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.
Re: simon pope: art for networks
Exactly!
marc;-)
>
>
>
> > I understand it very clearly, it is merely a group of people closing a
> door
> > behind themselves - thats show biz!
> >
>
> Surely they are in:
>
> > > a process of
> > > 'self-historicising'.
>
> :-)
> Ivan
>
> > > Does anyone understand this?
> > > michael
> > > --- matthew fuller <matt@axia.demon.co.uk> wrote:
> > > >
> > > >
> > > >
> > > > The following interview is carried out in connection
> > > > with opening of
> > > > a show 'Art for Networks' starting now at Chapter
> > > > Arts Centre,
> > > > Cardiff, Wales. (It tours afterwards.) The show
> > > > includes work by:
> > > > Rachel Baker, Anna Best, Heath Bunting, Adam
> > > > Chodzko, Ryosuke Cohen,
> > > > Jeremy Deller, Jodi, Nina Pope and Karen Guthrie,
> > > > Radio Aqualia,
> > > > Stephen Willats, Talkeoke, Technologies to the
> > > > People.
> > > >
> > > >
> > > >
> > > >
> > > >
> > > >
> > > >
> > > >
> > > > 6 Questions in search of a network
> > > >
> > > > 1. Matthew Fuller: In the original Art for Networks
> > > > project you state
> > > > that one of the motivations of the work was to
> > > > discover another set
> > > > of relations for art on the internet. What was
> > > > argued against was
> > > > the idea that network art could be categorised
> > > > according to a certain
> > > > chronology. This chronology slotted certain works
> > > > into a history
> > > > primarily on the basis of how closely they married
> > > > themselves to
> > > > technological developments. What was suggested
> > > > instead was that there
> > > > was a whole wider sense of networks that are being
> > > > made and used by
> > > > artists. Do you think that this statement of an
> > > > alternate set of
> > > > trajectories still holds true or polemically
> > > > necessary?
> > > >
> > > > Simon Pope: The Art for Networks project was
> > > > initially devised as a
> > > > way of making sense of, and investigating how to
> > > > move beyond,
> > > > so-called 'net.art'. This definition was, as Heath
> > > > Bunting (1) has
> > > > said, 'a joke and a fake' anyway, but held sway in
> > > > some circles.
> > > >
> > > > 'Net.Art' signified a technical art of the Internet
> > > > or, more
> > > > specifically, the Web. It was defined as a
> > > > progression through
> > > > clearly defined stylistic and technical phases: from
> > > > an Avant Garde,
> > > > through 'high period' Web-based net.art and
> > > > interminable Mannerist
> > > > replays, all the while waiting for the emergence of
> > > > the new Avant
> > > > Garde...
> > > > This lame art historical approach denies wider or
> > > > longer views of how
> > > > artists and their work operate.
> > > >
> > > > The demand for a neat, linear art history becomes a
> > > > real problem for
> > > > anyone it implicates. As Jodi are quoted as saying
> > > > "We never choose
> > > > to be net.artists or not."(2) Pinned onto this
> > > > restrictive and
> > > > arbitrary time-line, artists have their destinies
> > > > plotted for them.
> > > > It was time to take Stewart Home's cue (3) and begin
> > > > a process of
> > > > 'self-historicising'. The exploration of more
> > > > expansive definitions
> > > > of 'network' is part of this, at first through
> > > > interviews and
> > > > presentations in 2000 and now through this
> > > > exhibition.
> > > >
> > > > 2. MF: If the show works through various uses and
> > > > creations of
> > > > networks as art, were there any ways in which this
> > > > focus inflected
> > > > the way in which the show was curated? Can we
> > > > imagine a curation for
> > > > networks?
> > > >
> > > > SP: 'Network' isn't used here as an 'ideal concept'
> > > > (4). It remains
> > > > open to interpretation and ongoing enquiry by the
> > > > participating
> > > > artists. The network becomes a field, terrain or
> > > > environment through
> > > > which to operate on, in or through.
> > > >
> > > > Networks have been described in many ways, often at
> > > > the moment where
> > > > some phenomenon eludes an accepted form of
> > > > classification: Landow
> > > > reminds us that Foucault adopts the network when
> > > > describing the means
> > > > "...to link together a wide range of often
> > > > contradictory taxonomies,
> > > > observations, interpretations, categories, and rules
> > > > of observation."
> > > > (5). Jeremy Deller's work often exemplifies this,
> > > > for example.
> > > >
> > > > Josephine Berry noted that "The term 'networks' has
> > > > nearly become a
> > > > cipher for saying 'everything' with the proviso that
> > > > 'everything' be
> > > > framed by technology" (6).
> > > > Jodi's 'Wrong Browser' project continues their
> > > > scrutiny of the
> > > > conventions of the most popular of these
> > > > technologies that link
> > > > 'everything', the Web Browser. (7).
