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.
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.
Ode, do I not like bombs - m.dunlop
Ode, do I not like bombs
Oh, do I not like bombs
do I, their corrupting destruction
their unsmart science
their doomed to failure
oh, do I failure not like
tearing the social fabric with armalite
and swollen sneakers
in the cloud bursting bunker bustups
in Baghdad Reyadh Belfast Bali
Oman Armangh Birmigham Karachi
Djerba Grozny Moscow Somali
Oh, do I not like my TV tuned to live devastation
martyrdom logos exploding
mortar popping bombs and bulldozing
suicide bomber Harris's loading
oh, do I not like bombs flying from the air
left in some abandoned car somewhere
driven there by despair, slowly filling the air
with shrapnel and body parts from here to there
one detonation delivered and accomplished
either cross it off your hit wish list
or we'll have to call that a strategic miss
I guess...
Oh do I not know...by the way, who is this?
The future of exclusion zone living:
leaving home just to watch television
in a world become your prison
that's lost any self righting vision
beyond guided glided or planted munitions
that don't talk, that don't listen
Oh, do I not like bombs
shot dropped set off alarmed doing irreparable harm stepped on
packed tight into cluster or carpet bombs
mined guided with the element of surprise disguis-ed
rocket fired detonator or trip wired
hand held sea launched cruising through a thunder clap
nail packed shrink wrapped taped round a jockstrap
oh, can I not wear a hard hat to keep my head intact
when my feet and shoes land 10 meters down the dirt track
I was just then standing in and now stare at
in dismembered disbelief?
oh, do I not like bombs like that.
14/5/03
switch2@blueyonder.co.uk
URL: http://sparror.cubecinema.com/macdunlop/
http://www.herenorthere.org
http://www.signhear.net
"WAR OF WORDS" is avialable from Greenleaf Bookshop, and Cafe Unlimited,
Gloucester rd.
and
"TIMELINES" the perpetual poetry calendar
is avialable from the Arnolfini bookshop, and the Watershed Gift Shop,
Bristol. and the IKON Gallery Gift shop, in Birmingham.
ffi. on poetry publications in paperback and audio poetry cd's, reply
"ffi. poetry" as subject, or, despatch to: Box 92, Green Leaf Bookshop,
Bristol, BS1 5BB. U.K.
performance updates:
OPEN MIC POETRY ALL WELCOME
-To listen or to speak-
The THREE TUNS PUB
NEAR BRISTOL CENTRAL LIBRARY
Wednesday 14th May 8.30
PHONE 01179621175
FOR FURTHER INFORMATION
DATA STREAM PURE CORRUPT(m.d.): at F.I.L.E. Electronic Language
Internacional Festival,Hipersonica <http://www.file.org.br/> at Paco das
Artes, August 7 to 23rd/ 2003, Sao Paulo, Brasil.
Oh, do I not like bombs
do I, their corrupting destruction
their unsmart science
their doomed to failure
oh, do I failure not like
tearing the social fabric with armalite
and swollen sneakers
in the cloud bursting bunker bustups
in Baghdad Reyadh Belfast Bali
Oman Armangh Birmigham Karachi
Djerba Grozny Moscow Somali
Oh, do I not like my TV tuned to live devastation
martyrdom logos exploding
mortar popping bombs and bulldozing
suicide bomber Harris's loading
oh, do I not like bombs flying from the air
left in some abandoned car somewhere
driven there by despair, slowly filling the air
with shrapnel and body parts from here to there
one detonation delivered and accomplished
either cross it off your hit wish list
or we'll have to call that a strategic miss
I guess...
Oh do I not know...by the way, who is this?
The future of exclusion zone living:
leaving home just to watch television
in a world become your prison
that's lost any self righting vision
beyond guided glided or planted munitions
that don't talk, that don't listen
Oh, do I not like bombs
shot dropped set off alarmed doing irreparable harm stepped on
packed tight into cluster or carpet bombs
mined guided with the element of surprise disguis-ed
rocket fired detonator or trip wired
hand held sea launched cruising through a thunder clap
nail packed shrink wrapped taped round a jockstrap
oh, can I not wear a hard hat to keep my head intact
when my feet and shoes land 10 meters down the dirt track
I was just then standing in and now stare at
in dismembered disbelief?
oh, do I not like bombs like that.
