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.
Visit the NODE.London map...
Visit the NODE.London map...
Find out more about NODE.London.
http://www.nodel.org/seednodes.php?map=1
Nodes/Venues- involved in the Season of Media Arts Festival in March 06.
Albany Digital @ The Albany | Area10 | bodydataspace | Boundless Coop @
Gifspace, Giffin Business Centre | Boxing Club @ Limehouse Town Hall |
British Film Institute @ bfi National Film Theatre | burntprogress @
Plastic People | E:vent | Furtherfield @ HTTP Gallery | Goldsmiths
College | ICA | Idea Store, Chrisp Street | Independent Photography |
Liquid Culture @ Goldsmiths College | Mongrel @ Jelliedeel Shed | Mute @
The Whitechapel Centre | Someth;ng | SPACE Media Arts @ The Triangle |
SPC @ Borough Hall, Greenwich | Tate Online | The Bow Arts Trust @ The
Nunnery Gallery | The Science Museum's Dana Centre | The Wormhole Saloon
@ Whitechapel Gallery | Vital Regeneration @ Greenside Community Centre
| Watermans
other venues:
a boat on Deptford Creek | Broadway Market | Clapham Common | Danielle
Arnaud contemporary art | Marcus Garvey Library | Sainsbury's, Forest
Hill | Slade Research Centre | Starbucks, Clink Street | Wapping
Underground Station
More inormation here:
http://www.nodel.org/
Find out more about NODE.London.
http://www.nodel.org/seednodes.php?map=1
Nodes/Venues- involved in the Season of Media Arts Festival in March 06.
Albany Digital @ The Albany | Area10 | bodydataspace | Boundless Coop @
Gifspace, Giffin Business Centre | Boxing Club @ Limehouse Town Hall |
British Film Institute @ bfi National Film Theatre | burntprogress @
Plastic People | E:vent | Furtherfield @ HTTP Gallery | Goldsmiths
College | ICA | Idea Store, Chrisp Street | Independent Photography |
Liquid Culture @ Goldsmiths College | Mongrel @ Jelliedeel Shed | Mute @
The Whitechapel Centre | Someth;ng | SPACE Media Arts @ The Triangle |
SPC @ Borough Hall, Greenwich | Tate Online | The Bow Arts Trust @ The
Nunnery Gallery | The Science Museum's Dana Centre | The Wormhole Saloon
@ Whitechapel Gallery | Vital Regeneration @ Greenside Community Centre
| Watermans
other venues:
a boat on Deptford Creek | Broadway Market | Clapham Common | Danielle
Arnaud contemporary art | Marcus Garvey Library | Sainsbury's, Forest
Hill | Slade Research Centre | Starbucks, Clink Street | Wapping
Underground Station
More inormation here:
http://www.nodel.org/
Open Vice/Virtue: The Online Art Context. Andy Deck at HTTP Gallery.
HTTP [House of Technologically Termed Praxis] presents
Open Vice/Virtue: The Online Art Context
by Andy Deck.
Open Vice/Virtue: The Online Art Context
by Andy Deck.
NODE.London - States of Interdependence
NODE.London - States of Interdependence
A collaborative text written by Marc Garrett and Ruth Catlow, for "Media
Mutandis: A Node.London Reader" (to be published in February 2006).
There is a Sufi fable in which a group of foreigners sit at breakfast,
excitedly discussing their previous night’s exploration. One starts
saying “…and what about that great beast we came across in the darkest
part of the Jungle? It was like a massive, rough wall.” The others look
perplexed. “No it wasn’t!” says one, “It was some kind of python”.
“Yeah…” another half-agrees, “…but it also had powerful wings”. The
shortest of the group looks bemused- “well it felt like a tree trunk to
me.”
This fable aptly illustrates many aspects of the NODE.London experience.
The name, which stands for Networked Open Distributed Events in London,
indicates the open, lateral structure adopted to develop a season of
media arts. It is intentionally extensible, suggesting possible future
NODE(s), Rio, Moscow, Mumbai etc. As participants/instigators in the
project’s ongoing conceptualization and praxis, we are just two
individuals positioned on the interlaced, scale-free networks of NODE.L
(more on these later). As such, our descriptions of this collectively
authored project are inevitably incomplete and contestable, with a
complete picture emerging only in negotiation with others.
