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.
NetBehaviour List Residencies - Brad Brace: The 12hr-ISBN-JPEG Project
*NetBehaviour List Residencies*
- an ongoing in-house project built by users of the NetBehaviour list.
An in-house, networked artist/curator/writer residency
lasting for 2 weeks where a practicioner's work is seen,
as part of the list experience, adding an authentic sense
of stuff to the list that does not necessarily rely just on
debate alone, but also on behaviour.
*NetBehaviour residency No. 1*
Brad Brace: The 12hr-ISBN-JPEG Project
http://bbrace.laughingsquid.net/12hr-isbn-jpeg.html
Nominated by:Marc Garrett (list member)
*Brad Brace *began his residency on the Netbehaviour
list (http://www.netbehaviour.org) 7/10/2004. It ended,
2 days after the prescribed 14 days, residency on
7/26/2004.
Much debate was shared regarding Brace Brace's work
on the list. Which can viewed here with other information:
http://www.netbehaviour.org/Residencies.htm
*Who's next up for a Residency?
[[MEZ]]* Starts (9/8/04)
http://www.hotkey.net.au/~netwurker
http://www.livejournal.com/users/netwurker/
*Lewis LaCook*
http://www.lewislacook.com/
http://www.lewislacook.com/xanaxpop/
*Tamar Schori*
http://www.tamar-schori.net/
http://www.oodlala.net/
*Ivan Pope*
http://www.ivanpope.com/
http://blog.ivanpope.com/
*Brief info about Residencies.*
Residencies last for 2 weeks.
Maximum size of image per post- 35k
Maximum number of posts - every six hours
Minimum nuber of posts - one a day
Any member on the list can suggest a potential resident artist.
The list members vote for a resident - it only takes 7 yes votes...
but if there are 8 votes against, the residency does not happen
for that individual/group. Rules change and adapt according to
suggestions by NetBehaviourists - active list members:-)
http://www.netbehaviour.org
NetBehaviour is an open email list community for sharing ideas,
platforming art and net projects and facilitating collaborations.
Let's explore the potentials of this global network.
This is just the beginning.
- an ongoing in-house project built by users of the NetBehaviour list.
An in-house, networked artist/curator/writer residency
lasting for 2 weeks where a practicioner's work is seen,
as part of the list experience, adding an authentic sense
of stuff to the list that does not necessarily rely just on
debate alone, but also on behaviour.
*NetBehaviour residency No. 1*
Brad Brace: The 12hr-ISBN-JPEG Project
http://bbrace.laughingsquid.net/12hr-isbn-jpeg.html
Nominated by:Marc Garrett (list member)
*Brad Brace *began his residency on the Netbehaviour
list (http://www.netbehaviour.org) 7/10/2004. It ended,
2 days after the prescribed 14 days, residency on
7/26/2004.
Much debate was shared regarding Brace Brace's work
on the list. Which can viewed here with other information:
http://www.netbehaviour.org/Residencies.htm
*Who's next up for a Residency?
[[MEZ]]* Starts (9/8/04)
http://www.hotkey.net.au/~netwurker
http://www.livejournal.com/users/netwurker/
*Lewis LaCook*
http://www.lewislacook.com/
http://www.lewislacook.com/xanaxpop/
*Tamar Schori*
http://www.tamar-schori.net/
http://www.oodlala.net/
*Ivan Pope*
http://www.ivanpope.com/
http://blog.ivanpope.com/
*Brief info about Residencies.*
Residencies last for 2 weeks.
Maximum size of image per post- 35k
Maximum number of posts - every six hours
Minimum nuber of posts - one a day
Any member on the list can suggest a potential resident artist.
The list members vote for a resident - it only takes 7 yes votes...
but if there are 8 votes against, the residency does not happen
for that individual/group. Rules change and adapt according to
suggestions by NetBehaviourists - active list members:-)
http://www.netbehaviour.org
NetBehaviour is an open email list community for sharing ideas,
platforming art and net projects and facilitating collaborations.
Let's explore the potentials of this global network.
This is just the beginning.
New Submissions on Furtherfield
_*New Submissions on Furtherfield*_
(Alphabetical order)
*Jess Loseby.*
*Cyber-Domestic Aesthetic: *(or the search for a ubiquitous identity) a
random - visually - annotated - hypertext - essay. "Home computers are
often considered as "domestic technology" or part of the "domestic media
ensemble" as if those were simple and straightforward
concepts."Cornford, T & Habib, L "Computers in the Home: Domestic
Technology and the Process of Domestication", (2001) Best Viewed on I.E.
5+, Flash 6 plug-in required . Will almost certainly bugger-up safari.
*Statement by artist about the work:
* http://www.furtherfield.org/displayreview.php?From=Index&review_id0
*Artist's ID-Card on Furtherfield:*
http://www.furtherfield.org/displayartist.php?artist_id8
*Marjan van Mourik.
A Depression Part I and II: *Exploring the boundaries* *of the technical
possibilities of the medium. This project is merely meant as an
inventory of my own observations and my comments on the world of which I
am part. The computer and the internet serve as a means; a keyboard and
a screen with access to the endless jpg, gif, wave, M3, mov, doc. and
other files. The computer screen is the canvas and the web site is the
painting.
