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

Re: Preserving Work That Falls Outside the Norm -NYTIMES


Hi Lauren,

I started receiving them and I thought that it was just another one of
those spam games by some net art prankster at first...

I received them usually after sending something to Rhizome - did (or do
you) you have an problem with your email systems being used by spammers
on your server? I now that it is most common when a server is using
Microsoft's Exchange, or though we had a similar issue on our server
last year and it was not a Microsoft system.

Anyway,

Hope it all works out :-)

marc

>No, you're not. I started receiving these messages last week, and thought
>I was the only one. With the server issues we encountered, looking into got
>laid to the wayside. We will do so asap, and let you know.. -- L
>
>
>On 4/2/06 11:49 AM, "Lee Wells" <lee@leewells.org> wrote:
>
>
>
>>I'm glad I'm not alone.
>>
>>On 4/2/06 12:26 PM, "marc" <marc.garrett@furtherfield.org> wrote:
>>
>>
>>
>>>I would'nt mind knowing also...
>>>
>>>marc
>>>
>>>
>>>
>>>>Can someone explain to me what mailia is?
>>>>
>>>>On 4/2/06 12:50 PM, "rhizome" <list@rhizome.org> wrote:
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>>mailia
>>>>>
>>>>>Lee Wells <lee@leewells.org> wrote:
>>>>>
>>>>>
>>>>>
>>>>>
>>>>>>Nice quote Lauren.
>>>>>>Cheers.
>>>>>>
>>>>>>March 29, 2006
>>>>>>Conservation
>>>>>>Preserving Work That Falls Outside the Norm
>>>>>>By TERRY SCHWADRON
>>>>>>
>>>>>>Correction Appended
>>>>>>
>>>>>>FOR centuries, museums, libraries and collectors have been forced to worry
>>>>>>about how to keep artifacts and documents from falling into pieces.
>>>>>>Despite
>>>>>>the inevitable decay of the materials involved, curators and conservators
>>>>>>have protected mummies, paintings and other objects.
>>>>>>
>>>>>>Now these curators and conservators find themselves in the digital era,
>>>>>>with
>>>>>>artists presenting work that challenges not only the audience, but also
>>>>>>the
>>>>>>traditions of preservation. The essential question is, How does a museum
>>>>>>safeguard work that was built as an interactive experience and that may be
>>>>>>based on computer code that will almost certainly disappear in less than
>>>>>>two
>>>>>>years?
>>>>>>
>>>>>>"It's certainly been a problem since the first time we decided to keep
>>>>>>something," said Richard Rinehart, director of digital media at the
>>>>>>Berkeley
>>>>>>Art Museum and Pacific Film Archive of the University of California.
>>>>>>"That's
>>>>>>what museums do: they are society's memory banks. Digital art is different
>>>>>>because it essentially can disappear."
>>>>>>
>>>>>>"I like to joke that digital art can last forever or for five years,
>>>>>>whichever comes first," he added.
>>>>>>
>>>>>>The Berkeley Art Museum Web site describes the problem: "Works of variable
>>>>>>media art, such as performance, installation, conceptual and digital art,
>>>>>>represent some of the most compelling and significant artistic creation of
>>>>>>our time. ... Without strategies for cataloging and preservation, many of
>>>>>>these vital works will eventually be lost to art history." There is
>>>>>>growing
>>>>>>concern about preserving digital documents and art among museum personnel,
>>>>>>libraries and collectors. Digital art has joined with holograms,
>>>>>>performance
>>>>>>art, conceptual art and other time-based media creations that can be
>>>>>>difficult for a museum to maintain or conjure up again or lend to another
>>>>>>institution. While critical appreciation of digital-based art may be
>>>>>>limited, there are questions being raised beyond the art itself.
>>>>>>
>>>>>>"Preservation represents a continuum," said Carol Stringari, a senior
>>>>>>conservator for contemporary art at the Solomon R. Guggenheim Museum in
