marc garrett
Since the beginning
Works in London United Kingdom of Great Britain and Northern Ireland

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.
Discussions (1712) Opportunities (15) Events (175) Jobs (2)
DISCUSSION

Cyber Sex Sensation


Cyber Sex Sensation

to cum
into
the sublime
engulfed by
the other
that which is
seemingly
universal

Ouch Those Monkeys
http://www.furtherfield.org/otmonkeys/docs/cyber_sex_sensation.htm

DISCUSSION

Re: Men & Bombs


Hi Geert,

Thanx for that - I might of meant it but you might also be using a good ear=
.
I'll have another listen to it, it can be changed. I might live with it for=
a few days first, if what you say niggles at the back of cranium for long =
enough; then it must change. For now though it must breath for a little whi=
le while longer...the soundscape grows on you.

marc
----- Original Message -----
From: Geert Dekkers
To: list@rhizome.org
Sent: Monday, June 23, 2003 8:41 PM
Subject: Re: RHIZOME_RAW: Men & Bombs

I especially like the music -- the opening reminds me of the opening of "=
De Staat" by a Dutch composer called Louis Andriessen. Your soundscape gets=
a wee bit anecdotal soon after (but you might have meant it that way, give=
n the subject matter).

Geert

On maandag, juni 23, 2003, at 07:53 PM, marc.garrett wrote:

Men & Bombs

A collection of cut up, collaged images found originally on the Interne=
t and
constructed using DHTML. This means that everything featured, including=
the
music is using the Internet as a resource & useful palette to form, scu=
lpt,
create visual and dynamic content. Everything has either been remixed or
changed in accordance to the main themes - atomic energy, masculinity,
bloodlust, misogyny, sadism, sex, desire, fashion, heroism, lust, brava=
do,
weaponry, murder etc.

The accompanying music is a soundscape influenced by a record I heard y=
ears
ago by the excellent Anarchist punk band 'Crass'. A much more incidenta=
l &
quiet piece but still capturing the flavour of their song 'Nagasaki
Nightmare'.

http://www.furtherfield.org/mgarrett/men_&_bombs/ - Opera/Explorer only.
(mac users, still tidying it up for macs but it is accessible, revisit =
as
time goes by)

marc garrett

+ ti esrever dna ti pilf nwod gniht ym tup
-> 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

-------------------------------------------------------------------------=
--------------------------------------
Geert Dekkers | 2e Keucheniusstraat 8hs | 1051VR Amsterdam | http://nznl.=
com

DISCUSSION

Men & Bombs


Men & Bombs

A collection of cut up, collaged images found originally on the Internet and
constructed using DHTML. This means that everything featured, including the
music is using the Internet as a resource & useful palette to form, sculpt,
create visual and dynamic content. Everything has either been remixed or
changed in accordance to the main themes - atomic energy, masculinity,
bloodlust, misogyny, sadism, sex, desire, fashion, heroism, lust, bravado,
weaponry, murder etc.

The accompanying music is a soundscape influenced by a record I heard years
ago by the excellent Anarchist punk band 'Crass'. A much more incidental &
quiet piece but still capturing the flavour of their song 'Nagasaki
Nightmare'.

http://www.furtherfield.org/mgarrett/men_&_bombs/ - Opera/Explorer only.
(mac users, still tidying it up for macs but it is accessible, revisit as
time goes by)

marc garrett

DISCUSSION

DISCUSSION

Re: Re: Re: Random thought on how to share net art (Was: attempting to share net.art with friends & family)


Hi Manik,

I appreciate your worries about the FBI, what I am keen to create is place
where people who have not had the same advantages as those who have via
institutions - can make and use net art. I do not see anything wrong with
this intention...

Art is political, whether it be an individual in a studio creating their
work in an isolated situation, or a group forming a web site on the net.
Virtual is not as 'virtual' as some would like to think.

It is political to create, to use one's own imagination, to think, to act
upon it, to try and change things...