*Statement by artists about the work:*
http://www.furtherfield.org/displayreview.php?From=Index&review_id8
*Artist's ID-Card on Furtherfield:*
http://www.furtherfield.org/displayartist.php?artist_id7
*Teo Spiller.
SP/M sonnet: *In your mailbox, you can find titles as V.I./.G.R./.,
organs enlargements, easy earnings, etc. Teo Spiller, net.artist from
Ljubljana thinks it is a new kind of slang. Somebody tries to draw our
attention, use only few words in the subject of e-mail and is very
advertising aggressive. There are also many properties of technical
nature: to outwit spam filters by usage of dots between characters,
replace some characters or syllables with numbers and special
characters, etc.
*Statement by artists about the work:
*http://www.furtherfield.org/displayreview.php?From=Index&review_id5
*Artist's ID-Card on Furtherfield: *
http://www.furtherfield.org/displayartist.php?artist_id4
*TROPISMS.*
*Collective movieblog: *www.tropisms.org started in 2002 as a personal
videolog or vlog, a weblog that integrated streaming video-files with a
travel diary. The site has grown into a collective movieblog with an
international group of participating filmmakers. Tropisms is a bandwidth
heavy site, it uses flash and quicktime streams, so a broadband
connection is needed. On Macs, Mozilla is preferable.
*Statement by artists about the work:
*http://www.furtherfield.org/displayreview.php?From=Index&review_id7
*Artist's ID-Card on Furtherfield:
*http://www.furtherfield.org/displayartist.php?artist_id6
*Myron Turner.*
*Timeline: *is based on the device used in packages like Adobe Premiere
and Macromedia for sequencing images, video clips, and sound files.
There are many reasons why the metaphor of the timeline appealed to me.
First, there are the obvious associations with time and aging, and this
work began as a poem about getting old.IE 5.5, Netscape 7.1, or Mozilla.
*Statement by artists about the work:*
http://www.furtherfield.org/displayreview.php?From=Index&review_id6
*Artist's ID-Card on Furtherfield:*
http://www.furtherfield.org/displayartist.php?artist_id5
*Chris Webb.
Re:werks: *Chris Webb has created a collection of found MP3 and MOV
files, and sampled, reconstructed for your viewing/listening pleasure.
Process = Filesharing Networks >> 1-2 second samples >> Reworked -
Looped- Filtered.
*Work can be seen here:* http://www.furtherfield.org/cwebb/rewerks/
*Artist's ID-Card on Furtherfield:*
http://www.furtherfield.org/displayartist.php?artist_id=1
____________________________________
Furtherfield is an online platform for the creation, promotion,
criticism and archiving of adventurous digital/net artwork for public
viewing, experience and interaction.
Furtherfield creates imaginative strategies that actively communicate
ideas and issues in a range of digital & terrestrial media contexts;
featuring works online and organising global, contributory projects,
simultaneously on the Internet, the streets and public venues.
Furtherfield focuses on network related projects that explore new
social contexts that transcend the digital, or offer a subjective voice
that communicates beyond the medium. Furtherfield collaborates with
artists, programmers, writers, activists, musicians and thinkers who
explore beyond traditional remits.
The majority of activities are self funded and are sustained by the
passion, ideas, exploration and skills of the Furtherfield team as well
as its diverse membership. Occasional public funding facilitates a more
in-depth collaboration with programmers and artists on specific
projects, usually leading to more intuitive audience interaction and
accessibility.
We can make our own World . . .
http://www.furtherfield.org
(Alphabetical order)
*Jess Loseby.*
*Cyber-Domestic Aesthetic: *(or the search for a ubiquitous identity) a
random - visually - annotated - hypertext - essay. "Home computers are
often considered as "domestic technology" or part of the "domestic media
ensemble" as if those were simple and straightforward
concepts."Cornford, T & Habib, L "Computers in the Home: Domestic
Technology and the Process of Domestication", (2001) Best Viewed on I.E.
5+, Flash 6 plug-in required . Will almost certainly bugger-up safari.
*Statement by artist about the work:
* http://www.furtherfield.org/displayreview.php?From=Index&review_id0
*Artist's ID-Card on Furtherfield:*
http://www.furtherfield.org/displayartist.php?artist_id8
*Marjan van Mourik.
A Depression Part I and II: *Exploring the boundaries* *of the technical
possibilities of the medium. This project is merely meant as an
inventory of my own observations and my comments on the world of which I
am part. The computer and the internet serve as a means; a keyboard and
a screen with access to the endless jpg, gif, wave, M3, mov, doc. and
other files. The computer screen is the canvas and the web site is the
painting.
*Statement by artists about the work:*
http://www.furtherfield.org/displayreview.php?From=Index&review_id8
*Artist's ID-Card on Furtherfield:*
http://www.furtherfield.org/displayartist.php?artist_id7
*Teo Spiller.
SP/M sonnet: *In your mailbox, you can find titles as V.I./.G.R./.,
organs enlargements, easy earnings, etc. Teo Spiller, net.artist from
Ljubljana thinks it is a new kind of slang. Somebody tries to draw our
attention, use only few words in the subject of e-mail and is very
advertising aggressive. There are also many properties of technical
nature: to outwit spam filters by usage of dots between characters,
replace some characters or syllables with numbers and special
characters, etc.