>>>>>>New
>>>>>>York. "There have always been periods in history in which there was
>>>>>>experimentation in art, and there have always been new materials. But the
>>>>>>questions about preservation remain the same, regardless of the media. We
>>>>>>must strive to understand the meaning and integrity of the work, which
>>>>>>allows us to make informed decisions about its long-term preservation."
>>>>>>
>>>>>>Keeping alive art that is based on interactivity or computer code was not
>>>>>>part of her training, Ms. Stringari said, and raises questions about
>>>>>>maintaining a collection.
>>>>>>
>>>>>>For example:
>>>>>>
>>>>>>A Felix Gonzalez-Torres piece from 1991, "Untitled (Public Opinion)," was
>>>>>>shown as a pile of cellophane-wrapped black licorice candies against a
>>>>>>wall
>>>>>>where people could remove them, changing the shape. To consider preserving
>>>>>>the work for restaging, the museum dealt with the artist's estate (he died
>>>>>>in 1996) on questions like whether the brand of candy was important; the
>>>>>>pile's exact shape had to be kept; and the color or look of the candies
>>>>>>must
>>>>>>be the same.
>>>>>>
>>>>>>"For the moment, those same candies are still available, but they may not
>>>>>>always be available," although efforts have been made to specify
>>>>>>acceptable
>>>>>>parameters, she said.
>>>>>>
>>>>>>A computer-based presentation by Mark Napier from 2002 called "net.flag"
>>>>>>invited visitors to use symbols from international flags to change a set
>>>>>>of
>>>>>>stars, among other things, a work partly intended to show how the Internet
>>>>>>has dissolved national border limitations. The art is in the
>>>>>>interactivity,
>>>>>>which is difficult to preserve.
>>>>>>
>>>>>>Video works by Nam June Paik, who died in January, were made on machinery
>>>>>>using cathode ray tubes, on monitors giving way to plasma screens and with
>>>>>>other technology. Conservators suggest that restaging his art reflects the
>>>>>>discussion about intention versus physical replication involving hardware,
>>>>>>which could change the work.
>>>>>>
>>>>>>Art institutions have begun to look at these issues systematically. The
>>>>>>Guggenheim is part of a collaborative project that includes the Berkeley
>>>>>>Art
>>>>>>Museum and Pacific Film Archive, Rhizome, an online community for digital
>>>>>>artists, the Franklin Furnace Archive, the Walker Art Center in
>>>>>>Minneapolis
>>>>>>and the Cleveland Performance Art Festival and Archive. The National
>>>>>>Endowment for the Arts granted the consortium $165,000 to create models
>>>>>>for
>>>>>>preservation. The Guggenheim linked with the Daniel Langlois Foundation
>>>>>>for
>>>>>>Art, Science and Technology to stage an exhibition and symposium on
>>>>>>variable
>>>>>>media art and emulation, which uses newer computers to run older software.
>>>>>>And the Museum of Modern Art is working with the Tate Modern in London and
>>>>>>the San Francisco Museum of Modern Art on related work.
>>>>>>
>>>>>>"It is a paradox that the task is to preserve things that are not
>>>>>>materials," said Lauren Cornell, executive director of Rhizome, which
>>>>>>documents digital work by participating artists and works with the Museum
>>>>>>of
>>>>>>Contemporary Art in Los Angeles. "There really aren't any standards for
>>>>>>how
>>>>>>to do this. We're all testing out different ways to preserve work that is
>>>>>>online and then goes out of date really, really quickly."
>>>>>>
>>>>>>In addition to emulation, other preservation techniques include storing
>>>>>>the
>>>>>>original work and machinery, making computer copies or preparing extensive
>>>>>>documentation.
>>>>>>
>>>>>>Mr. Rinehart, a digital artist himself, said that questions about digital