Each act has an effect - so one has to think what that action is doing,
hopefully it does what one wants.

marc

> You are not insignificant voayer to make balance between intentions.It's
so
> like politicians.You know that Eduardo's intention are so imbecile
> that,finally we must forget all that humiliating idea about"share
> net.(ART)with friends&FBI...
> Peace
> MANIK
> ----- Original Message -----
> From: "marc.garrett" <marc.garrett@furtherfield.org>
> To: <list@rhizome.org>
> Sent: Wednesday, June 18, 2003 11:06 AM
> Subject: Re: RHIZOME_RAW: Re: Re: Random thought on how to share net art
> (Was: attempting to share net.art with friends & family)
>
>
> > Hi Manik,
> >
> >
> > > There's so many
> > >
> >
>
nihilism,idealism,insecurities,utopian,conscious/unconscious,personal/impers
> > > onal in human activity called techne(art).Idea of rhizome is strictly
> > > against any frames and bourgeois rules.
> >
> > This, I did not say. I was refering to the advantage of using a list -
> not
> > specifically this list.
> >
> > Deleuse&Guattari "personal
> > > attack"against Freud's Oediph theory was wary
> > > emotional/intellectual/subjective/objective,but something's changed
> after
> > > that book.Is that enough?
> > > MANIK
> >
> > I agree,
> >
> > Each act is a refelction of personal will - context is where it is at.
> > Intentions are not always clear though & people's actions sometimes are
> > genuine even though they might not be in the format that we adhere to or
> > agree with it.
> >
> > marc
> >
> >
> > >
> > > > Hi there,
> > > >
> > > > > Personally, I wasn't aware that a statement of purpose was 'an
> > academic
> > > > masturbatory tool' although I apprectiate a probing investigation or
a
> > > > perfectly formed proposal as much as the next man.
> > > >
> > > > I thought that Eduardo's comments were genuine, the Marxist slant
for
> > me,
> > > > gave his words a sense of clarity. The clarity of Eduardo's text I
> > thought
> > > > was a different kind of personal; in its intention even though not
> > > > necessarily in its manner. But this should not be a reason for a
> > personal
> > > > attack. In this strange and violent dark world that we are all
> currently
> > > > forced to witness, via imposed neo-liberalist despots. We need to
> engage
> > > in
> > > > ways that are more built by upon our common needs rather than our
> > > > insecurities.
> > > >
> > > > I feel that intellectual discourse is important as well as
thoughtful
> > > > splurgings via subjective means, which can be emotional. But when it
> > does
> > > > fall into a pit of slanderous nihilism, it suddenly all changes into
a
> > 'no
> > > > get out' clause. Which could be a conscious act by the perpetrator,
> one
> > > who
> > > > is not able to consciously deal with the real questions at hand.
Which
> > is
> > > a
> > > > shame, for on this list one would hope that there could be meeting
> > points,
> > > > places where we could enjoy mutual & relational discourse outside of
> > each
> > > > others own habitual frameworks.
> > > >
> > > > When each of us explores the process of communicating to each other
on
> a
> > > > list - we are faced with dealing with some one else's way of being.
> > Their
> > > > own reasoning/learning/history and this can dictate what they/we say
> to
> > a
> > > > degree. Yet we also do have the choice to venture further than our
own
> > > > already constructed remits & collected comforts; potentially
reaching
> > > others
> > > > and being reached ourselves. Otherwise what is the point of going
> > through
> > > > the motion of communication (other than ego stroking) if one is not
> > aware
> > > of
> > > > taking on an aspect of reevaluation via others? For reevaluation is
an
> > > > evolutionary given that we all have the luxury to explore, in
whatever
> > > > context. Personal pain can only justify regression for so long. For
> out
> > of
> > > > the experience of personal dysfunction many may acquire wisdom. That
> > > wisdom
> > > > may not be appropriate, practical or explainable via text alone or
> > through
> > > > email functions, so we can and do lose knowledge because of such
> > factors.
> > > > Yet on the other hand we do learn from others when we are open to
> others
> > > and
> > > > not protecting our own self-conscious territories all the time.
> > > >
> > > > The original thread in regard to families & friends enjoying net
art,
> > made
> > > > me smile. My mother enjoys my work from her run-down council estate
in
> > the
> > > > UK. And many of my friends look at the work created and the projects
> > that
> > > I
> > > > have been up to regularly. It has much more to do with the context
and
> > > > situation rather than a blanket effect of suppozed ignorance, plus
> what
> > > the
> > > > actual work is; therefore it is a very subjective question.
> > > >
> > > >
> > > > > However some thoughts can be too random, in this case simply by
> > > prefixing
> > > > art with net. does not fundamentally change the nature of the