> > > >
> > > > Others artists are not concerned with technology as
> > > > such. They
> > > > investigate social networks, distributed knowledge
> > > > or social
> > > > protocols, for example.
> > > >
> > > > Together, all of the artists in this show help us
> > > > speculate, with the
> > > > widest possible scope, on what an art for networks
> > > > might be.
> > > >
> > > > 3. MF: Perhaps it is useful to think about two of
> > > > the modes of
> > > > network that currently exist. There's the
> > > > development of systems that
> > > > take heterogeneous material and connect it through a
> > > > unifying,
> > > > reductive, measurable protocol. Another might be
> > > > informatisation -
> > > > that everything can be transposed into a
> > > > transmissable and calculable
> > > > numerical 'equivalent'. Perhaps these kinds of
> > > > networking
> > > > technologies are linked to the idea of a discovery
> > > > of an ur-language,
> > > > a code that precedes all codes.
> > > > A different kind of network might be that which
> > > > is deliberately
> > > > non-compressible, that generates its own terms of
> > > > composition as it's
> > > > enacted; rather than reducing one thing to its
> > > > intermediary, it
> > > > focuses on inventing new connections, proximities,
> > > > conjunctural
> > > > leaps.
> > > >
> > > > SP: The unifying system forces homogeneity onto
> > > > previously
> > > > heterogeneous material and has plenty of historical
> > > > precedents such
> > > > as systematic classification in Zoology, the Dewey
> > > > decimal system.
> > > > Objectified matter is ordered, processed - the
> > > > system aims for
> > > > closure, completeness.
> > > > In your second example, the subject resists
> > > > classification or
> > > > reduction to a cipher. For example, in
> > > > organizations, there's always
> > > > tension between structure - invariably hierarchical
> > > > - and those who
> > > > work within it. Despite the most ruthless
> > > > line-management, the
> > > > subject - individual or group - will find ways of
> > > > subverting the
> > > > structure. A common form of resistance is the
> > > > 'gossip network'.
> > > > Rachel Baker's 'Art of Work', for example, has
> > > > previously inserted
> > > > itself into this context. (8)
> > > >
> > > > I think Manuel De Landa's model (9) of meshworks and
> > > > hierarchies is
> > > > useful here and relates, (at least in my
> > > > understanding of it), to the
> > > > relationship between networks, hierarchies, agency
> > > > and structure.
> > > >
> > > > Meshworks (networks) and hierarchies exist as a
> > > > mixture. The meshwork
> > > > formed as an aggregate of dissimilar, heterogeneous
> > > > material, the
> > > > hierarchy from similar, homogeneous material,
> > > > forming strata. They
> > > >
> > > === message truncated ===
> > >
> > >
> > > =====
> > > http://www.somedancersandmusicians.com/
> > >
> > > __________________________________________________
> > > Do you Yahoo!?
> > > New DSL Internet Access from SBC & Yahoo!
> > > http://sbc.yahoo.com
> > > + Well this is thoroughly depressing
> > > -> 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
> > >
> > >
> >
> >
> > + Well this is thoroughly depressing
> > -> 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
> >
>
marc;-)
>
>
>
> > I understand it very clearly, it is merely a group of people closing a
> door
> > behind themselves - thats show biz!
> >
>
> Surely they are in:
>
> > > a process of
> > > 'self-historicising'.
>
> :-)
> Ivan
>
> > > Does anyone understand this?
> > > michael
> > > --- matthew fuller <matt@axia.demon.co.uk> wrote:
> > > >
> > > >
> > > >
> > > > The following interview is carried out in connection
> > > > with opening of
> > > > a show 'Art for Networks' starting now at Chapter
> > > > Arts Centre,
> > > > Cardiff, Wales. (It tours afterwards.) The show
> > > > includes work by:
> > > > Rachel Baker, Anna Best, Heath Bunting, Adam
> > > > Chodzko, Ryosuke Cohen,
> > > > Jeremy Deller, Jodi, Nina Pope and Karen Guthrie,
> > > > Radio Aqualia,
> > > > Stephen Willats, Talkeoke, Technologies to the
> > > > People.
> > > >
> > > >
> > > >
> > > >
> > > >
> > > >
> > > >
> > > >
> > > > 6 Questions in search of a network
> > > >
> > > > 1. Matthew Fuller: In the original Art for Networks
> > > > project you state
> > > > that one of the motivations of the work was to
> > > > discover another set
> > > > of relations for art on the internet. What was
> > > > argued against was
> > > > the idea that network art could be categorised
> > > > according to a certain
> > > > chronology. This chronology slotted certain works
> > > > into a history
> > > > primarily on the basis of how closely they married
> > > > themselves to
> > > > technological developments. What was suggested
> > > > instead was that there
> > > > was a whole wider sense of networks that are being
> > > > made and used by
> > > > artists. Do you think that this statement of an
> > > > alternate set of
> > > > trajectories still holds true or polemically
> > > > necessary?