>>>>>>art may signify a larger issue. "Digital art, like all art, may be at the
>>>>>>forefront of a larger question," he said. "What is rapidly developing is
>>>>>>this black hole. In the future, people may look back and be able to see
>>>>>>what
>>>>>>was happening in the 18th century, the 19th century, and then will come a
>>>>>>period in which we cannot tell what artists were working on. But this is
>>>>>>not
>>>>>>limited to the art world. This problem about retaining things will be for
>>>>>>our collective social memory, and it will be of concern to everyone in
>>>>>>every
>>>>>>walk of life. Government documents, for example."
>>>>>>
>>>>>>Still, he added, the heart of computer-generated art "separates the
>>>>>>logical
>>>>>>from the physical."
>>>>>>
>>>>>>"We have worried about preserving the physical," he said. "Perhaps we
>>>>>>should
>>>>>>be worried more about preserving the logical." Mr. Rinehart has written
>>>>>>academic proposals for creating documentation that is more akin to a music
>>>>>>score DH with work recognizable even if some of the period instruments in
>>>>>>use
>>>>>>at the time of creation are changed.
>>>>>>
>>>>>>The larger issues of digital preservation have drawn attention at
>>>>>>conferences, in academic reviews and in expensive proposals. The
>>>>>>popularity
>>>>>>of electronic media and the Internet have made it easy to publish DH but to
>>>>>>keep, catalog and find materials later is more complicated. Preservation
>>>>>>can
>>>>>>become a juggling act among competing archiving media. Photographs, for
>>>>>>example, have been moved from digital files to CD-ROM's to optical drives
>>>>>>or
>>>>>>tapes or other media that also have maintenance issues.
>>>>>>
>>>>>>A program led by the Library of Congress for digital preservation was
>>>>>>granted nearly $100 million in 2000 to commission efforts among public and
>>>>>>private libraries and institutions that need to maintain collections.
>>>>>>
>>>>>>"Creating art through time-based media means also talking about the 3-D
>>>>>>effect of the art, or about how the information is received by the
>>>>>>viewer,"
>>>>>>said James Coddington, the chief conservator for MoMA. "The question
>>>>>>becomes, What is the information that we need to transmit? If future
>>>>>>generations are to understand the art of our time, they need to have real
>>>>>>examples presented in authentic manner to understand what we and our
>>>>>>artists
>>>>>>were talking about. And that is very difficult."
>>>>>>
>>>>>>Correction: March 31, 2006
>>>>>>
>>>>>>An article in the special Museums section yesterday about methods for
>>>>>>preserving digital art misidentified the museum with which Rhizome, an
>>>>>>online arts organization, is affiliated; it is the New Museum of
>>>>>>Contemporary Art in New York, not the Museum of Contemporary Art in Los
>>>>>>Angeles.
>>>>>>--
>>>>>>Lee Wells
>>>>>>Brooklyn, NY 11222
>>>>>>
>>>>>>http://www.leewells.org
>>>>>>http://www.perpetualartmachine.com
>>>>>>917 723 2524
>>>>>>
>>>>>>
>>>>>>+
>>>>>>-> post: list@rhizome.org
>>>>>>-> questions: info@rhizome.org
>>>>>>-> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
>>>>>>-> give: http://rhizome.org/support
>>>>>>+
>>>>>>Subscribers to Rhizome are subject to the terms set out in the
>>>>>>Membership Agreement available online at http://rhizome.org/info/29.php
>>>>>>
>>>>>>
>>>>>>
>>>>>>
>>>>>>
>>>>>>
>>>>
>>>>
>>>>
>>>>
>>>+
>>>-> post: list@rhizome.org
>>>-> questions: info@rhizome.org
>>>-> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
>>>-> give: http://rhizome.org/support
>>>+
>>>Subscribers to Rhizome are subject to the terms set out in the
>>>Membership Agreement available online at http://rhizome.org/info/29.php
>>>
>>>
>
>
>+
>-> 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
>
>
>
>