*Statement by artists about the work:
*http://www.furtherfield.org/displayreview.php?From=Index&review_id5
*Artist's ID-Card on Furtherfield: *
http://www.furtherfield.org/displayartist.php?artist_id4
*TROPISMS.*
*Collective movieblog: *www.tropisms.org started in 2002 as a personal
videolog or vlog, a weblog that integrated streaming video-files with a
travel diary. The site has grown into a collective movieblog with an
international group of participating filmmakers. Tropisms is a bandwidth
heavy site, it uses flash and quicktime streams, so a broadband
connection is needed. On Macs, Mozilla is preferable.
*Statement by artists about the work:
*http://www.furtherfield.org/displayreview.php?From=Index&review_id7
*Artist's ID-Card on Furtherfield:
*http://www.furtherfield.org/displayartist.php?artist_id6
*Myron Turner.*
*Timeline: *is based on the device used in packages like Adobe Premiere
and Macromedia for sequencing images, video clips, and sound files.
There are many reasons why the metaphor of the timeline appealed to me.
First, there are the obvious associations with time and aging, and this
work began as a poem about getting old.IE 5.5, Netscape 7.1, or Mozilla.
*Statement by artists about the work:*
http://www.furtherfield.org/displayreview.php?From=Index&review_id6
*Artist's ID-Card on Furtherfield:*
http://www.furtherfield.org/displayartist.php?artist_id5
*Chris Webb.
Re:werks: *Chris Webb has created a collection of found MP3 and MOV
files, and sampled, reconstructed for your viewing/listening pleasure.
Process = Filesharing Networks >> 1-2 second samples >> Reworked -
Looped- Filtered.
*Work can be seen here:* http://www.furtherfield.org/cwebb/rewerks/
*Artist's ID-Card on Furtherfield:*
http://www.furtherfield.org/displayartist.php?artist_id=1
____________________________________
Furtherfield is an online platform for the creation, promotion,
criticism and archiving of adventurous digital/net artwork for public
viewing, experience and interaction.
Furtherfield creates imaginative strategies that actively communicate
ideas and issues in a range of digital & terrestrial media contexts;
featuring works online and organising global, contributory projects,
simultaneously on the Internet, the streets and public venues.
Furtherfield focuses on network related projects that explore new
social contexts that transcend the digital, or offer a subjective voice
that communicates beyond the medium. Furtherfield collaborates with
artists, programmers, writers, activists, musicians and thinkers who
explore beyond traditional remits.
The majority of activities are self funded and are sustained by the
passion, ideas, exploration and skills of the Furtherfield team as well
as its diverse membership. Occasional public funding facilitates a more
in-depth collaboration with programmers and artists on specific
projects, usually leading to more intuitive audience interaction and
accessibility.
We can make our own World . . .
http://www.furtherfield.org
Public Broadcast Collaboration - TEKS & Furtherfield.
*Public Broadcast Collaboration - TEKS **& Furtherfield.*
* Two alternate online Platforms to promote your creative projects
simultaeneously.
* A Public Broadcast Facility where you can upload information
directly at either portals.
* To promote your latest project(s) - visit either of the links below.
*TEKS *- http://www.teks.no./n.html
*Furtherfield - *http://www.furtherfield.org
info below about both organizations...
----------------------------------------------------
*Trondheim Electronic Arts Centre*
TEKS, Trondheim Electronic Arts Centre is a non-profit organisation
founded in Trondheim in 2002 for promoting electronic arts of any field,
locally and nationally. TEKS is a resource and competence centre for
artists working with digital and electronic tools.
TEKS initiates and organizes artistic productions and projects, works
with promotion and education through courses and workshops, and acts as
organiser or co-organiser of various cultural initiatives in the
Trondheim region. The organisation serves as an IT consultant for
cultural institutions and is administrating mailing lists and web sites
for cultural projects.
Because of Trondheim as a national technology centre, TEKS priorities to
coordinate local resources and competence by establishing an
inter-institutional network. Artistic projects are developed and
realised by prioritising interdisciplinary collaborations with relevant
educational and research based institutions. TEKS is currently
collaborating with the Music Technology programme, the Department of
Engineering Cybernetics, the Department of Computer and Information
Science, and the Trondheim Academy of Fine Art at the Norwegian
University of Science and Technology, NTNU.
http://www.teks.no
*Furtherfield*
Furtherfield is an online platform for the creation, promotion, and
criticism of adventurous digital/net art work for public viewing,
experience and interaction.
Furtherfield creates imaginative strategies that actively communicate
ideas and issues in a range of digital & terrestrial media contexts;
featuring works online and organising global, contributory projects,
simultaneously on the Internet, the streets and public venues.
Furtherfield focuses on network related projects that explore new social
contexts that transcend the digital, or offer a subjective voice that
communicates beyond the medium. Furtherfield collaborates with artists,
programmers, writers, activists, musicians and thinkers who explore
beyond traditional remits.
The majority of activities are self funded and are sustained by the
passion, ideas, exploration and skills of the Furtherfield team as well
as its diverse membership.
Occasional public funding facilitates a more in-depth collaboration with
programmers and artists on specific projects, usually leading to more
intuitive audience interaction and accessibility.
We can make our own World . . .
http://www.furtherfield.org
* Two alternate online Platforms to promote your creative projects
simultaeneously.
* A Public Broadcast Facility where you can upload information
directly at either portals.
* To promote your latest project(s) - visit either of the links below.