> > > >
> > > > Simon Pope: The Art for Networks project was
> > > > initially devised as a
> > > > way of making sense of, and investigating how to
> > > > move beyond,
> > > > so-called 'net.art'. This definition was, as Heath
> > > > Bunting (1) has
> > > > said, 'a joke and a fake' anyway, but held sway in
> > > > some circles.
> > > >
> > > > 'Net.Art' signified a technical art of the Internet
> > > > or, more
> > > > specifically, the Web. It was defined as a
> > > > progression through
> > > > clearly defined stylistic and technical phases: from
> > > > an Avant Garde,
> > > > through 'high period' Web-based net.art and
> > > > interminable Mannerist
> > > > replays, all the while waiting for the emergence of
> > > > the new Avant
> > > > Garde...
> > > > This lame art historical approach denies wider or
> > > > longer views of how
> > > > artists and their work operate.
> > > >
> > > > The demand for a neat, linear art history becomes a
> > > > real problem for
> > > > anyone it implicates. As Jodi are quoted as saying
> > > > "We never choose
> > > > to be net.artists or not."(2) Pinned onto this
> > > > restrictive and
> > > > arbitrary time-line, artists have their destinies
> > > > plotted for them.
> > > > It was time to take Stewart Home's cue (3) and begin
> > > > a process of
> > > > 'self-historicising'. The exploration of more
> > > > expansive definitions
> > > > of 'network' is part of this, at first through
> > > > interviews and
> > > > presentations in 2000 and now through this
> > > > exhibition.
> > > >
> > > > 2. MF: If the show works through various uses and
> > > > creations of
> > > > networks as art, were there any ways in which this
> > > > focus inflected
> > > > the way in which the show was curated? Can we
> > > > imagine a curation for
> > > > networks?
> > > >
> > > > SP: 'Network' isn't used here as an 'ideal concept'
> > > > (4). It remains
> > > > open to interpretation and ongoing enquiry by the
> > > > participating
> > > > artists. The network becomes a field, terrain or
> > > > environment through
> > > > which to operate on, in or through.
> > > >
> > > > Networks have been described in many ways, often at
> > > > the moment where
> > > > some phenomenon eludes an accepted form of
> > > > classification: Landow
> > > > reminds us that Foucault adopts the network when
> > > > describing the means
> > > > "...to link together a wide range of often
> > > > contradictory taxonomies,
> > > > observations, interpretations, categories, and rules
> > > > of observation."
> > > > (5). Jeremy Deller's work often exemplifies this,
> > > > for example.
> > > >
> > > > Josephine Berry noted that "The term 'networks' has
> > > > nearly become a
> > > > cipher for saying 'everything' with the proviso that
> > > > 'everything' be
> > > > framed by technology" (6).
> > > > Jodi's 'Wrong Browser' project continues their
> > > > scrutiny of the
> > > > conventions of the most popular of these
> > > > technologies that link
> > > > 'everything', the Web Browser. (7).
> > > >
> > > > Others artists are not concerned with technology as
> > > > such. They
> > > > investigate social networks, distributed knowledge
> > > > or social
> > > > protocols, for example.
> > > >
> > > > Together, all of the artists in this show help us
> > > > speculate, with the
> > > > widest possible scope, on what an art for networks
> > > > might be.
> > > >
> > > > 3. MF: Perhaps it is useful to think about two of
> > > > the modes of
> > > > network that currently exist. There's the
> > > > development of systems that
> > > > take heterogeneous material and connect it through a
> > > > unifying,
> > > > reductive, measurable protocol. Another might be
> > > > informatisation -
> > > > that everything can be transposed into a
> > > > transmissable and calculable
> > > > numerical 'equivalent'. Perhaps these kinds of
> > > > networking
> > > > technologies are linked to the idea of a discovery
> > > > of an ur-language,
> > > > a code that precedes all codes.
> > > > A different kind of network might be that which
> > > > is deliberately
> > > > non-compressible, that generates its own terms of
> > > > composition as it's
> > > > enacted; rather than reducing one thing to its
> > > > intermediary, it
> > > > focuses on inventing new connections, proximities,
> > > > conjunctural
> > > > leaps.
> > > >
> > > > SP: The unifying system forces homogeneity onto
> > > > previously
> > > > heterogeneous material and has plenty of historical
> > > > precedents such
> > > > as systematic classification in Zoology, the Dewey
> > > > decimal system.
> > > > Objectified matter is ordered, processed - the
> > > > system aims for
> > > > closure, completeness.