Scale-free networks such as the network of Nodes are constantly adopted
by NODE.L’s to facilitate the emergence of a grass roots media arts
culture in London and in building its own organisational and
communication structure. The Internet is a scale-free network.
Scale-free networks are described by scientists as maintaining their
levels of connectivity regardless of their size. They do this by linking
small ‘clusters’ of locally networked nodes to more massively linked
hubs, which are in turn connected to each other. Theoretically this
allows one to link from one node on a local cluster to another distant,
local node with just a couple of steps through the hubs. This creates
the “small world” phenomena whereby anyone on the network is felt to be
close to any other as well as to the centre.
To read more of the article visit Mazine:
http://www.mazine.ws/NODE.L_Interdependence.
------------------->
More bout NODE.London:
NODE.London [Networked, Open, Distributed, Events. London] is committed
to building the infrastructure and raising the visibility of media arts
practice in London. Working on an open, collaborative basis, NODE.London
will culminate, in its first year, in a month long season of media arts
projects across London in March 2006. http://nodel.org/
Media Mutandis: A NODE.London Reader:
A survey of media arts, technologies and politics which aims to provide
a critical context for NODE.London's activities as an evolving media
arts production and infrastructure-building project. A 1000 publications
will be printed initially and sold at a low price at the events of the
March season. Contributing authors and artists include: Armin Medosch,
Simon Yuill and Chad McCail, Adam Hyde, Sabeth Buchmann, Ruth Catlow and
Marc Garrett, Michael Corris, Matthew Fuller, Graham Harwood/Mongrel,
Richard Barbrook and Neil Cummings.
The publication is engineerd via the Print On Demand system by
NODE.London partner OpenMute. It will be available as a printed and
bound volume, a PDF document on the publication website (url tbc) and
the texts will be made available in formatted versions individually for
editing and recompilation by readers, who can either order a printed and
bound version of their selections through Print On Demand or simply
print them off at home. Readers can also become 'agents,' or
distributors - please see www.metamute.org for a fuller explanation of
the magic potential of POD.
+
-> 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
A collaborative text written by Marc Garrett and Ruth Catlow, for "Media
Mutandis: A Node.London Reader" (to be published in February 2006).
There is a Sufi fable in which a group of foreigners sit at breakfast,
excitedly discussing their previous night’s exploration. One starts
saying “…and what about that great beast we came across in the darkest
part of the Jungle? It was like a massive, rough wall.” The others look
perplexed. “No it wasn’t!” says one, “It was some kind of python”.
“Yeah…” another half-agrees, “…but it also had powerful wings”. The
shortest of the group looks bemused- “well it felt like a tree trunk to
me.”
This fable aptly illustrates many aspects of the NODE.London experience.
The name, which stands for Networked Open Distributed Events in London,
indicates the open, lateral structure adopted to develop a season of
media arts. It is intentionally extensible, suggesting possible future
NODE(s), Rio, Moscow, Mumbai etc. As participants/instigators in the
project’s ongoing conceptualization and praxis, we are just two
individuals positioned on the interlaced, scale-free networks of NODE.L
(more on these later). As such, our descriptions of this collectively
authored project are inevitably incomplete and contestable, with a
complete picture emerging only in negotiation with others.
Scale-free networks such as the network of Nodes are constantly adopted
by NODE.L’s to facilitate the emergence of a grass roots media arts
culture in London and in building its own organisational and
communication structure. The Internet is a scale-free network.
Scale-free networks are described by scientists as maintaining their
levels of connectivity regardless of their size. They do this by linking
small ‘clusters’ of locally networked nodes to more massively linked
hubs, which are in turn connected to each other. Theoretically this
allows one to link from one node on a local cluster to another distant,
local node with just a couple of steps through the hubs. This creates
the “small world” phenomena whereby anyone on the network is felt to be
close to any other as well as to the centre.
To read more of the article visit Mazine:
http://www.mazine.ws/NODE.L_Interdependence.