*TEKS *- http://www.teks.no./n.html
*Furtherfield - *http://www.furtherfield.org
info below about both organizations...
----------------------------------------------------
*Trondheim Electronic Arts Centre*
TEKS, Trondheim Electronic Arts Centre is a non-profit organisation
founded in Trondheim in 2002 for promoting electronic arts of any field,
locally and nationally. TEKS is a resource and competence centre for
artists working with digital and electronic tools.
TEKS initiates and organizes artistic productions and projects, works
with promotion and education through courses and workshops, and acts as
organiser or co-organiser of various cultural initiatives in the
Trondheim region. The organisation serves as an IT consultant for
cultural institutions and is administrating mailing lists and web sites
for cultural projects.
Because of Trondheim as a national technology centre, TEKS priorities to
coordinate local resources and competence by establishing an
inter-institutional network. Artistic projects are developed and
realised by prioritising interdisciplinary collaborations with relevant
educational and research based institutions. TEKS is currently
collaborating with the Music Technology programme, the Department of
Engineering Cybernetics, the Department of Computer and Information
Science, and the Trondheim Academy of Fine Art at the Norwegian
University of Science and Technology, NTNU.
http://www.teks.no
*Furtherfield*
Furtherfield is an online platform for the creation, promotion, and
criticism of adventurous digital/net art work for public viewing,
experience and interaction.
Furtherfield creates imaginative strategies that actively communicate
ideas and issues in a range of digital & terrestrial media contexts;
featuring works online and organising global, contributory projects,
simultaneously on the Internet, the streets and public venues.
Furtherfield focuses on network related projects that explore new social
contexts that transcend the digital, or offer a subjective voice that
communicates beyond the medium. Furtherfield collaborates with artists,
programmers, writers, activists, musicians and thinkers who explore
beyond traditional remits.
The majority of activities are self funded and are sustained by the
passion, ideas, exploration and skills of the Furtherfield team as well
as its diverse membership.
Occasional public funding facilitates a more in-depth collaboration with
programmers and artists on specific projects, usually leading to more
intuitive audience interaction and accessibility.
We can make our own World . . .
http://www.furtherfield.org
'Kill the patriarch, not net art - you muppets...'
Hi mark,
I agree...with you. I am so bored with all this shoulder jumping via
institutionally led propoganda.
Yep - Vuk Cosik can say whatever he wants, but it certainly is not
reflecting the reality of what is actually going on right now in many of
our lives as practicing networked/relational artists, and soft groups.
Surely this is all about claiming a section of history, (yawn) yet
again, taking away the 'authenticity' of what many of us are actively
continuing without the insecure need of institutional justification.
Killing and placing a flag on that mythical 'hermitcally sealed' moon,
just so one's name can be seen in lights as part of the delusory
spectacle, instigated by provincially minded academics, and tired and
worn out institutionally dissatisfied dependents. A sad state of affairs
indeed. It is a very interesting time - and we can observe now more than
ever where people's real intentions lie...
We are in the process of setting up a gallery in London, UK called HTTP
(The house of technological termed praxis), and we are already filled up
with a whole year of artists/soft groups who are actively involved with
with net art, sound art and relational art; young and old. We set up
this gallery, because we feel that fine art and connected institutions
and some curators have failed in democratizing, showing what is of value
out there, we are left with no other choice but reclaim what has been
taken away from networked creatives by institutionally bound power
hungry centralists, with an aim re-balance the ever changing picture out
there. And what is great about this is that we are getting a lot of
genuine interest from new, independent fine art groups, nationally and
locally and people, who would not normally view net art, and things
related - so all of this 'trying to kill' is a tactic to place certain
people on thrones, and it does nothing that is positive or progressive
to open up debate, or even empower the fluidity of the artist, curator
or connected creatives, or culture in the wider context.
Let those who rode the dot.com boom who are have run out of imagination
and fresh verve, fizzle out inside their bursted, restrictive bubble -
who in reality were obviously desperately reliant on capitalist-led
trappings and a need for historical mirrors to see themselves rather
than the larger picture, reflecting a weakness and failure to transcend
canon-led protocls - yes, may be they are dead. But there are plenty
more who are vibrant and alive, and they are the ones who will teach the
so called encased 'heroic period' - DEAD gurus, how to move beyond
lip-service. There is a lot going on, and it is linked to non-linear
behaviour, flexible manouvering, and beyond the remits of imposed
gate-keeping.
And yes - history will unfold...and it will not be fine art or singular
'minded', visionless academics who will be looked upon positively as new
histories/stories are declared, but the ever flourishing expansionist
individuals and groups, who are exploring their, collective,
collaborative, and authentic, re-evalutaing progressions of a socially
networked, and relationally 'embodied' creative world, beyond
institutionally directed mythologies - the real heroes (if there is such
a thing anymore).
'Kill the patriarch, not net art - you muppets...'
>"Like Vuk Cosik (the father of net art) is saying, NET ART IS DEAD ! (4) it is dead because the context where net art was produced doesn't exist anymore...
>But on the other I still think that some art form would and will be produced in interactions with Internet, but we cannot call it 'net art' anymore ! I do and I will also...