> > > > In your second example, the subject resists
> > > > classification or
> > > > reduction to a cipher. For example, in
> > > > organizations, there's always
> > > > tension between structure - invariably hierarchical
> > > > - and those who
> > > > work within it. Despite the most ruthless
> > > > line-management, the
> > > > subject - individual or group - will find ways of
> > > > subverting the
> > > > structure. A common form of resistance is the
> > > > 'gossip network'.
> > > > Rachel Baker's 'Art of Work', for example, has
> > > > previously inserted
> > > > itself into this context. (8)
> > > >
> > > > I think Manuel De Landa's model (9) of meshworks and
> > > > hierarchies is
> > > > useful here and relates, (at least in my
> > > > understanding of it), to the
> > > > relationship between networks, hierarchies, agency
> > > > and structure.
> > > >
> > > > Meshworks (networks) and hierarchies exist as a
> > > > mixture. The meshwork
> > > > formed as an aggregate of dissimilar, heterogeneous
> > > > material, the
> > > > hierarchy from similar, homogeneous material,
> > > > forming strata. They
> > > >
> > > === message truncated ===
> > >
> > >
> > > =====
> > > http://www.somedancersandmusicians.com/
> > >
> > > __________________________________________________
> > > Do you Yahoo!?
> > > New DSL Internet Access from SBC & Yahoo!
> > > http://sbc.yahoo.com
> > > + Well this is thoroughly depressing
> > > -> 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
> > >
> > >
> >
> >
> > + Well this is thoroughly depressing
> > -> 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
> >
>
The Net Art Interviewee
Sleazy Art meetings (7)
The Net Art Interviewee
I have just moved to a new city and I needed an art job badly. I left my ol=
d small town simply because it was just too hard running into my old artist=
friends all of the time. They could not believe that I had dropped them be=
cause my Style, philosophy and approach to art had moved into the challengi=
ng and exciting realm of Radical Net Art. They thought that I should still =
respect them. Get real, they are just dinosaurs, and they still show their =
work in galleries even. Sheesh, it's just too embarrassing to talk with the=
se Neanderthals, it's like talking to old monkeys who have lost their way h=
ome. Anyone who does not appreciate how technology networks are the future =
for art must be pretty dumb. Poor dears, they just haven't got a clue what =
is happening in the real art world. So I have had to move out before I get =
dragged down into a backward spiral of entropian, pre-post-humanist non-exi=
stence.
I've got myself a nice apartment, a new Net connection and have settled in =
over the course of a couple of days before I mustered up the nerve to go jo=
b hunting. I decided to look for a receptionist position in the Net Arts fi=
eld, using my looks as a door opener, a cool cyber-fem chic look, it always=
seems to work. I went on a few interviews, and found that most places want=
ed to hire me so I felt it would be a worthwhile venture to do a few more a=
nd then pick the best one. This one place really sticks out in my mind thou=
gh and it was such an incredible experience.
The office was called the 'Experimental Net Art Escort Agency'. I didn't ca=
re what they did really, just as long as I got paid and they didn't have an=
y sad painters to bore me. The guy doing the interview was really nice, and=
we got along great. I told him almost immediately that I wouldn't take the=
job due to the low wages, and that ended the pressure and we just chatted =
a bit about me being an up and coming net artist from a small town and now =
I am an ambitious loner in the big city and ready to further my inevitable =
brilliant career.
Seems he was also from a small town originally and he told me to try this '=
Net Art Friend Finder service' on the Internet if I ever felt I needed to s=
pend some time with those who are knowledgeable about current techniques on=
how to get ahead in the net art business. He also gave me few tips, I actu=
ally already new a lot of them but I thought it nice to let him feel comfor=
table whilst he enacted the traditional role of mentor. When you are a youn=
g Internet artist, it is always good to pretend that you are interested in =
whatever the elder is saying, it can earn you plus points and it is sure a =
way into the industry, it cuts all those unnecessary rough edged corners.
I quizzed him more about the 'Net Art Friend Finder service', as I was thin=
king about joining. He told me in a second though, that it wasn't for me. T=
his only made me more curious and he said that I would be too afraid to use=
it. I firmly told him I wasn't afraid of going on a blind art date. He smi=
led, and said it wasn't the date that would scare me. Now I really wanted t=
o know what this was about, so I told him that whatever it was I wouldn't b=
e afraid and that I would probably be more confidant than him about it. He =
just chuckled. I told him again whatever it was that he thought I was afrai=
d of I wasn't and that I would try this service just to prove him wrong.