question
> > > that
> > > > has dogged both artistic pactice and consumption since Kant.(as
> Eduardo
> > > > correctly pointed out)
> > > > >
> > > > > Kants insistance on an apriori condition of disinterest is
however,
> > > > contingent on the priviliged position of the author over the viewer
> and
> > > the
> > > > Marxian conditions of alienation and fetishisation to lend value to
> the
> > > > atrefact. It is in the current situation where net.art can no longer
> > > appeal
> > > > to these conditions that the investigation into artists motivations
> and
> > > > audience consupmtion becomes specific.
> > > >
> > > > Yes, we have recently had an event this weekend that has consciously
> > tried
> > > > to break down habitual gate-keeping. At the Furtherfield Networking
> > Party,
> > > > we had speakers at the event presenting their own works & projects
but
> > > also
> > > > had visitors taking part by bringing their own work in as well.
> Everyone
> > > was
> > > > seen, they were not dictated to from an authoritive podium, looking
> down
> > > on
> > > > the sea of faces. The visitors were not forced to be submissive
> vessels,
> > > > patronized by suppozed 'better people'. They were let in, allowed to
> be
> > a
> > > > part of a larger sum, a larger experience. In fact we could not stop
> > them,
> > > > it was a great occasion. Instead of the usual same faces that you
> > > > traditionally have at private views, talks & conferences. We asked
for
> > > > people from all walks of life to take part in the event and bring in
> > their
> > > > creative projects to share with others & actively meet others with
the
> > aim
> > > > of potential future collaborations. Out of this many have made new
> > > contacts
> > > > with people outside of their own static circles, learned that
> > > institutional
> > > > types are just as eager to get out more, as much as the outsider is.
> It
> > > just
> > > > has to be done more, examples have to be declared.
> > > >
> > > > Just by having this one event, we have opened up possibilities for
all
> > > that
> > > > took part to be seen. If net art is really to be taken seriously by
> what
> > > is
> > > > called 'the real world', we have to break down our secretive and
> selfish
> > > > ego-centered systems and beliefs first, then a change can occur. I
> know
> > > that
> > > > there are just as many net artists that wish for it to stay
> > isolationist,
> > > as
> > > > there are those who wish for it to be more meaningful to the rest of
> the
> > > > world. That's fair enough, not everyone can afford the emotional
> change
> > > that
> > > > such a relational step demands.
> > > >
> > > > Many institutions find it hard to support net art, for they are not
> > > > comfortable with not being able to make that much profit out of it.
> And
> > > > those who are chosen by those institutions are usually supported
> already
> > > by
> > > > them to some extent in the first place. So the alternative is to
take
> it
> > > to
> > > > the people, not those who already know what it is, not an converted
> > > > audience. And 'soft groups' such as socially directed & potentially
> non
> > > > elitist net.org's can do this, if they can be bothered.
> > > >
> > > > > The most notable work of art to deal directly with this
relationship
> > > > between author and audience must be Duchamps, Bride Stripped Bare by
> her
> > > > Bachelors(even)which constructs an allagory around the bachelors
> desire
> > > for
> > > > the bride as the impellor for the whole machine and is expositional
of
> > the
> > > > way a variety of individual desires and motivations, production and
> > > > consumption can be contextualised to create an effect that can be
> called
> > > > art.
> > > >
> > > > What you see as notable I feel is subjective to some degree for
> without
> > > > possessing the real facts one has to rely on the information that
has
> > been
> > > > handed down. Opinions become information, and information becomes
> > history.
> > > > Postmodernism in a sense died when it started, due its context of
> > becoming
> > > > administered via institutional directives rather than outsider
> contexts;
> > > it
> > > > broadened the church but it did not broaden its own language outside
> of
> > > its
> > > > own frameworks. Thus, letting in younger intellectuals to change the
> > > already
> > > > built structures but not venturing that far outside of them. The
same
> > > > podiums with different faces.
> > > >
> > > > There is a larger issue at hand and it is greater than whether
> something
> > > is
> > > > termed via duchampian contexts. We need to redirect out energies &
> break
> > > > down what we have learnt via our art 'processes' & we may have to
> > unlearn
> > > > them, so we can become actually involved in a discourse in relation
to
> > > > others, on their own terms rather than caught up within our own
> > > (supposedly
> > > > enlightened) framework(s) of academic knowing alone. The knowledge