>But at the same time I decided to jump into the most 'prestigious', 'serious', 'outdated' and 'unpolitically correct' media on an ironical way: 'Paintings' ! Many artist came from paintings to net art by using on the screen the paintings iconology and metaphor (5),"
>
>At the risk of opening up the "death of net art" debate again. It seems that you are saying that you switched from net art to painting-the-net because the context for net art was dead, but, one could argue that the context for painting was dead when the photograph was developed over a hundred years ago, yet you are calling what you do "Painting." So why do artists who use networks as an approach to making art have to rename the practice? Why not rename what you do something else besides "painting?"
>
>Personally, i think this whole "the death of net art" stuff stinks of avant-gardism, which one may think died with Modernism, but i guess both myths are alive and well. the myths vary but often go something like this... declare the practice that you do extinct (along with everyone doing it) and go on to the NEXT LEVEL (which in this case is something much older and arguably out of date than net art) and then declare yourself THE FIRST to do that. but i say art only exists as a simple hierarchical timeline if you want to be reductionist (and a modernist). If the newness of painting exists in the subject as you suggest (painting what has never been painted) then why does the newness of net art exist in the context of the technology? ...and on a related note the whole "Father of Net Art" stuff is so patriarchal and boring.
>
>respectfully
>
>mark cooley
>
>
>
>
>Valery Grancher wrote:
>
>
>
>>"Webpaintings": 1998-2004
>>After net.art on 1998, my personal view...
>>
>>
>>
>>
>>If you look art history and how it is dealing with paintings, you can
>>perceive that the main topic is always the subject painted on canvas:
>>From Giotto to today. Paintings has dealt with physical subject, dealt
>>with sometimes narration or no narration, and has interacted with
>>other media like photography or with just its materiality and
>>iconology...
>>For artist from my generation, we grew up with video games and
>>computers. The first iconology I perceived were icons from interface
>>and software. The screen has defined a new window and has killed the
>>camera obscura. The screen is not reflecting and difracting the light
>>like pigment but is generating electronic light. So today how to paint
>>something ? The skill doesn't matter. The main topic is to paint
>>something that nobody painted before you (Miltos Manetas (1)). And in
>>my case, I would like to add: to paint something by defining a new
>>iconoly (painting semiology)...
>>Some peoples from my art public were surprised on 1998 to see that a
>>conceptual artist like me who was one of the first to use internet
>>media on 1994, 4 years later during the time when Net Art was really
>>the most successfull art practice, is taking brush to produce images
>>on canvas !
>>I would say that I always perceived internet as a dynamic process, a
>>network space where nothing may be freezed. Internet is dealing with
>>new concept of time and space, and is defining on another way human
>>identity and phenomenolgy. Net art is a process.This media has evolved
>>from 1998 until today to a huge market where we cannot find any TAZ
>>(Hakim Bey (2)) like on 1994 when net art was conceived! The web and
>>internet is today a space where branding icons are bringing a new kind
>>of consumerism (the hyperconsumerism) where also language may be
>>commercialized ("google adwords", C. Bruno (3)) , a new kind of 'pop'
>>with its visual signs, logo, VIP and so on, so on...
>>Like Vuk Cosik (the father of net art) is saying, NET ART IS DEAD !
>>(4) it is dead because the context where net art was produced doesn't
>>exist anymore...
>>But on the other I still think that some art form would and will be
>>produced in interactions with Internet, but we cannot call it 'net
>>art' anymore ! I do and I will also...
>>But at the same time I decided to jump into the most 'prestigious',
>>'serious', 'outdated' and 'unpolitically correct' media on an ironical
>>way: 'Paintings' ! Many artist came from paintings to net art by using
>>on the screen the paintings iconology and metaphor (5), in my case I
>>felt clearly that the only thing to do was to reverse the process:
>>How should be paintings during internet time ? How to use computer
>>iconology in paintings ?
>>I think quite differently than some painters of my generation: I said
>>that we should paint something which was never painted before... that
>>is true... but painting is also a language and is not dealing with
>>just images and subject and that's why I'm talking about iconology. I
>>deeply think that the only way to paint a painting in our internet
>>time should not be to paint computers objects (still life) but what
>>computers has brought in our reality theater, to paint what computer
>>technology has changed in our way of seeing. That's why I choosed to
>>paint website screen, computer screen, computer codes. By doing this,
>>I try to show that the computer iconology is changing all the time and
>>paintings are perfect Flat Dead Things which are freezing the topics
>>painted. The result is that the paintings produced are always
>>reflecting dead icons: The design of the website are changing all the
>>time, the software are changing also, and this is the same for the
>>codes...
>>Otherwise, I would say that the internet screen are little bit like
>>landscape and still life. These pictures are osbsolete, and were used
>>so much that we cannot define anything specific, but at the same we
>>are always fascinated by them. This is like a sunset, this is a stupid
>>and very kitsch 'cliche', but all the time by facing this natural
>>phenomenon we are always fascinated because a specific and undefined
>>detail inside this phenomenon is catching us: Miltos Manetas is
>>calling it "Neen"(6).
>>I will finish by saying that this is the first time in history that
>>human is consuming language and iconology like daily products:
>>I defined my own way of seeing by being confronted to my generation
>>computer iconology, but my son will get another way of seeing by being
>>confronted to other technologies iconology.
>>We jumped from the 'nature' phenomenology based on nature perception
>>to cyber-phenomenology based on technologies interactions with our
>>perception !