I was about to leave and he stopped me and said that it was a meeting place=
for the most well known Net Art administrators and Net Art artists in the =
world, primarily a secret network. And the way that it works is that you sa=
tisfy their needs, whatever they are, and they supply you with important in=
formation, if you are really good at it, you can step up the Net Art of fam=
e ladder in no time, via the most respected Net institutions. Deals are mad=
e all of the time, and it would further my career immediately but ethics wo=
uld fly out of the window. I said that I was once a vegetarian and an anarc=
ho-syndicalist but I am all right now, I'd eat any kind of meat these days.=
He also mentioned that who ever I met through the system would expect to ex=
perience intimate favors almost immediately after meeting me. I looked him =
straight in the eye and said ' oh, is that all, no problem'. He laughed. I =
didn't like that, so I told him to stand up so I could prove it to him. He =
stood up, I moved over to him, dropped his didactic supposition and had a g=
ood chew on his endorphin stick right there. Then I hiked up my dress and h=
ad him explore my substructure for the next 20 minutes, till he expounded s=
ome pretty amazing verbalizations about how we are all going through a proc=
ess of 'self-historicising' then his consignment exploded all over my face.=
After he was done I left in a huff, went home and put up an ad on the onli=
ne 'Net Art Friend Finder service'. Hopefully I'll get a response soon.
http://www.furtherfield.org/mgarrett/mgw/docs/playful_art_text.htm
The Net Art Interviewee
I have just moved to a new city and I needed an art job badly. I left my ol=
d small town simply because it was just too hard running into my old artist=
friends all of the time. They could not believe that I had dropped them be=
cause my Style, philosophy and approach to art had moved into the challengi=
ng and exciting realm of Radical Net Art. They thought that I should still =
respect them. Get real, they are just dinosaurs, and they still show their =
work in galleries even. Sheesh, it's just too embarrassing to talk with the=
se Neanderthals, it's like talking to old monkeys who have lost their way h=
ome. Anyone who does not appreciate how technology networks are the future =
for art must be pretty dumb. Poor dears, they just haven't got a clue what =
is happening in the real art world. So I have had to move out before I get =
dragged down into a backward spiral of entropian, pre-post-humanist non-exi=
stence.
I've got myself a nice apartment, a new Net connection and have settled in =
over the course of a couple of days before I mustered up the nerve to go jo=
b hunting. I decided to look for a receptionist position in the Net Arts fi=
eld, using my looks as a door opener, a cool cyber-fem chic look, it always=
seems to work. I went on a few interviews, and found that most places want=
ed to hire me so I felt it would be a worthwhile venture to do a few more a=
nd then pick the best one. This one place really sticks out in my mind thou=
gh and it was such an incredible experience.
The office was called the 'Experimental Net Art Escort Agency'. I didn't ca=
re what they did really, just as long as I got paid and they didn't have an=
y sad painters to bore me. The guy doing the interview was really nice, and=
we got along great. I told him almost immediately that I wouldn't take the=
job due to the low wages, and that ended the pressure and we just chatted =
a bit about me being an up and coming net artist from a small town and now =
I am an ambitious loner in the big city and ready to further my inevitable =
brilliant career.
Seems he was also from a small town originally and he told me to try this '=
Net Art Friend Finder service' on the Internet if I ever felt I needed to s=
pend some time with those who are knowledgeable about current techniques on=
how to get ahead in the net art business. He also gave me few tips, I actu=
ally already new a lot of them but I thought it nice to let him feel comfor=
table whilst he enacted the traditional role of mentor. When you are a youn=
g Internet artist, it is always good to pretend that you are interested in =
whatever the elder is saying, it can earn you plus points and it is sure a =
way into the industry, it cuts all those unnecessary rough edged corners.
I quizzed him more about the 'Net Art Friend Finder service', as I was thin=
king about joining. He told me in a second though, that it wasn't for me. T=
his only made me more curious and he said that I would be too afraid to use=
it. I firmly told him I wasn't afraid of going on a blind art date. He smi=
led, and said it wasn't the date that would scare me. Now I really wanted t=
o know what this was about, so I told him that whatever it was I wouldn't b=
e afraid and that I would probably be more confidant than him about it. He =
just chuckled. I told him again whatever it was that he thought I was afrai=
d of I wasn't and that I would try this service just to prove him wrong.
I was about to leave and he stopped me and said that it was a meeting place=
for the most well known Net Art administrators and Net Art artists in the =
world, primarily a secret network. And the way that it works is that you sa=
tisfy their needs, whatever they are, and they supply you with important in=
formation, if you are really good at it, you can step up the Net Art of fam=
e ladder in no time, via the most respected Net institutions. Deals are mad=
e all of the time, and it would further my career immediately but ethics wo=
uld fly out of the window. I said that I was once a vegetarian and an anarc=
ho-syndicalist but I am all right now, I'd eat any kind of meat these days.=
He also mentioned that who ever I met through the system would expect to ex=
perience intimate favors almost immediately after meeting me. I looked him =
straight in the eye and said ' oh, is that all, no problem'. He laughed. I =
didn't like that, so I told him to stand up so I could prove it to him. He =
stood up, I moved over to him, dropped his didactic supposition and had a g=
ood chew on his endorphin stick right there. Then I hiked up my dress and h=
ad him explore my substructure for the next 20 minutes, till he expounded s=
ome pretty amazing verbalizations about how we are all going through a proc=
ess of 'self-historicising' then his consignment exploded all over my face.=
After he was done I left in a huff, went home and put up an ad on the onli=
ne 'Net Art Friend Finder service'. Hopefully I'll get a response soon.