14/5/03
switch2@blueyonder.co.uk
URL: http://sparror.cubecinema.com/macdunlop/
http://www.herenorthere.org
http://www.signhear.net
"WAR OF WORDS" is avialable from Greenleaf Bookshop, and Cafe Unlimited,
Gloucester rd.
and
"TIMELINES" the perpetual poetry calendar
is avialable from the Arnolfini bookshop, and the Watershed Gift Shop,
Bristol. and the IKON Gallery Gift shop, in Birmingham.
ffi. on poetry publications in paperback and audio poetry cd's, reply
"ffi. poetry" as subject, or, despatch to: Box 92, Green Leaf Bookshop,
Bristol, BS1 5BB. U.K.
performance updates:
OPEN MIC POETRY ALL WELCOME
-To listen or to speak-
The THREE TUNS PUB
NEAR BRISTOL CENTRAL LIBRARY
Wednesday 14th May 8.30
PHONE 01179621175
FOR FURTHER INFORMATION
DATA STREAM PURE CORRUPT(m.d.): at F.I.L.E. Electronic Language
Internacional Festival,Hipersonica <http://www.file.org.br/> at Paco das
Artes, August 7 to 23rd/ 2003, Sao Paulo, Brasil.
Re: Re: Re: Re: curating the curators
Hi,
We used to use empty chocolate & biscuit tins for pirate radio broadcasting.
It's the ducking your head in people's lofts that was the real headache...
marc
>
> >
> >> neil jenkins (devoid) once told me you could tap into broadband using
> >> something like some basic cabling and a empty box of pringles.
> >> Seeing as my connection is my biggest outgoing - that's what I'd like
> >> to
> >> know how to set up - preferably without getting arrested of course
> >> (wimp)
> >
> > Umm, Pringles. I belive these come with a-pinch-of-salt-flavor. Are you
sure
> > this was not the snack of choice as the cabling was installed? Then
again, the
> > Captain Crunch whistle made some noise once upon a time...
> >
> You can make a wireless antenna out of an empty pringles can. I guess you
> can use this to pick up someone elses wireless bandwidth, if they have no
> security, and away you go. http://www.netscum.com/~clapp/wireless.html
> Cheers, Ivan
>
> + 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
>
>
We used to use empty chocolate & biscuit tins for pirate radio broadcasting.
It's the ducking your head in people's lofts that was the real headache...
marc
>
> >
> >> neil jenkins (devoid) once told me you could tap into broadband using
> >> something like some basic cabling and a empty box of pringles.
> >> Seeing as my connection is my biggest outgoing - that's what I'd like
> >> to
> >> know how to set up - preferably without getting arrested of course
> >> (wimp)
> >
> > Umm, Pringles. I belive these come with a-pinch-of-salt-flavor. Are you
sure
> > this was not the snack of choice as the cabling was installed? Then
again, the
> > Captain Crunch whistle made some noise once upon a time...
> >
> You can make a wireless antenna out of an empty pringles can. I guess you
> can use this to pick up someone elses wireless bandwidth, if they have no
> security, and away you go. http://www.netscum.com/~clapp/wireless.html
> Cheers, Ivan
>
> + 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
>
>
Interview with Marc Garrett by August Highland
The Muse Apprentice Guild
Interview with Marc Garrett by August Highland.
http://www.muse-apprentice-guild.com/marcgarrett-interview/home.html
Interview with Marc Garrett by August Highland.
http://www.muse-apprentice-guild.com/marcgarrett-interview/home.html
Re:_RHIZOME_RAW:_RE:_RHIZOME_RAW:_SABIA_VIRTUALITY
HI Jim,
Yes, an excellent site & the projects really connect kids and technology pl=
ayfully via intimate experience - perhaps some net artists could learn from=
stuff like this...
marc
Hi Regina,
Really enjoyed your new work!
It makes me want to come to Rio!
It is sad to know, however, that so many youths there have little choice =
but crime and violence.
I am curious about the artist's book. Could you tell me about it?
ja
-----Original Message-----
From: owner-list@rhizome.org [mailto:owner-list@rhizome.org]On Behalf O=
f Regina Celia Pinto
Sent: Tuesday, May 13, 2003 1:41 PM
To: list@rhizome.org
Subject: RHIZOME_RAW: SABIA VIRTUALITY
I would like to invite all fo you to browser my new e-book at:
http://arteonline.arq.br/Virtualidade
Sabia is a brazilian bird.
"Sabia Virtuality" is an experimental narrative that compares and con=
trasts the real and the virtual through three versions of the same text/hyp=
ertext:
w A printed artist's book.
w A multimedia and interactive digital artist's book (CD-ROM).
w A multimedia and interactive "net-digital" artist's book (website).