------------------->
More bout NODE.London:
NODE.London [Networked, Open, Distributed, Events. London] is committed
to building the infrastructure and raising the visibility of media arts
practice in London. Working on an open, collaborative basis, NODE.London
will culminate, in its first year, in a month long season of media arts
projects across London in March 2006. http://nodel.org/
Media Mutandis: A NODE.London Reader:
A survey of media arts, technologies and politics which aims to provide
a critical context for NODE.London's activities as an evolving media
arts production and infrastructure-building project. A 1000 publications
will be printed initially and sold at a low price at the events of the
March season. Contributing authors and artists include: Armin Medosch,
Simon Yuill and Chad McCail, Adam Hyde, Sabeth Buchmann, Ruth Catlow and
Marc Garrett, Michael Corris, Matthew Fuller, Graham Harwood/Mongrel,
Richard Barbrook and Neil Cummings.
The publication is engineerd via the Print On Demand system by
NODE.London partner OpenMute. It will be available as a printed and
bound volume, a PDF document on the publication website (url tbc) and
the texts will be made available in formatted versions individually for
editing and recompilation by readers, who can either order a printed and
bound version of their selections through Print On Demand or simply
print them off at home. Readers can also become 'agents,' or
distributors - please see www.metamute.org for a fuller explanation of
the magic potential of POD.
+
-> 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
Re: Reminder: D>Art.06 call for entries closes February 18
NODE.London - States of Interdependence
A collaborative text written by Marc Garrett and Ruth Catlow, for "Media
Mutandis: A Node.London Reader" (to be published in February 2006).
There is a Sufi fable in which a group of foreigners sit at breakfast,
excitedly discussing their previous night’s exploration. One starts
saying “…and what about that great beast we came across in the darkest
part of the Jungle? It was like a massive, rough wall.” The others look
perplexed. “No it wasn’t!” says one, “It was some kind of python”.
“Yeah…” another half-agrees, “…but it also had powerful wings”. The
shortest of the group looks bemused- “well it felt like a tree trunk to me.”
This fable aptly illustrates many aspects of the NODE.London experience.
The name, which stands for Networked Open Distributed Events in London,
indicates the open, lateral structure adopted to develop a season of
media arts. It is intentionally extensible, suggesting possible future
NODE(s), Rio, Moscow, Mumbai etc. As participants/instigators in the
project’s ongoing conceptualization and praxis, we are just two
individuals positioned on the interlaced, scale-free networks of NODE.L
(more on these later). As such, our descriptions of this collectively
authored project are inevitably incomplete and contestable, with a
complete picture emerging only in negotiation with others.
Scale-free networks such as the network of Nodes are constantly adopted
by NODE.L’s to facilitate the emergence of a grass roots media arts
culture in London and in building its own organisational and
communication structure. The Internet is a scale-free network.
Scale-free networks are described by scientists as maintaining their
levels of connectivity regardless of their size. They do this by linking
small ‘clusters’ of locally networked nodes to more massively linked
hubs, which are in turn connected to each other. Theoretically this
allows one to link from one node on a local cluster to another distant,
local node with just a couple of steps through the hubs. This creates
the “small world” phenomena whereby anyone on the network is felt to be
close to any other as well as to the centre.
To read more of the article visit Mazine:
http://www.mazine.ws/NODE.L_Interdependence.
------------------->
More bout NODE.London:
NODE.London [Networked, Open, Distributed, Events. London] is committed
to building the infrastructure and raising the visibility of media arts
practice in London. Working on an open, collaborative basis, NODE.London
will culminate, in its first year, in a month long season of media arts
projects across London in March 2006. http://nodel.org/
Media Mutandis: A NODE.London Reader:
A survey of media arts, technologies and politics which aims to provide
a critical context for NODE.London's activities as an evolving media
arts production and infrastructure-building project. A 1000 publications
will be printed initially and sold at a low price at the events of the
March season. Contributing authors and artists include: Armin Medosch,
Simon Yuill and Chad McCail, Adam Hyde, Sabeth Buchmann, Ruth Catlow and
Marc Garrett, Michael Corris, Matthew Fuller, Graham Harwood/Mongrel,
Richard Barbrook and Neil Cummings.