http://www.furtherfield.org/mgarrett/mgw/docs/playful_art_text.htm
Re: simon pope: art for networks
I understand it very clearly, it is merely a group of people closing a door
behind themselves - thats show biz!
marc
> Does anyone understand this?
> michael
> --- matthew fuller <matt@axia.demon.co.uk> wrote:
> >
> >
> >
> > The following interview is carried out in connection
> > with opening of
> > a show 'Art for Networks' starting now at Chapter
> > Arts Centre,
> > Cardiff, Wales. (It tours afterwards.) The show
> > includes work by:
> > Rachel Baker, Anna Best, Heath Bunting, Adam
> > Chodzko, Ryosuke Cohen,
> > Jeremy Deller, Jodi, Nina Pope and Karen Guthrie,
> > Radio Aqualia,
> > Stephen Willats, Talkeoke, Technologies to the
> > People.
> >
> >
> >
> >
> >
> >
> >
> >
> > 6 Questions in search of a network
> >
> > 1. Matthew Fuller: In the original Art for Networks
> > project you state
> > that one of the motivations of the work was to
> > discover another set
> > of relations for art on the internet. What was
> > argued against was
> > the idea that network art could be categorised
> > according to a certain
> > chronology. This chronology slotted certain works
> > into a history
> > primarily on the basis of how closely they married
> > themselves to
> > technological developments. What was suggested
> > instead was that there
> > was a whole wider sense of networks that are being
> > made and used by
> > artists. Do you think that this statement of an
> > alternate set of
> > trajectories still holds true or polemically
> > necessary?
> >
> > Simon Pope: The Art for Networks project was
> > initially devised as a
> > way of making sense of, and investigating how to
> > move beyond,
> > so-called 'net.art'. This definition was, as Heath
> > Bunting (1) has
> > said, 'a joke and a fake' anyway, but held sway in
> > some circles.
> >
> > 'Net.Art' signified a technical art of the Internet
> > or, more
> > specifically, the Web. It was defined as a
> > progression through
> > clearly defined stylistic and technical phases: from
> > an Avant Garde,
> > through 'high period' Web-based net.art and
> > interminable Mannerist
> > replays, all the while waiting for the emergence of
> > the new Avant
> > Garde...
> > This lame art historical approach denies wider or
> > longer views of how
> > artists and their work operate.
> >
> > The demand for a neat, linear art history becomes a
> > real problem for
> > anyone it implicates. As Jodi are quoted as saying
> > "We never choose
> > to be net.artists or not."(2) Pinned onto this
> > restrictive and
> > arbitrary time-line, artists have their destinies
> > plotted for them.
> > It was time to take Stewart Home's cue (3) and begin
> > a process of
> > 'self-historicising'. The exploration of more
> > expansive definitions
> > of 'network' is part of this, at first through
> > interviews and
> > presentations in 2000 and now through this
> > exhibition.
> >
> > 2. MF: If the show works through various uses and
> > creations of
> > networks as art, were there any ways in which this
> > focus inflected
> > the way in which the show was curated? Can we
> > imagine a curation for
> > networks?
> >
> > SP: 'Network' isn't used here as an 'ideal concept'
> > (4). It remains
> > open to interpretation and ongoing enquiry by the
> > participating
> > artists. The network becomes a field, terrain or
> > environment through
> > which to operate on, in or through.
> >
> > Networks have been described in many ways, often at
> > the moment where
> > some phenomenon eludes an accepted form of
> > classification: Landow
> > reminds us that Foucault adopts the network when
> > describing the means
> > "...to link together a wide range of often
> > contradictory taxonomies,
> > observations, interpretations, categories, and rules
> > of observation."
> > (5). Jeremy Deller's work often exemplifies this,
> > for example.
> >
> > Josephine Berry noted that "The term 'networks' has
> > nearly become a
> > cipher for saying 'everything' with the proviso that
> > 'everything' be
> > framed by technology" (6).
> > Jodi's 'Wrong Browser' project continues their
> > scrutiny of the
> > conventions of the most popular of these
> > technologies that link
> > 'everything', the Web Browser. (7).
> >
> > Others artists are not concerned with technology as
> > such. They
> > investigate social networks, distributed knowledge
> > or social
> > protocols, for example.