"Sabia Virtuality" also spotlights similarities between Brazilian and=
Mexican culture and plays with parodies of the poem "Cancao do Exili=
o" ("Song of Exile," 1843), by Brazilian poet Goncalves Dias. Sabia is =
a brazilian bird.
If possible, send me a feedback.
Yes, an excellent site & the projects really connect kids and technology pl=
ayfully via intimate experience - perhaps some net artists could learn from=
stuff like this...
marc
Hi Regina,
Really enjoyed your new work!
It makes me want to come to Rio!
It is sad to know, however, that so many youths there have little choice =
but crime and violence.
I am curious about the artist's book. Could you tell me about it?
ja
-----Original Message-----
From: owner-list@rhizome.org [mailto:owner-list@rhizome.org]On Behalf O=
f Regina Celia Pinto
Sent: Tuesday, May 13, 2003 1:41 PM
To: list@rhizome.org
Subject: RHIZOME_RAW: SABIA VIRTUALITY
I would like to invite all fo you to browser my new e-book at:
http://arteonline.arq.br/Virtualidade
Sabia is a brazilian bird.
"Sabia Virtuality" is an experimental narrative that compares and con=
trasts the real and the virtual through three versions of the same text/hyp=
ertext:
w A printed artist's book.
w A multimedia and interactive digital artist's book (CD-ROM).
w A multimedia and interactive "net-digital" artist's book (website).
"Sabia Virtuality" also spotlights similarities between Brazilian and=
Mexican culture and plays with parodies of the poem "Cancao do Exili=
o" ("Song of Exile," 1843), by Brazilian poet Goncalves Dias. Sabia is =
a brazilian bird.
If possible, send me a feedback.
Re: Re: RHIZOME_RARE: Mirapaul on Dietz Departure
Hi Mark,
Do you mean initiatives? No, I mean esinitivat~yes initiatives...
> I predict that in ten years time every major museum (and many of the
> not-so-major ones) will have a signficant commitment to new media art in
> some form. Meanwhile, the boundaries between new media art and other forms
> of art are getting blurrier--a welcome transition, in my opinion. The
walls
> of the new media ghetto are crumbling. Bring 'em down!
This will happen not just because of the institutions suddenly accepting net
art and all its nuances, but because the many net groups/indivuduals out
there are actively making real and solid connections with a social
responsibility towards inclusivity, rather than centralized mind-sets
behaviour patterns that isolate.
marc
> >Hi Mark,
> >
> >It seems, looking from over here in the UK that 'Net Art' in America is
> >moving into the dark ages.
>
> I wouldn't jump to that conclusion just yet. We are certainly witnessing a
> retrenchment in institutional support, but these things develop in cycles.
I hope so, things are getting strange and it all feels a bit like a pretty
>
> >A power hungry governmental administration that
> >is gradually closing many portals/doors for creative net adventurers
> >nationally and of course internationally.
>
> Yup. This is a bigger problem, and not just for artists.
>
> >May be business indicatives (not
> >necessarily corporate or Rockefeller based) and separate from funding
> >demands can offer new answers...
>
> Indicatives? Do you mean initiatives?
>
> > > To view this entire thread, click here:
> > > http://rhizome.org/thread.rhiz?thread
Do you mean initiatives? No, I mean esinitivat~yes initiatives...
> I predict that in ten years time every major museum (and many of the
> not-so-major ones) will have a signficant commitment to new media art in
> some form. Meanwhile, the boundaries between new media art and other forms
> of art are getting blurrier--a welcome transition, in my opinion. The
walls
> of the new media ghetto are crumbling. Bring 'em down!
This will happen not just because of the institutions suddenly accepting net
art and all its nuances, but because the many net groups/indivuduals out
there are actively making real and solid connections with a social
responsibility towards inclusivity, rather than centralized mind-sets
behaviour patterns that isolate.
marc
> >Hi Mark,
> >
> >It seems, looking from over here in the UK that 'Net Art' in America is
> >moving into the dark ages.
>
> I wouldn't jump to that conclusion just yet. We are certainly witnessing a
> retrenchment in institutional support, but these things develop in cycles.
I hope so, things are getting strange and it all feels a bit like a pretty
>
> >A power hungry governmental administration that
> >is gradually closing many portals/doors for creative net adventurers
> >nationally and of course internationally.
>
> Yup. This is a bigger problem, and not just for artists.
>
> >May be business indicatives (not
> >necessarily corporate or Rockefeller based) and separate from funding
> >demands can offer new answers...
>
> Indicatives? Do you mean initiatives?
>
> > > To view this entire thread, click here:
> > > http://rhizome.org/thread.rhiz?thread