The publication is engineerd via the Print On Demand system by
NODE.London partner OpenMute. It will be available as a printed and
bound volume, a PDF document on the publication website (url tbc) and
the texts will be made available in formatted versions individually for
editing and recompilation by readers, who can either order a printed and
bound version of their selections through Print On Demand or simply
print them off at home. Readers can also become 'agents,' or
distributors - please see www.metamute.org for a fuller explanation of
the magic potential of POD.
A collaborative text written by Marc Garrett and Ruth Catlow, for "Media
Mutandis: A Node.London Reader" (to be published in February 2006).
There is a Sufi fable in which a group of foreigners sit at breakfast,
excitedly discussing their previous night’s exploration. One starts
saying “…and what about that great beast we came across in the darkest
part of the Jungle? It was like a massive, rough wall.” The others look
perplexed. “No it wasn’t!” says one, “It was some kind of python”.
“Yeah…” another half-agrees, “…but it also had powerful wings”. The
shortest of the group looks bemused- “well it felt like a tree trunk to me.”
This fable aptly illustrates many aspects of the NODE.London experience.
The name, which stands for Networked Open Distributed Events in London,
indicates the open, lateral structure adopted to develop a season of
media arts. It is intentionally extensible, suggesting possible future
NODE(s), Rio, Moscow, Mumbai etc. As participants/instigators in the
project’s ongoing conceptualization and praxis, we are just two
individuals positioned on the interlaced, scale-free networks of NODE.L
(more on these later). As such, our descriptions of this collectively
authored project are inevitably incomplete and contestable, with a
complete picture emerging only in negotiation with others.
Scale-free networks such as the network of Nodes are constantly adopted
by NODE.L’s to facilitate the emergence of a grass roots media arts
culture in London and in building its own organisational and
communication structure. The Internet is a scale-free network.
Scale-free networks are described by scientists as maintaining their
levels of connectivity regardless of their size. They do this by linking
small ‘clusters’ of locally networked nodes to more massively linked
hubs, which are in turn connected to each other. Theoretically this
allows one to link from one node on a local cluster to another distant,
local node with just a couple of steps through the hubs. This creates
the “small world” phenomena whereby anyone on the network is felt to be
close to any other as well as to the centre.
To read more of the article visit Mazine:
http://www.mazine.ws/NODE.L_Interdependence.
------------------->
More bout NODE.London:
NODE.London [Networked, Open, Distributed, Events. London] is committed
to building the infrastructure and raising the visibility of media arts
practice in London. Working on an open, collaborative basis, NODE.London
will culminate, in its first year, in a month long season of media arts
projects across London in March 2006. http://nodel.org/
Media Mutandis: A NODE.London Reader:
A survey of media arts, technologies and politics which aims to provide
a critical context for NODE.London's activities as an evolving media
arts production and infrastructure-building project. A 1000 publications
will be printed initially and sold at a low price at the events of the
March season. Contributing authors and artists include: Armin Medosch,
Simon Yuill and Chad McCail, Adam Hyde, Sabeth Buchmann, Ruth Catlow and
Marc Garrett, Michael Corris, Matthew Fuller, Graham Harwood/Mongrel,
Richard Barbrook and Neil Cummings.
The publication is engineerd via the Print On Demand system by
NODE.London partner OpenMute. It will be available as a printed and
bound volume, a PDF document on the publication website (url tbc) and
the texts will be made available in formatted versions individually for
editing and recompilation by readers, who can either order a printed and
bound version of their selections through Print On Demand or simply
print them off at home. Readers can also become 'agents,' or
distributors - please see www.metamute.org for a fuller explanation of
the magic potential of POD.
Re: Re: Re: How to make a perfect Malevich painting using only basic HTML code
Hi Regina & Eric,
I found this Malevich piece pretty interesting...
