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.
During the Beginning
Thanks Curt,
Nice Video of the installation...
I especially like the table with the text/code dynamically changing on the surface, is that an animation, or generative code, or live link up - or something else?
marc
Nice Video of the installation...
I especially like the table with the text/code dynamically changing on the surface, is that an animation, or generative code, or live link up - or something else?
marc
epic net art
Hi T.Whid,
I wouldn't hold my breath regarding epic net art being spotted. Mainly because I feel that there is plenty of epic net art out there already (too tired to mention just what, right now but will do if pushed) - similar questions keep being asked over again. I think that it is a silly question and plays in the hands of those who wish to create a more hegemonic structure that hides the larger context of what net art is and could be, it is a distraction.
marc
I wouldn't hold my breath regarding epic net art being spotted. Mainly because I feel that there is plenty of epic net art out there already (too tired to mention just what, right now but will do if pushed) - similar questions keep being asked over again. I think that it is a silly question and plays in the hands of those who wish to create a more hegemonic structure that hides the larger context of what net art is and could be, it is a distraction.
marc
NET VISIONS - interview with Marc Garrett & Ruth Catlow from Furtherfield.org and HTTP Gallery.
NET VISIONS.
Txt: Marco Mancuso / Eng: Francesca Magnaghi
AN interview with Marc Garrett & Ruth Catlow from Furtherfield.org and HTTP Gallery on Digicult/Digimag.

Let's talk again about Marc Garrett and Ruth Catlow , two people that don't need to be introduced in the context of networking and mailing list about new international media art. Marc Garret and Ruth Catlow promoted many on-line debates, through not only their channel, NetBehaviour , many art networking projects, and they've been working for ten years on their project Furtherfield.org . They already wrote an important text of reflections and theories about art, that was published on Digimag 33 - April 2008 . And they promised us to be interviewed; let's see what they answered.
English Version:
http://www.digicult.it/digimag/article.asp?id=1205
Italian Version:
http://www.digicult.it/digimag/article.asp?id=1183
Txt: Marco Mancuso / Eng: Francesca Magnaghi
AN interview with Marc Garrett & Ruth Catlow from Furtherfield.org and HTTP Gallery on Digicult/Digimag.

Let's talk again about Marc Garrett and Ruth Catlow , two people that don't need to be introduced in the context of networking and mailing list about new international media art. Marc Garret and Ruth Catlow promoted many on-line debates, through not only their channel, NetBehaviour , many art networking projects, and they've been working for ten years on their project Furtherfield.org . They already wrote an important text of reflections and theories about art, that was published on Digimag 33 - April 2008 . And they promised us to be interviewed; let's see what they answered.
English Version:
http://www.digicult.it/digimag/article.asp?id=1205
Italian Version:
http://www.digicult.it/digimag/article.asp?id=1183
Learning and Participation at Furtherfield.org
Dates:
Tue Jul 01, 2008 00:00 - Tue Jul 01, 2008
Learning and Participation at Furtherfield.org

" The value of learning lies in enquiring actively - with an expanding, abundant attitude- into the materials of one's own environment. " Hannah Higgins, Fluxus Experience, 2002.

Furtherfield.org is a small artist-led organisation connected to a global community of practitioners who value learning, participation and exchange as central to their artistic process. Our Learning and Participation programme draws on the passion and expertise of our small team of artists, film-makers, musicians, computer programmers, writers and curators to work in diverse artistic, community and educational contexts. Our projects support collaboration and exchange, the development of individual voices and shared visions in the context of distinct but connected cultures in flux.

Rachel Beth Egenhoefer - Artist in Residence (pilot) May 2008
We support media arts practice at all levels - from students in higher education to established artists - and are always looking for new ways to share, discuss and nurture emerging practices in the field. We are interested in what artists do and how they use digital technology to develop, create, distribute and discuss their ideas and artworks.
Our exhibition programme at HTTP Gallery (http://www.http.uk.net) offers different opportunities for visitors to participate and contribute. Most exhibitions are accompanied by talks and presentations by artists and curators and represent unique educational opportunities for HE students of digital media, media arts, games and related themes to meet with contemporary practitioners and to discuss their work and their concerns.
We are currently have a range of projects in development to increase creative and critical engagement with technology. We're planning a new residency programme that will provide artists with the opportunity to create work within an energetic community and to connect to Furtherfield.org's international networks online and to local artists, curators, theorists and gallerists.
We also run a successful intern programme in partnerships with Solar Associates. For more information about our internship programme please contact us via email at visibility@furtherfield.org

" The value of learning lies in enquiring actively - with an expanding, abundant attitude- into the materials of one's own environment. " Hannah Higgins, Fluxus Experience, 2002.

