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.
Furtherfield needs to raise £10,000 by the end of April 2013
Furtherfield needs to raise £10,000 by the end of April 2013.

Furtherfield - A living, breathing, thriving network for art, technology and social change since 1997.
For 16 years we have worked in solidarity with artists, techies, activists, adventurous art audiences to create and share a culture that means more to more people.
Last year 160,000 people visited Furtherfield's online platforms from around the world. At our new gallery (http://www.furtherfield.org/gallery) in the heart of Finsbury Park, North London, we have connected with over 5000 more people from the local area, visitors from across London, the UK and internationally.
We have never asked you for money before. The talent and generosity of contributors and participants and the support of Arts Council England and Haringey Council have kept the engine running till now. But if we are to go on with this work we have to ask for your help.
Please visit the Donation page to see what it pays for & how you help.
http://www.furtherfield.org/get-involved/donate
Wishing you all well.
The Furtherfield crew...

Furtherfield - A living, breathing, thriving network for art, technology and social change since 1997.
For 16 years we have worked in solidarity with artists, techies, activists, adventurous art audiences to create and share a culture that means more to more people.
Last year 160,000 people visited Furtherfield's online platforms from around the world. At our new gallery (http://www.furtherfield.org/gallery) in the heart of Finsbury Park, North London, we have connected with over 5000 more people from the local area, visitors from across London, the UK and internationally.
We have never asked you for money before. The talent and generosity of contributors and participants and the support of Arts Council England and Haringey Council have kept the engine running till now. But if we are to go on with this work we have to ask for your help.
Please visit the Donation page to see what it pays for & how you help.
http://www.furtherfield.org/get-involved/donate
Wishing you all well.
The Furtherfield crew...
New Aesthetics: Cyber-Aesthetics and Degrees of Autonomy
New Aesthetics: Cyber-Aesthetics and Degrees of Autonomy. By Patrick Lichty

Five Thousand Feet is the Best by Omer Fast.
http://www.furtherfield.org/features/articles/new-aesthetics-cyber-aesthetics-and-degrees-autonomy
"In perusing Honor Harger’s recent missive on drone aesthetics and James Bridle’s ongoing posts of drone images at Dronestagram, taken in context with the Glitch un-conference in Chicago, some new questions have come to mind. These questions have to do with conceptions of New Aesthetics in its various forms in terms of interaction with the program/device and its level of autonomy from the user. In my mind, there seems to be a NA continuum from generative programs that operate under the strict criteria of the programmer to the often-autonomous actions of drones and planetary rovers. As you can see, I am still chewing on the idea that The New Aesthetic as it seems to be defined, as encompassing all semi-autonomous aspects of ‘computer vision’. This includes Glitch, Algorism, Drone imagery, satellite photography and face recognition, and it’s sometimes a tough nugget to swallow that resonates with me on a number of levels." Lichty.

Five Thousand Feet is the Best by Omer Fast.
http://www.furtherfield.org/features/articles/new-aesthetics-cyber-aesthetics-and-degrees-autonomy
"In perusing Honor Harger’s recent missive on drone aesthetics and James Bridle’s ongoing posts of drone images at Dronestagram, taken in context with the Glitch un-conference in Chicago, some new questions have come to mind. These questions have to do with conceptions of New Aesthetics in its various forms in terms of interaction with the program/device and its level of autonomy from the user. In my mind, there seems to be a NA continuum from generative programs that operate under the strict criteria of the programmer to the often-autonomous actions of drones and planetary rovers. As you can see, I am still chewing on the idea that The New Aesthetic as it seems to be defined, as encompassing all semi-autonomous aspects of ‘computer vision’. This includes Glitch, Algorism, Drone imagery, satellite photography and face recognition, and it’s sometimes a tough nugget to swallow that resonates with me on a number of levels." Lichty.
Disrupting The Gaze. Part 1: Art Intervention and the Tate Gallery.
Disrupting The Gaze. Part 1: Art Intervention and the Tate Gallery.
The Goldsmiths Radical Media Forum is a lecture series.
Thursday, February 21, 2013, 5:30 (New Academic Building 102)
Marc Garrett will present the first section of his two part paper 'Disrupting The Gaze'. Part one 'Art Intervention and the Tate Gallery'.
https://sites.google.com/site/mcradicalmedia/
We live in a world riddled with contradictions and confusing signals. Our histories are assessed, judged and introduced as fact yet there are so many bits missing. We accept what is given through sound bite forms of mediation and end up using misinformation as our cultural foundations, and then we build on these ‘acquired’ assumptions as our ‘imagined’ guidelines. This critique studies how contemporary artists are challenging these defaults through their connected enactments and critical inquiries of the existing conditions. It highlights a continual dialogue involving a historical struggle between what is condoned as legitimate art and knowledge, and what is not. It looks at a complexity, embedded in our culture and its class divisions in Britain. And draws upon struggles going as far back as the enlightenment, the industrial revolution, colonialism and slavery, to present day concerns with neoliberalism and its dominance. The Tate gallery is used as a reference point and a site of focus for these various historical and contemporary, political and societal conflicts.
The artists’ and art groups featured, such as Graham Harwood, Platform, Liberate Tate, IOCOSE, Tamiko Thiel, and Mark Wallinger; has each delivered a particular (unofficial and official) mode of art intervention at the Tate Gallery. Whether these artistic activities concern economic, ecological, historical, political or hierarchical conditions, they all connect in different ways. They meet, not through style or as part of a field of practice, but as contemporary artistic practitioners exploring their own states of agency in a world where our ‘public’ interfaces are as much a necessary place of creative engagement, as is the already accepted physical ‘inner’ sanctum of the gallery space. However, their work has become equally significant (perhaps even more) than, the mainstream art establishment’s franchised celebrities.
The Goldsmiths Radical Media Forum is a lecture series.
Thursday, February 21, 2013, 5:30 (New Academic Building 102)
Marc Garrett will present the first section of his two part paper 'Disrupting The Gaze'. Part one 'Art Intervention and the Tate Gallery'.
https://sites.google.com/site/mcradicalmedia/
We live in a world riddled with contradictions and confusing signals. Our histories are assessed, judged and introduced as fact yet there are so many bits missing. We accept what is given through sound bite forms of mediation and end up using misinformation as our cultural foundations, and then we build on these ‘acquired’ assumptions as our ‘imagined’ guidelines. This critique studies how contemporary artists are challenging these defaults through their connected enactments and critical inquiries of the existing conditions. It highlights a continual dialogue involving a historical struggle between what is condoned as legitimate art and knowledge, and what is not. It looks at a complexity, embedded in our culture and its class divisions in Britain. And draws upon struggles going as far back as the enlightenment, the industrial revolution, colonialism and slavery, to present day concerns with neoliberalism and its dominance. The Tate gallery is used as a reference point and a site of focus for these various historical and contemporary, political and societal conflicts.
The artists’ and art groups featured, such as Graham Harwood, Platform, Liberate Tate, IOCOSE, Tamiko Thiel, and Mark Wallinger; has each delivered a particular (unofficial and official) mode of art intervention at the Tate Gallery. Whether these artistic activities concern economic, ecological, historical, political or hierarchical conditions, they all connect in different ways. They meet, not through style or as part of a field of practice, but as contemporary artistic practitioners exploring their own states of agency in a world where our ‘public’ interfaces are as much a necessary place of creative engagement, as is the already accepted physical ‘inner’ sanctum of the gallery space. However, their work has become equally significant (perhaps even more) than, the mainstream art establishment’s franchised celebrities.
Foundland: Critical Stories.
Foundland: Critical Stories.