>>
>>Valery Grancher
>>http://www.nomemory.org
>>http://www.nomemory.org/webpaint
>>http://www.nomemorybazaar.com
>>
>>N.B: This text will be published in my book "internet drawing" on fall
>>2004 onestarpress editions: http://www.onetsarpress.com
>>
>>
>>
>+
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>+
>Subscribers to Rhizome are subject to the terms set out in the
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>
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>
I agree...with you. I am so bored with all this shoulder jumping via
institutionally led propoganda.
Yep - Vuk Cosik can say whatever he wants, but it certainly is not
reflecting the reality of what is actually going on right now in many of
our lives as practicing networked/relational artists, and soft groups.
Surely this is all about claiming a section of history, (yawn) yet
again, taking away the 'authenticity' of what many of us are actively
continuing without the insecure need of institutional justification.
Killing and placing a flag on that mythical 'hermitcally sealed' moon,
just so one's name can be seen in lights as part of the delusory
spectacle, instigated by provincially minded academics, and tired and
worn out institutionally dissatisfied dependents. A sad state of affairs
indeed. It is a very interesting time - and we can observe now more than
ever where people's real intentions lie...
We are in the process of setting up a gallery in London, UK called HTTP
(The house of technological termed praxis), and we are already filled up
with a whole year of artists/soft groups who are actively involved with
with net art, sound art and relational art; young and old. We set up
this gallery, because we feel that fine art and connected institutions
and some curators have failed in democratizing, showing what is of value
out there, we are left with no other choice but reclaim what has been
taken away from networked creatives by institutionally bound power
hungry centralists, with an aim re-balance the ever changing picture out
there. And what is great about this is that we are getting a lot of
genuine interest from new, independent fine art groups, nationally and
locally and people, who would not normally view net art, and things
related - so all of this 'trying to kill' is a tactic to place certain
people on thrones, and it does nothing that is positive or progressive
to open up debate, or even empower the fluidity of the artist, curator
or connected creatives, or culture in the wider context.
Let those who rode the dot.com boom who are have run out of imagination
and fresh verve, fizzle out inside their bursted, restrictive bubble -
who in reality were obviously desperately reliant on capitalist-led
trappings and a need for historical mirrors to see themselves rather
than the larger picture, reflecting a weakness and failure to transcend
canon-led protocls - yes, may be they are dead. But there are plenty
more who are vibrant and alive, and they are the ones who will teach the
so called encased 'heroic period' - DEAD gurus, how to move beyond
lip-service. There is a lot going on, and it is linked to non-linear
behaviour, flexible manouvering, and beyond the remits of imposed
gate-keeping.
And yes - history will unfold...and it will not be fine art or singular
'minded', visionless academics who will be looked upon positively as new
histories/stories are declared, but the ever flourishing expansionist
individuals and groups, who are exploring their, collective,
collaborative, and authentic, re-evalutaing progressions of a socially
networked, and relationally 'embodied' creative world, beyond
institutionally directed mythologies - the real heroes (if there is such
a thing anymore).
'Kill the patriarch, not net art - you muppets...'
>"Like Vuk Cosik (the father of net art) is saying, NET ART IS DEAD ! (4) it is dead because the context where net art was produced doesn't exist anymore...
>But on the other I still think that some art form would and will be produced in interactions with Internet, but we cannot call it 'net art' anymore ! I do and I will also...
>But at the same time I decided to jump into the most 'prestigious', 'serious', 'outdated' and 'unpolitically correct' media on an ironical way: 'Paintings' ! Many artist came from paintings to net art by using on the screen the paintings iconology and metaphor (5),"
>
>At the risk of opening up the "death of net art" debate again. It seems that you are saying that you switched from net art to painting-the-net because the context for net art was dead, but, one could argue that the context for painting was dead when the photograph was developed over a hundred years ago, yet you are calling what you do "Painting." So why do artists who use networks as an approach to making art have to rename the practice? Why not rename what you do something else besides "painting?"
>
>Personally, i think this whole "the death of net art" stuff stinks of avant-gardism, which one may think died with Modernism, but i guess both myths are alive and well. the myths vary but often go something like this... declare the practice that you do extinct (along with everyone doing it) and go on to the NEXT LEVEL (which in this case is something much older and arguably out of date than net art) and then declare yourself THE FIRST to do that. but i say art only exists as a simple hierarchical timeline if you want to be reductionist (and a modernist). If the newness of painting exists in the subject as you suggest (painting what has never been painted) then why does the newness of net art exist in the context of the technology? ...and on a related note the whole "Father of Net Art" stuff is so patriarchal and boring.
>
>respectfully
>
>mark cooley
>
>
>
>
>Valery Grancher wrote:
>
>
>
>>"Webpaintings": 1998-2004
>>After net.art on 1998, my personal view...
>>
>>
>>
>>
>>If you look art history and how it is dealing with paintings, you can
>>perceive that the main topic is always the subject painted on canvas:
>>From Giotto to today. Paintings has dealt with physical subject, dealt
>>with sometimes narration or no narration, and has interacted with
>>other media like photography or with just its materiality and
>>iconology...
>>For artist from my generation, we grew up with video games and
>>computers. The first iconology I perceived were icons from interface
>>and software. The screen has defined a new window and has killed the
>>camera obscura. The screen is not reflecting and difracting the light
>>like pigment but is generating electronic light. So today how to paint
>>something ? The skill doesn't matter. The main topic is to paint
>>something that nobody painted before you (Miltos Manetas (1)). And in
>>my case, I would like to add: to paint something by defining a new
>>iconoly (painting semiology)...