Furtherfield.org is a small artist-led organisation connected to a global community of practitioners who value learning, participation and exchange as central to their artistic process. Our Learning and Participation programme draws on the passion and expertise of our small team of artists, film-makers, musicians, computer programmers, writers and curators to work in diverse artistic, community and educational contexts. Our projects support collaboration and exchange, the development of individual voices and shared visions in the context of distinct but connected cultures in flux.

Rachel Beth Egenhoefer - Artist in Residence (pilot) May 2008
We support media arts practice at all levels - from students in higher education to established artists - and are always looking for new ways to share, discuss and nurture emerging practices in the field. We are interested in what artists do and how they use digital technology to develop, create, distribute and discuss their ideas and artworks.
Our exhibition programme at HTTP Gallery (http://www.http.uk.net) offers different opportunities for visitors to participate and contribute. Most exhibitions are accompanied by talks and presentations by artists and curators and represent unique educational opportunities for HE students of digital media, media arts, games and related themes to meet with contemporary practitioners and to discuss their work and their concerns.
We are currently have a range of projects in development to increase creative and critical engagement with technology. We're planning a new residency programme that will provide artists with the opportunity to create work within an energetic community and to connect to Furtherfield.org's international networks online and to local artists, curators, theorists and gallerists.
We also run a successful intern programme in partnerships with Solar Associates. For more information about our internship programme please contact us via email at visibility@furtherfield.org
Two new Reviews on Furtherfield by Rob Myers.
Dates:
Tue Jul 01, 2008 00:00 - Tue Jul 01, 2008
Two new reviews on Furtherfield by Rob Myers.
http://www.furtherfield.org
Abstract Hacktivism: the making of a hacker culture.

A book collecting two essays by Otto von Busch and Karl Palmas transforms the concept of "hacktivism" with well-argued historical analysis and a number of informative case studies.
"Hacktivism" is a cool-sounding portmanteau word combining "hacking" and "activism". Activism means political organisation and activity directed toward particular issues. Hacking can mean either "creative mastery and reworking" or "breaking and entering" of various systems, usually computer systems. The latter is more properly called "cracking". Hacktivism tend to mean cracking rather than creative hacking. This means that hacktivism usually identifies at most a negativist posture of technological resistance to socioeconomic ills.
Permlink - http://www.furtherfield.org/displayreview.php?review_id=307
Big Buck Bunny. The Blender Foundation.

Big Buck Bunny is the second short 3D computer animated cartoon from the Blender Foundation. The Blender Foundation produces these films to stimulate development of and promote use of their popular eponymous free software 3D modelling and rendering package.
The Foundation's first film, codenamed Orange, was "Elephants Dream". This was in the European experimental stop-frame animation tradition, a dark Gilliamesque fantasy with two men trying to escape a threatening clockwork labyrinth that may or may not really exist. The character and scenery designs were excellent, and the film as a whole was very atmospheric. The quality of the facial animation and the comprehensibility of the plot were criticized, though. And the full release of the soundtrack for the film was not Free due to being limited to noncommercial use. These minor criticisms aside, Elephants Dream was a very successful production.
Permlink - http://www.furtherfield.org/displayreview.php?review_id=306
http://www.furtherfield.org
Abstract Hacktivism: the making of a hacker culture.

A book collecting two essays by Otto von Busch and Karl Palmas transforms the concept of "hacktivism" with well-argued historical analysis and a number of informative case studies.
"Hacktivism" is a cool-sounding portmanteau word combining "hacking" and "activism". Activism means political organisation and activity directed toward particular issues. Hacking can mean either "creative mastery and reworking" or "breaking and entering" of various systems, usually computer systems. The latter is more properly called "cracking". Hacktivism tend to mean cracking rather than creative hacking. This means that hacktivism usually identifies at most a negativist posture of technological resistance to socioeconomic ills.
Permlink - http://www.furtherfield.org/displayreview.php?review_id=307
Big Buck Bunny. The Blender Foundation.

Big Buck Bunny is the second short 3D computer animated cartoon from the Blender Foundation. The Blender Foundation produces these films to stimulate development of and promote use of their popular eponymous free software 3D modelling and rendering package.
The Foundation's first film, codenamed Orange, was "Elephants Dream". This was in the European experimental stop-frame animation tradition, a dark Gilliamesque fantasy with two men trying to escape a threatening clockwork labyrinth that may or may not really exist. The character and scenery designs were excellent, and the film as a whole was very atmospheric. The quality of the facial animation and the comprehensibility of the plot were criticized, though. And the full release of the soundtrack for the film was not Free due to being limited to noncommercial use. These minor criticisms aside, Elephants Dream was a very successful production.
Permlink - http://www.furtherfield.org/displayreview.php?review_id=306