
> + ti esrever dna ti pilf nwod gniht ym tup
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
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>
>

DISCUSSION

Re: ANTI WAR ART


Hi Joao,

mmm - I remember a different experience when our pirate radio gang was thre=
atened, not physically but with a stern nudge, when we were broadcasting lo=
cal people's views about the poll tax, plus the actual march also. We had b=
een on air for a few years and obviously they were not keen for that type o=
f broadcasting, to squeeze out the reality of people's everyday lives - the=
refore 'crackdown'. We laid quite for a while changed our radio title and s=
tarted again, broadcasting great stuff. Experimental performances, poetry, =
cut up noises and soundscapes well ahead of some the (shallow artsy stuff =
trying to be clever just through the medium alone), it had spice and create=
d local change - people were handing their verbal diaries on tape, their ow=
n creativity's, real stuff - not mediated mush. Then some drugged up preten=
tious anarchists who just wanted thrash music all day crashed the scene, is=
suing their own masculine brand of 'I'm the daddy crap'. Just like most mal=
es in governmental offices (or should I say orifices) in our cultures. It d=
oe not matter what religion or flag one is waving, the problem stays the sa=
me - violent men want blood for their pretend ideologies.

marc

Hi:

I agree with you, but on this subject i prefer give relevance to the par=
ticipation of people in a fight journey, because i live in a reality charac=
terized by apathy and indifference. I think what happaned in the last satar=
day, could be a good start for something, at least to shake the society any=
way. The present tragedy is any common man knowing what's going on and at s=
ame time, do nothing to change this state of things. We can discuss how it =
will be possible: with infiltrating elements, by simulation strategies, wit=
h autonomous zones, etc, etc. But, yes, there are the failure of people the=
mselves to get together! Years ago, i felt in my skin this indifference. An=
d it's a kind of fear to face the problems and claim answers for it. I was =
the speaking-trumpet of a dwellers commission and we had fighting against a=
new road, that was builded through our homes. We wrote hundreads of letter=
s, we gave interviews for radio and television. The project of the road was=
made 40 years ago, when any house was there! Today, on this area, living 3=
00 people! Some of them, with a road that take across 4, 5 meters of their =
rooms. All of this in the protected area of a medieval cloister, that's cla=
ssified as Unesco monument! We can ask: how can such thing happen? I tell y=
ou why: because people had fear, when the threat arrived in forme of anonym=
ous menaces, to me and other elements more active. But the worse threat aga=
inst us, was the indifference and less and less people took part on the com=
mission, as time goes by. At the end, i staid alone to face the bull and wi=
th a process on the Court of Justice, that continues, i ignore until when..=
. That's what happen when people don't get together until the end!

Joao
oliveirapereira1@sapo.pt

----- Original Message -----
From: "marc.garrett" <marc.garrett@furtherfield.org>
To: "Joao Pedro" <oliveirapereira1@sapo.pt>
Cc: <list@rhizome.org>
Sent: Sunday, February 16, 2003 3:33 PM
Subject: Re: RHIZOME_RAW: ANTI WAR ART

> Hi there Joao,
>
> I think that one of the most obvious things that has come out of this (=
for
> western nations), is that the governments who claim the 'badge' of
democracy
> are in fact trapped by corporations dictating their motions, thus not
> listening to their civilians needs. Not unusual for any country of cour=
se,
> which kind of tells us that we are either a long way from such utopian
> desires of democratic reasonings within societal structures, or that we=
as
> civilians need to chose alternative strategies somehow. For instance
> anti-corporate spies of whom are willing to dismantle their powers via
> sabotage, this could be done in a non violent way; finding patrons who
wish
> for the same thing. Creating 'robin Hood' type business execs infiltrat=
ing
> these corrupt businesses from the inside.
>
> This is what the marches seem to reflect to me, plus many other things
about
> the failure of people themselves to get together until now. People need=
to
> take the media, insitutions, reclaim it back and start something new...
>
> marc
>
>
> > 4.000.000 in Spain!
> >
> > 100.000 in Lisbon!
> >
> > Today, people from all over the world, desmonstrated to the power
liders,
> > what democracy is in reality: fight action, direct participation, to
have
> > voice in political decisions. The governements of Spain and Portugal,
they
> > couldn't take any more resolutions against the people's will. They n=
eed
> to
> > respect the wish of peace, from their respective countrys. Today, it'=
s a
> > memorable day. And i think before that, world can't really change!
> > Everything is possible, even what seems impossible some time!
> >
> >
> > Joao
> > oliveirapereira1@sapo.pt
> >
> >
> >
> >
> > ----- Original Message -----
> > From: "marc.garrett" <marc.garrett@furtherfield.org>
> > To: <list@rhizome.org>
> > Sent: Saturday, February 15, 2003 4:37 PM
> > Subject: Re: RHIZOME_RAW: ANTI WAR ART
> >
> >
> > > 2 Million in hyde Park right now..against the war
> > >
> > >
> > > Now if Bush/Blair do not listen we know that they should be got rid
off
> > and
> > > replaced with decent civilians who give a danm baout humanity.
> > >
> > > 2 million in Italty against the War - right now...
> > >
> > > marc - I'm going back out gain, a greatv day.
> >
> >
> > >
> > > http://www.furtherfield.org
> > > http://www.furthernoise.org
> > > http://www.dido.uk.net
> > > We Can Make Our Own World.
> > >
> > >
> > >
> > > >
> > > > newsgrist will be at the non-march (very shortly), spy cam in han=
d.
> > > >
> > > > best,
> > > > j
> > > >
> > > >
> > > >
> > > > + ti esrever dna ti pilf nwod gniht ym tup
> > > > -> 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
> > > >
> > >
> > >
> > >
> > > + ti esrever dna ti pilf nwod gniht ym tup
> > > -> 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
> > >
> > >
> >
> >
>
>
>
> + ti esrever dna ti pilf nwod gniht ym tup
> -> 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
>

DISCUSSION

Marc's Email Art


Marc's Email Art

Welcome, to a selection of Email_Art, which has been sent to many computer
users, globally over the years. A virtual sister of the phenomena usually
sent by snail mail commonly known as Mail Art. By now anyone who has
frequented group lists, listservs, Blogs and BBS's, or even opened their
mail box; have experienced Email Art. The unsung imaginative hero of the
Internet age. Lists are a perfect environment for such an explorative and
technologically fluid activity. Usually consisting of either ascii, rtf,
gif, jpg, html, sometimes javascript, depending on the recipiants
requirements. Enjoy the thought provoking world of this 'relational'
activity that has plagued the Internet world and will continue to do
so for many years to come.
http://www.furtherfield.org/mgarrett/email_art/index.htm

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viour