I think that trying to pretend that one can have their own copy of a
Malevich on the Internet is admirable in one sense, yet these 'many
steps' removed HTML versions offer no context in respect of the artworks
source. And this was definately not the point of it either. Malevich's
dynamic and Suprematist paintings were for instance influenced by the
three different phases of cubism, Facet Cubism, Analytic Cubism and
Synthetic Cubism. Which of course ware, if our history books are true
(they must always be re-evaluated), spawned by the intensive work of
Picasso and Braque who initiated the cubist movement- they followed the
work of Paul Cezanne.
Paintings are not just about what one sees, they are very much about the
real experience and trhe scale, presence and viscosity, in a formal
sense. If you look at an art image in a book it can inspire you but
nothing beats experiencing a painting in real life, that's when they
really live. Copies are no way as stimulating or interesting in
photographic or Internet format.
I feel that what these new distributable (HTML) Malevich's comment on
our contemporary way of engaging in art in a more conceptual way.
Perhaps it is linking or referencing to how see and experince art now.
It certainly is not about the authenticity of the artwork itself or the
original artist 'Malevich', who painted it. Malevich and the item/object
chosen, both equally respected art icons in their own right, are much
more used as famous architypes, a bit like drawing a moustache on the
Mona Lisa.
Exploiting the context of art declaring that function is now part of the
art as well, and the technology used. That redistribution and
appropriation of it, of famous works, such as this piece, can also be
perceived as re-claiming/claiming an art territory, that traditionally
has been owned by a certain group of high art institutions. This
questions that authority, not by saying this is ART but by saying this
can now be yours and anyone's. Claim it, it yours, do what you will with
it...
I like it :-)
marc
Dear Eric,
That is it! Of course we can't. The reciprocal is true. You are
completely right, the skills and tools are completely different,
paintings are paintings and web.art is web.art, both are very
interesting in their own ways. To make sites with brushes on canvas is
possible, but they would be only simulacra of sites because they would
not be on the web and they will not be interactive. Maybe in the future
all of this will be possible! We never know how technology will devellop.
However, nowadays, there is one aspect where web.art does not win
paintings: the time of duration. Paintings made in 1400 are alive today,
but I am almost sure that our web.art will not be alive in 2600. Last
Sunday for example, I was searching for some photos I took at the start
of 80's and I found them, but they were completely ancient, impossible
to use. If they were paintings, it would not occur.
Bye, have a good day,
Regina
----- Original Message ----- From: "Eric Dymond" <dymond@idirect.ca>
To: <list@rhizome.org>
Sent: Wednesday, January 25, 2006 9:43 PM
Subject: RHIZOME_RAW: Re: Re: How to make a perfect Malevich painting
using only basic HTML code
> But can we make web sites with brushes, paints and solvents?
> Now, then I'd be impressed.
>
> Eric
> +
> -> 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
>
>
+
-> 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
> Dear Eric,
>
> That is it! Of course we can't. The reciprocal is true. You are
> completely right, the skills and tools are completely different,
> paintings are paintings and web.art is web.art, both are very
> interesting in their own ways. To make sites with brushes on canvas is
> possible, but they would be only simulacra of sites because they would
> not be on the web and they will not be interactive. Maybe in the
> future all of this will be possible! We never know how technology will
> devellop.
>
> However, nowadays, there is one aspect where web.art does not win
> paintings: the time of duration. Paintings made in 1400 are alive
> today, but I am almost sure that our web.art will not be alive in
> 2600. Last Sunday for example, I was searching for some photos I took
> at the start of 80's and I found them, but they were completely
> ancient, impossible to use. If they were paintings, it would not occur.
>
> Bye, have a good day,
>
> Regina
>
>
> ----- Original Message ----- From: "Eric Dymond" <dymond@idirect.ca>
> To: <list@rhizome.org>
> Sent: Wednesday, January 25, 2006 9:43 PM
> Subject: RHIZOME_RAW: Re: Re: How to make a perfect Malevich painting
> using only basic HTML code
>
>
>> But can we make web sites with brushes, paints and solvents?
>> Now, then I'd be impressed.
>>
>> Eric
>> +
>> -> 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
>>
>>
>
>
> +
> -> 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
>
>
I found this Malevich piece pretty interesting...