> >
> > Together, all of the artists in this show help us
> > speculate, with the
> > widest possible scope, on what an art for networks
> > might be.
> >
> > 3. MF: Perhaps it is useful to think about two of
> > the modes of
> > network that currently exist. There's the
> > development of systems that
> > take heterogeneous material and connect it through a
> > unifying,
> > reductive, measurable protocol. Another might be
> > informatisation -
> > that everything can be transposed into a
> > transmissable and calculable
> > numerical 'equivalent'. Perhaps these kinds of
> > networking
> > technologies are linked to the idea of a discovery
> > of an ur-language,
> > a code that precedes all codes.
> > A different kind of network might be that which
> > is deliberately
> > non-compressible, that generates its own terms of
> > composition as it's
> > enacted; rather than reducing one thing to its
> > intermediary, it
> > focuses on inventing new connections, proximities,
> > conjunctural
> > leaps.
> >
> > SP: The unifying system forces homogeneity onto
> > previously
> > heterogeneous material and has plenty of historical
> > precedents such
> > as systematic classification in Zoology, the Dewey
> > decimal system.
> > Objectified matter is ordered, processed - the
> > system aims for
> > closure, completeness.
> > In your second example, the subject resists
> > classification or
> > reduction to a cipher. For example, in
> > organizations, there's always
> > tension between structure - invariably hierarchical
> > - and those who
> > work within it. Despite the most ruthless
> > line-management, the
> > subject - individual or group - will find ways of
> > subverting the
> > structure. A common form of resistance is the
> > 'gossip network'.
> > Rachel Baker's 'Art of Work', for example, has
> > previously inserted
> > itself into this context. (8)
> >
> > I think Manuel De Landa's model (9) of meshworks and
> > hierarchies is
> > useful here and relates, (at least in my
> > understanding of it), to the
> > relationship between networks, hierarchies, agency
> > and structure.
> >
> > Meshworks (networks) and hierarchies exist as a
> > mixture. The meshwork
> > formed as an aggregate of dissimilar, heterogeneous
> > material, the
> > hierarchy from similar, homogeneous material,
> > forming strata. They
> >
> === message truncated ===
>
>
> =====
> http://www.somedancersandmusicians.com/
>
> __________________________________________________
> Do you Yahoo!?
> New DSL Internet Access from SBC & Yahoo!
> http://sbc.yahoo.com
> + Well this is thoroughly depressing
> -> 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
>
>
behind themselves - thats show biz!
marc
> Does anyone understand this?
> michael
> --- matthew fuller <matt@axia.demon.co.uk> wrote:
> >
> >
> >
> > The following interview is carried out in connection
> > with opening of
> > a show 'Art for Networks' starting now at Chapter
> > Arts Centre,
> > Cardiff, Wales. (It tours afterwards.) The show
> > includes work by:
> > Rachel Baker, Anna Best, Heath Bunting, Adam
> > Chodzko, Ryosuke Cohen,
> > Jeremy Deller, Jodi, Nina Pope and Karen Guthrie,
> > Radio Aqualia,
> > Stephen Willats, Talkeoke, Technologies to the
> > People.
> >
> >
> >
> >
> >
> >
> >
> >
> > 6 Questions in search of a network
> >
> > 1. Matthew Fuller: In the original Art for Networks
> > project you state
> > that one of the motivations of the work was to
> > discover another set
> > of relations for art on the internet. What was
> > argued against was
> > the idea that network art could be categorised
> > according to a certain
> > chronology. This chronology slotted certain works
> > into a history
> > primarily on the basis of how closely they married
> > themselves to
> > technological developments. What was suggested
> > instead was that there
> > was a whole wider sense of networks that are being
> > made and used by
> > artists. Do you think that this statement of an
> > alternate set of
> > trajectories still holds true or polemically
> > necessary?
> >
> > Simon Pope: The Art for Networks project was
> > initially devised as a
> > way of making sense of, and investigating how to
> > move beyond,
> > so-called 'net.art'. This definition was, as Heath
> > Bunting (1) has
> > said, 'a joke and a fake' anyway, but held sway in
> > some circles.
> >
> > 'Net.Art' signified a technical art of the Internet
> > or, more
> > specifically, the Web. It was defined as a
> > progression through
> > clearly defined stylistic and technical phases: from
> > an Avant Garde,
> > through 'high period' Web-based net.art and
> > interminable Mannerist
> > replays, all the while waiting for the emergence of
> > the new Avant
> > Garde...
> > This lame art historical approach denies wider or
> > longer views of how
> > artists and their work operate.
> >
> > The demand for a neat, linear art history becomes a
> > real problem for
> > anyone it implicates. As Jodi are quoted as saying
> > "We never choose
> > to be net.artists or not."(2) Pinned onto this
> > restrictive and
> > arbitrary time-line, artists have their destinies
> > plotted for them.