>>Some peoples from my art public were surprised on 1998 to see that a
>>conceptual artist like me who was one of the first to use internet
>>media on 1994, 4 years later during the time when Net Art was really
>>the most successfull art practice, is taking brush to produce images
>>on canvas !
>>I would say that I always perceived internet as a dynamic process, a
>>network space where nothing may be freezed. Internet is dealing with
>>new concept of time and space, and is defining on another way human
>>identity and phenomenolgy. Net art is a process.This media has evolved
>>from 1998 until today to a huge market where we cannot find any TAZ
>>(Hakim Bey (2)) like on 1994 when net art was conceived! The web and
>>internet is today a space where branding icons are bringing a new kind
>>of consumerism (the hyperconsumerism) where also language may be
>>commercialized ("google adwords", C. Bruno (3)) , a new kind of 'pop'
>>with its visual signs, logo, VIP and so on, so on...
>>Like Vuk Cosik (the father of net art) is saying, NET ART IS DEAD !
>>(4) it is dead because the context where net art was produced doesn't
>>exist anymore...
>>But on the other I still think that some art form would and will be
>>produced in interactions with Internet, but we cannot call it 'net
>>art' anymore ! I do and I will also...
>>But at the same time I decided to jump into the most 'prestigious',
>>'serious', 'outdated' and 'unpolitically correct' media on an ironical
>>way: 'Paintings' ! Many artist came from paintings to net art by using
>>on the screen the paintings iconology and metaphor (5), in my case I
>>felt clearly that the only thing to do was to reverse the process:
>>How should be paintings during internet time ? How to use computer
>>iconology in paintings ?
>>I think quite differently than some painters of my generation: I said
>>that we should paint something which was never painted before... that
>>is true... but painting is also a language and is not dealing with
>>just images and subject and that's why I'm talking about iconology. I
>>deeply think that the only way to paint a painting in our internet
>>time should not be to paint computers objects (still life) but what
>>computers has brought in our reality theater, to paint what computer
>>technology has changed in our way of seeing. That's why I choosed to
>>paint website screen, computer screen, computer codes. By doing this,
>>I try to show that the computer iconology is changing all the time and
>>paintings are perfect Flat Dead Things which are freezing the topics
>>painted. The result is that the paintings produced are always
>>reflecting dead icons: The design of the website are changing all the
>>time, the software are changing also, and this is the same for the
>>codes...
>>Otherwise, I would say that the internet screen are little bit like
>>landscape and still life. These pictures are osbsolete, and were used
>>so much that we cannot define anything specific, but at the same we
>>are always fascinated by them. This is like a sunset, this is a stupid
>>and very kitsch 'cliche', but all the time by facing this natural
>>phenomenon we are always fascinated because a specific and undefined
>>detail inside this phenomenon is catching us: Miltos Manetas is
>>calling it "Neen"(6).
>>I will finish by saying that this is the first time in history that
>>human is consuming language and iconology like daily products:
>>I defined my own way of seeing by being confronted to my generation
>>computer iconology, but my son will get another way of seeing by being
>>confronted to other technologies iconology.
>>We jumped from the 'nature' phenomenology based on nature perception
>>to cyber-phenomenology based on technologies interactions with our
>>perception !
>>
>>Valery Grancher
>>http://www.nomemory.org
>>http://www.nomemory.org/webpaint
>>http://www.nomemorybazaar.com
>>
>>N.B: This text will be published in my book "internet drawing" on fall
>>2004 onestarpress editions: http://www.onetsarpress.com
>>
>>
>>
>+
>-> post: list@rhizome.org
>-> questions: info@rhizome.org
>-> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
>-> give: http://rhizome.org/support
>-> visit: on Fridays the Rhizome.org web site is open to non-members
>+
>Subscribers to Rhizome are subject to the terms set out in the
>Membership Agreement available online at http://rhizome.org/info/29.php
>
>
>
>
Tonight: Live online interview with Replic**t Ltd
*FurtherStudio Critical Forum : Live online interview with Replic**t Ltd*
:::::::::::::::::::::::::::::::::::::::::
*ART BORE OR CORPORATE WHORE?*
Replic**t will be interviewed by *Charlotte Frost *of Furthertxt and
*Helen Sloan* of SCAN
Live online in the FurtherStudio Critical Forum
Wednesday at 7.30pm BST 21/07/04
*URL: http://www.furtherfield.org/furtherstudio/online/index_replic.htm*
at 8.15pm you are invited to join an open discussion with Replic**t,
Charlotte and Helen and other visitors at the same URL.