http://www.furtherfield.org/features/interviews/foundland-critical-stories
Annet Dekker interviews Foundland, Ghalia Elsrakbi (SY) and Lauren Alexander (SA). A multi-disciplinary art and design practice based in Amsterdam. With backgrounds in graphic design, art and writing Foundland’s approach focuses on research based, critical responses to current issues. While moving around in advertising, printed matter, the Internet, and off line art spaces they dig up interesting stories about Disney, SpongeBob and defected soldiers.

http://www.furtherfield.org/features/interviews/foundland-critical-stories
Annet Dekker interviews Foundland, Ghalia Elsrakbi (SY) and Lauren Alexander (SA). A multi-disciplinary art and design practice based in Amsterdam. With backgrounds in graphic design, art and writing Foundland’s approach focuses on research based, critical responses to current issues. While moving around in advertising, printed matter, the Internet, and off line art spaces they dig up interesting stories about Disney, SpongeBob and defected soldiers.
Towards a Free/ Libre/ Open/ Source/ University
Towards a Free/ Libre/ Open/ Source/ University
Image from Fab Lab (fabrication laboratory), small-scale workshop offering digital fabrication. London.
By Paula Roush.
http://www.furtherfield.org/features/articles/towards-free-libre-open-source-university
Paula Roush explores the growing interest in free and Open Source practices in art. This report maps out these shifting relationships in contemporary models of education both online and offline. Recent expansion of so-called ‘free culture’ has contributed to placing the debate over authorship, ownership and licensing of the artwork at the centre of artistic production. Crucially, the transformation of art in the age of global culture and the consequent move from autonomous art objects into cultural artworks and services, has resulted in the emergence of new visible tendencies.
Born in Lisbon, Paula Roush lives in London where she is an artist and lecturer at the London South Bank University and University of Westminster. More about Paula Roush - http://www.msdm.org.uk/
You can find the original article on 'Collaboration and Freedom – The World of Free and Open Source Art'.
http://p2pfoundation.net/World_of_Free_and_Open_Source_Art
This article is part of the Furtherfield collection commissioned (http://www.artscouncil.org.uk/what-we-do/our-priorities-2011-15/digital-innovation-and-creative-media/digital-resources/collaboration-and-freedom/) by Arts Council England for Thinking Digital, in 2011.

Image from Fab Lab (fabrication laboratory), small-scale workshop offering digital fabrication. London.
By Paula Roush.
http://www.furtherfield.org/features/articles/towards-free-libre-open-source-university
Paula Roush explores the growing interest in free and Open Source practices in art. This report maps out these shifting relationships in contemporary models of education both online and offline. Recent expansion of so-called ‘free culture’ has contributed to placing the debate over authorship, ownership and licensing of the artwork at the centre of artistic production. Crucially, the transformation of art in the age of global culture and the consequent move from autonomous art objects into cultural artworks and services, has resulted in the emergence of new visible tendencies.
Born in Lisbon, Paula Roush lives in London where she is an artist and lecturer at the London South Bank University and University of Westminster. More about Paula Roush - http://www.msdm.org.uk/
You can find the original article on 'Collaboration and Freedom – The World of Free and Open Source Art'.
http://p2pfoundation.net/World_of_Free_and_Open_Source_Art
This article is part of the Furtherfield collection commissioned (http://www.artscouncil.org.uk/what-we-do/our-priorities-2011-15/digital-innovation-and-creative-media/digital-resources/collaboration-and-freedom/) by Arts Council England for Thinking Digital, in 2011.