> > It was time to take Stewart Home's cue (3) and begin
> > a process of
> > 'self-historicising'. The exploration of more
> > expansive definitions
> > of 'network' is part of this, at first through
> > interviews and
> > presentations in 2000 and now through this
> > exhibition.
> >
> > 2. MF: If the show works through various uses and
> > creations of
> > networks as art, were there any ways in which this
> > focus inflected
> > the way in which the show was curated? Can we
> > imagine a curation for
> > networks?
> >
> > SP: 'Network' isn't used here as an 'ideal concept'
> > (4). It remains
> > open to interpretation and ongoing enquiry by the
> > participating
> > artists. The network becomes a field, terrain or
> > environment through
> > which to operate on, in or through.
> >
> > Networks have been described in many ways, often at
> > the moment where
> > some phenomenon eludes an accepted form of
> > classification: Landow
> > reminds us that Foucault adopts the network when
> > describing the means
> > "...to link together a wide range of often
> > contradictory taxonomies,
> > observations, interpretations, categories, and rules
> > of observation."
> > (5). Jeremy Deller's work often exemplifies this,
> > for example.
> >
> > Josephine Berry noted that "The term 'networks' has
> > nearly become a
> > cipher for saying 'everything' with the proviso that
> > 'everything' be
> > framed by technology" (6).
> > Jodi's 'Wrong Browser' project continues their
> > scrutiny of the
> > conventions of the most popular of these
> > technologies that link
> > 'everything', the Web Browser. (7).
> >
> > Others artists are not concerned with technology as
> > such. They
> > investigate social networks, distributed knowledge
> > or social
> > protocols, for example.
> >
> > Together, all of the artists in this show help us
> > speculate, with the
> > widest possible scope, on what an art for networks
> > might be.
> >
> > 3. MF: Perhaps it is useful to think about two of
> > the modes of
> > network that currently exist. There's the
> > development of systems that
> > take heterogeneous material and connect it through a
> > unifying,
> > reductive, measurable protocol. Another might be
> > informatisation -
> > that everything can be transposed into a
> > transmissable and calculable
> > numerical 'equivalent'. Perhaps these kinds of
> > networking
> > technologies are linked to the idea of a discovery
> > of an ur-language,
> > a code that precedes all codes.
> > A different kind of network might be that which
> > is deliberately
> > non-compressible, that generates its own terms of
> > composition as it's
> > enacted; rather than reducing one thing to its
> > intermediary, it
> > focuses on inventing new connections, proximities,
> > conjunctural
> > leaps.
> >
> > SP: The unifying system forces homogeneity onto
> > previously
> > heterogeneous material and has plenty of historical
> > precedents such
> > as systematic classification in Zoology, the Dewey
> > decimal system.
> > Objectified matter is ordered, processed - the
> > system aims for
> > closure, completeness.
> > In your second example, the subject resists
> > classification or
> > reduction to a cipher. For example, in
> > organizations, there's always
> > tension between structure - invariably hierarchical
> > - and those who
> > work within it. Despite the most ruthless
> > line-management, the
> > subject - individual or group - will find ways of
> > subverting the
> > structure. A common form of resistance is the
> > 'gossip network'.
> > Rachel Baker's 'Art of Work', for example, has
> > previously inserted
> > itself into this context. (8)
> >
> > I think Manuel De Landa's model (9) of meshworks and
> > hierarchies is
> > useful here and relates, (at least in my
> > understanding of it), to the
> > relationship between networks, hierarchies, agency
> > and structure.
> >
> > Meshworks (networks) and hierarchies exist as a
> > mixture. The meshwork
> > formed as an aggregate of dissimilar, heterogeneous
> > material, the
> > hierarchy from similar, homogeneous material,
> > forming strata. They
> >
> === message truncated ===
>
>
> =====
> http://www.somedancersandmusicians.com/
>
> __________________________________________________
> Do you Yahoo!?
> New DSL Internet Access from SBC & Yahoo!
> http://sbc.yahoo.com
> + Well this is thoroughly depressing
> -> 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: sarcasm
I blame the parents...
marc ;-%
> >I blame Blackadder...
>
> And Monty Python
> And Mr Bean
> And Absolutely Fabulous
> And Faulty Towers
> And Keeping Up Appearances
>
> and last but not least
>
> blame it all on Benny Hill ;-+
>
> + the more you read the less you code
> -> 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
>
marc ;-%
> >I blame Blackadder...
>
> And Monty Python
> And Mr Bean
> And Absolutely Fabulous
> And Faulty Towers
> And Keeping Up Appearances
>
> and last but not least
>
> blame it all on Benny Hill ;-+
>
> + the more you read the less you code
> -> 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
>