Discussions chaired by Marc Garrett
see you there,
Furtherfield crew
Critical Forum:
http://www.furtherfield.org/furtherstudio/online/index_replic.htm
More about FurtherStudio realtime online artists residency:
http://www.furtherstudio.org
FurtherStudio is a Furtherfield proiect: http://www.furtherfield.org
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
*Charlotte Frost* is the Editor for Furthertxt, a sister-site to
Furtherfield. This online platform for text based discussion, critique
and creativity continues the eternal search for the many ways of
achieving great text. Charlotte is also a PhD student at The School of
History of Art, Film and Visual Media, Birkbeck, University of London
with Charlie Gere. She is looking at the methods that might be used to
critique Net Art and establish its relationship with the practice of Art
History
*Helen Sloan* is currently Director of SCAN, the new media arts agency
and network in the South of England. She has worked on interdisciplinary
projects using new and emergent media over the last 15 years as a
curator, writer and researcher working with organisations such as ICA,
Site Gallery, FACT, Mute and V2. She has lectured and written
extensively in the field of new media in culture. http://www.scansite.org
*About Replic**t Ltd *
In today's art world the role of the artist has become indistinguishable
from that of the corporation. Late capitalism has fully integrated
artistic criticism and in turn artists have become capitalism's ground
troops. Todays art is one of integration not resistance. In recognition
of the extraordinary possibilities and potentials of such a coupling the
artist Replic**t has taken the marriage of business and art to its
logical end and registered herself as a private company limited by shares.
Replic**t Ltd is an attempt by the artist to use the corporate
environment for the dissemination of her artwork and her self, side
stepping the gallery distribution system and art market altogether by
turning to the corporation as the ultimate vehicle for the dissemination
of the artist and her work.
Replic**t Ltd's primary interest lies in exploring the potential of the
artist as an entity dominated by global business interests. She uses
pre-existing corporate structures and strategies and locates herself
within the already produced discourses of commodity culture, looking at
replication as a potential and effective form of global hegemony.
Replic**t Ltd @ Furtherstudio
*http://www.furtherfield.org/furtherstudio/online/index_replic.htm*
====================================>
In the past few months Furtherfield's online real-time studio facility,
FurtherStudio has been taken over by the artist Replic**t Ltd and
seamlessly transformed into a telematic boardroom . Chat room, tele
conferencing facility and real time snapshot of the company desktop have
collectively transpired to allow shareholders to penetrate product
development in an unparallel manner.
During this time Replic**t Ltd has continued her exploration of the
artist as a brand, merging her signature styles and themes with a brand
names values and attitude. Confessional work is merged with company
gifts and projected onto merchandise available for purchase on the
Replic**t Ltd website.
*for more information visit ::::::::::::::: http://www.furtherstudio.org*
:::::::::::::::::::::::::::::::::::::::::
*ART BORE OR CORPORATE WHORE?*
Replic**t will be interviewed by *Charlotte Frost *of Furthertxt and
*Helen Sloan* of SCAN
Live online in the FurtherStudio Critical Forum
Wednesday at 7.30pm BST 21/07/04
*URL: http://www.furtherfield.org/furtherstudio/online/index_replic.htm*
at 8.15pm you are invited to join an open discussion with Replic**t,
Charlotte and Helen and other visitors at the same URL.
Discussions chaired by Marc Garrett
see you there,
Furtherfield crew
Critical Forum:
http://www.furtherfield.org/furtherstudio/online/index_replic.htm
More about FurtherStudio realtime online artists residency:
http://www.furtherstudio.org
FurtherStudio is a Furtherfield proiect: http://www.furtherfield.org
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
*Charlotte Frost* is the Editor for Furthertxt, a sister-site to
Furtherfield. This online platform for text based discussion, critique
and creativity continues the eternal search for the many ways of
achieving great text. Charlotte is also a PhD student at The School of
History of Art, Film and Visual Media, Birkbeck, University of London
with Charlie Gere. She is looking at the methods that might be used to
critique Net Art and establish its relationship with the practice of Art
History
*Helen Sloan* is currently Director of SCAN, the new media arts agency
and network in the South of England. She has worked on interdisciplinary
projects using new and emergent media over the last 15 years as a
curator, writer and researcher working with organisations such as ICA,
Site Gallery, FACT, Mute and V2. She has lectured and written
extensively in the field of new media in culture. http://www.scansite.org
*About Replic**t Ltd *
In today's art world the role of the artist has become indistinguishable
from that of the corporation. Late capitalism has fully integrated
artistic criticism and in turn artists have become capitalism's ground
troops. Todays art is one of integration not resistance. In recognition
of the extraordinary possibilities and potentials of such a coupling the
artist Replic**t has taken the marriage of business and art to its
logical end and registered herself as a private company limited by shares.
Replic**t Ltd is an attempt by the artist to use the corporate
environment for the dissemination of her artwork and her self, side
stepping the gallery distribution system and art market altogether by
turning to the corporation as the ultimate vehicle for the dissemination
of the artist and her work.
Replic**t Ltd's primary interest lies in exploring the potential of the
artist as an entity dominated by global business interests. She uses
pre-existing corporate structures and strategies and locates herself
within the already produced discourses of commodity culture, looking at
replication as a potential and effective form of global hegemony.
Replic**t Ltd @ Furtherstudio
*http://www.furtherfield.org/furtherstudio/online/index_replic.htm*
====================================>
In the past few months Furtherfield's online real-time studio facility,
FurtherStudio has been taken over by the artist Replic**t Ltd and
seamlessly transformed into a telematic boardroom . Chat room, tele
conferencing facility and real time snapshot of the company desktop have
collectively transpired to allow shareholders to penetrate product
development in an unparallel manner.
During this time Replic**t Ltd has continued her exploration of the
artist as a brand, merging her signature styles and themes with a brand
names values and attitude. Confessional work is merged with company
gifts and projected onto merchandise available for purchase on the
Replic**t Ltd website.
*for more information visit ::::::::::::::: http://www.furtherstudio.org*