> that
> > we
> > > > as artists/academics have grown accustomed to, is now like
> Shakespeare,
> > > full
> > > > of meaning but useful only when rehumanized. Reevaluated and
> reinvented
> > to
> > > > mean something to others and their actual contextual environments.
> > > >
> > > > The fear that high art lovers continue to harbor in respect of
quality
> > is
> > > an
> > > > insecure myth and does seem to serve and reinforce the same old
> canons,
> > > > perpetrating structures alone rather than human development and its
> > varied
> > > > consciousness; which hopefully art and its various qualities can and
> do
> > > and
> > > > will offer when let out of the bag. The revisionist tactics of
> > historians,
> > > > cutting many out of the bigger picture for their own small reasons
> > rather
> > > > than declaring the realities of the day has to be challenged by
> artists
> > > and
> > > > anyone who is brave enough constantly. Waiting in one's garret and
> > > expecting
> > > > to be seen by a gallerist one day is an entrapment that is
> > psychologically
> > > > unhealthy for any emotionally sensitive being. And the same can go
for
> > net
> > > > artists, reclaiming what could be ours is not a threat to
institutions
> > > > because they have not taken on net art successfully; so we can do it
> > > > ourselves.
> > > >
> > > > Collectively disrobe the baggage that we have all grown accustomed
to
> by
> > > > forming a net art context not just for institutions alone but
> alongside
> > > them
> > > > as alternative examples. We no longer need to be submissive types
> > moaning
> > > > about not being allowed to do this and that. If we grab the power
that
> > is
> > > > waiting for us to exploit. We just have to change the nature of how
we
> > > play,
> > > > so we do not play only their games, for we are not in control then.
> > Create
> > > > our own games, invent new groups & spaces with each other, stop
> waiting
> > > for
> > > > the world to accept us. That is the way to gain respect (if that is
> what
> > > you
> > > > want) from peers and institutions because most of the groundwork is
> done
> > > > already then. Except by that time, of course many who have decided
to
> > take
> > > > on their own destiny will be part of their own mini institutions but
> > ones
> > > > that are more flexible, able to adapt to survivalistic climates that
> we
> > > all
> > > > have to endure.
> > > >
> > > > Decentralize the mainframe & form many soft groups that are
> functionally
> > > > able to grow and adapt accordingly to its own creative needs, rather
> > than
> > > by
> > > > administered hierarchical protocol.
> > > >
> > > > > In the same way, the motivation of the individual artist does not
> rely
> > > on
> > > > being understood or used in a way forseen by the artist and the
> > motivation
> > > > of the user is a complex combination of self-image and aspirations.
> > > Net.Art
> > > > as an experience, becomes the consolidated activities of the
community
> > and
> > > > the exchange value of the work may not be financial but based on the
> > > > facilitation by the community of the expression of the artist and
the
> > > > conformation of the community through the experience of the work.
> > > >
> > > > I agree, for net art to survive various artists have to swallow
their
> > > > simplistic ego ridden intentions and become adults. Use business
> > > blueprints,
> > > > anarchist blueprints, whatever it takes to open up the circle of
> > > containment
> > > > that currently bars others outside the field of art and net art from
> > > > experiencing it and becoming a part of it. It is no longer good
enough
> > to
> > > > hide behind a computer on one's own and also complain about net art
> > > > circumstances and issues that are affecting a net artist's life and
> > > > situation. For there are actual ways of changing the default set
out -
> > > > positively, I know this can be done and is being done. It is not
> > > > sensational, more an intuitive way of collaborating and sharing
> > strategies
> > > > that venture beyond unhealthy border controls in the art world that
> > ignore
> > > > (ignorantly) the real adventures that await us all.
> > > >
> > > > marc
> > > >
> > > > >
> > > > > + ti esrever dna ti pilf nwod gniht ym tup
> > > > > -> post: list@rhizome.org
> > > > > -> questions: info@rhizome.org
> > > > > -> subscribe/unsubscribe:
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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
> > > > >
> > > >
> > > >
> > > >
> > > > + ti esrever dna ti pilf nwod gniht ym tup
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> > > > +
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> > > > Membership Agreement available online at
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> > > >
> > >
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> > >
> >
> >
> >
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>