I think that trying to pretend that one can have their own copy of a
Malevich on the Internet is admirable in one sense, yet these 'many
steps' removed HTML versions offer no context in respect of the artworks
source. And this was definately not the point of it either. Malevich's
dynamic and Suprematist paintings were for instance influenced by the
three different phases of cubism, Facet Cubism, Analytic Cubism and
Synthetic Cubism. Which of course ware, if our history books are true
(they must always be re-evaluated), spawned by the intensive work of
Picasso and Braque who initiated the cubist movement- they followed the
work of Paul Cezanne.
Paintings are not just about what one sees, they are very much about the
real experience and trhe scale, presence and viscosity, in a formal
sense. If you look at an art image in a book it can inspire you but
nothing beats experiencing a painting in real life, that's when they
really live. Copies are no way as stimulating or interesting in
photographic or Internet format.
I feel that what these new distributable (HTML) Malevich's comment on
our contemporary way of engaging in art in a more conceptual way.
Perhaps it is linking or referencing to how see and experince art now.
It certainly is not about the authenticity of the artwork itself or the
original artist 'Malevich', who painted it. Malevich and the item/object
chosen, both equally respected art icons in their own right, are much
more used as famous architypes, a bit like drawing a moustache on the
Mona Lisa.
Exploiting the context of art declaring that function is now part of the
art as well, and the technology used. That redistribution and
appropriation of it, of famous works, such as this piece, can also be
perceived as re-claiming/claiming an art territory, that traditionally
has been owned by a certain group of high art institutions. This
questions that authority, not by saying this is ART but by saying this
can now be yours and anyone's. Claim it, it yours, do what you will with
it...
I like it :-)
marc
Dear Eric,
That is it! Of course we can't. The reciprocal is true. You are
completely right, the skills and tools are completely different,
paintings are paintings and web.art is web.art, both are very
interesting in their own ways. To make sites with brushes on canvas is
possible, but they would be only simulacra of sites because they would
not be on the web and they will not be interactive. Maybe in the future
all of this will be possible! We never know how technology will devellop.
However, nowadays, there is one aspect where web.art does not win
paintings: the time of duration. Paintings made in 1400 are alive today,
but I am almost sure that our web.art will not be alive in 2600. Last
Sunday for example, I was searching for some photos I took at the start
of 80's and I found them, but they were completely ancient, impossible
to use. If they were paintings, it would not occur.
Bye, have a good day,
Regina
----- Original Message ----- From: "Eric Dymond" <dymond@idirect.ca>
To: <list@rhizome.org>
Sent: Wednesday, January 25, 2006 9:43 PM
Subject: RHIZOME_RAW: Re: Re: How to make a perfect Malevich painting
using only basic HTML code
> But can we make web sites with brushes, paints and solvents?
> Now, then I'd be impressed.
>
> Eric
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> Dear Eric,
>
> That is it! Of course we can't. The reciprocal is true. You are
> completely right, the skills and tools are completely different,
> paintings are paintings and web.art is web.art, both are very
> interesting in their own ways. To make sites with brushes on canvas is
> possible, but they would be only simulacra of sites because they would
> not be on the web and they will not be interactive. Maybe in the
> future all of this will be possible! We never know how technology will
> devellop.
>
> However, nowadays, there is one aspect where web.art does not win
> paintings: the time of duration. Paintings made in 1400 are alive
> today, but I am almost sure that our web.art will not be alive in
> 2600. Last Sunday for example, I was searching for some photos I took
> at the start of 80's and I found them, but they were completely
> ancient, impossible to use. If they were paintings, it would not occur.
>
> Bye, have a good day,
>
> Regina
>
>
> ----- Original Message ----- From: "Eric Dymond" <dymond@idirect.ca>
> To: <list@rhizome.org>
> Sent: Wednesday, January 25, 2006 9:43 PM
> Subject: RHIZOME_RAW: Re: Re: How to make a perfect Malevich painting
> using only basic HTML code
>
>
>> But can we make web sites with brushes, paints and solvents?
>> Now, then I'd be impressed.
>>
>> Eric
>> +
>> -> 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
>>
>>
>
>
> +
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> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at http://rhizome.org/info/29.php
>
>