DISCUSSION

Re: Workshop RFID & Internet of Things


Hi Rob & all,

You bring up an important question - we are going to be showing some
RFID work at the HTTP space (http://www.http.uk.net/) soon, which is a
Furtherfield exhibiting environment. And similar concerns have been
going through my mind...

And we will be supplying various bits of research and information about
RFID, at the space and online so that people can have alook for
themselves the less cute aspects of RFID, and how it is already
effecting our lives, and how it will also change things in the future -
Big Brother style.

I think that one of the issues that we are all dealing with here - is
that, there those who feel that, jumping into this area of exploration
is actually working in some way towards highlighting such issues around
surveillance, in respect of RFID's and the intigration of it as an
inevitable force, moving towards dominating everyday use in society;
restructuring the way that we behave as humans once we are caught under
the ever scrutinizing gaze of the watchers...

An equally large concern of mine, is that so many decisions are forced
to concede and conform to such corporate and draconian like
implimentations, which of course does alter they way we live our lives.
It is an extremely fundemental problem, that us citizens (worhtless
fodder) have no real offical discourse or say on how and if it is
appropriated. We have no control and are continiously being pusehd aside
by our governments who are making decisions for us, not on our terms
generally.

==============
For those who are not quite up to date with RFID technology - I have
pasted some info & links for you to browse over:

Types of RFID tags:

Passive

Passive RFID tags have no internal power supply. The minute electrical
current induced in the antenna by the incoming radio frequency signal
provides just enough power for the CMOS integrated circuit (IC) in the
tag to power up and transmit a response. Most passive tags signal by
backscattering the carrier signal from the reader. This means that the
aerial (antenna) has to be designed to both collect power from the
incoming signal and also to transmit the outbound backscatter signal.
The response of a passive RFID tag is not just an ID number (GUID); the
tag chip can contain nonvolatile EEPROM(Electrically Erasable
Programmable Read-Only Memory) for storing data. Lack of an onboard
power supply means that the device can be quite small: commercially
available products exist that can be embedded under the skin. As of
2006, the smallest such devices measured 0.15 mm

DISCUSSION

Re: I have a suggestion for Rhizome...


great idea...

but furtherfield have been creating just that sort of model.
http://del.icio.us/furtherfield.org

will be finished in about a week or 2...

marc

>What about a searchable del.icio.us like, link model?
>At least for the time being, just start pooling together the various places
>the code currently sits.
>
>On 4/3/06 2:49 PM, "Rob Myers" <rob@robmyers.org> wrote:
>
>
>
>>On 3 Apr 2006, at 18:11, Geert Dekkers wrote:
>>
>>
>>
>>>Do you mean that you could click from the artbase through to a sort
>>>of code repository pertaining to each work? Like a how-is-this-done
>>>source??
>>>
>>>
>>I keep the source for my art computing projects on SourceForge. Once
>>you have a cheat sheet of CVS commands it's very easy to use.
>>
>>
>>
>>>Of course it would also be searchable by other means. Tags? A
>>>del.icio.us for code-sharing??
>>>
>>>
>>I suggested a Rhizome code repository some time back and I still
>>think it's a very good idea. Attaching it to projects makes a lot of
>>sense, and would allow the project keywords to be used to search the
>>code, which would be great.
>>
>>- Rob.
>>
>>+
>>-> 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
>>
>>
>
>
>

DISCUSSION

Re: Preserving Work That Falls Outside the Norm -NYTIMES


I would'nt mind knowing also...

marc

>Can someone explain to me what mailia is?
>
>On 4/2/06 12:50 PM, "rhizome" <list@rhizome.org> wrote:
>
>
>
>>mailia
>>
>>Lee Wells <lee@leewells.org> wrote:
>>
>>
>>>Nice quote Lauren.
>>>Cheers.
>>>
>>>March 29, 2006
>>>Conservation
>>>Preserving Work That Falls Outside the Norm
>>>By TERRY SCHWADRON
>>>
>>>Correction Appended
>>>
>>>FOR centuries, museums, libraries and collectors have been forced to worry
>>>about how to keep artifacts and documents from falling into pieces. Despite
>>>the inevitable decay of the materials involved, curators and conservators
>>>have protected mummies, paintings and other objects.
>>>
>>>Now these curators and conservators find themselves in the digital era, with
>>>artists presenting work that challenges not only the audience, but also the
>>>traditions of preservation. The essential question is, How does a museum
>>>safeguard work that was built as an interactive experience and that may be
>>>based on computer code that will almost certainly disappear in less than two
>>>years?
>>>
>>>"It's certainly been a problem since the first time we decided to keep
>>>something," said Richard Rinehart, director of digital media at the Berkeley
>>>Art Museum and Pacific Film Archive of the University of California. "That's
>>>what museums do: they are society's memory banks. Digital art is different
>>>because it essentially can disappear."
>>>
>>>"I like to joke that digital art can last forever or for five years,
>>>whichever comes first," he added.
>>>
>>>The Berkeley Art Museum Web site describes the problem: "Works of variable
>>>media art, such as performance, installation, conceptual and digital art,
>>>represent some of the most compelling and significant artistic creation of
>>>our time. ... Without strategies for cataloging and preservation, many of
>>>these vital works will eventually be lost to art history." There is growing
>>>concern about preserving digital documents and art among museum personnel,
>>>libraries and collectors. Digital art has joined with holograms, performance
>>>art, conceptual art and other time-based media creations that can be
>>>difficult for a museum to maintain or conjure up again or lend to another
>>>institution. While critical appreciation of digital-based art may be
>>>limited, there are questions being raised beyond the art itself.
>>>
>>>"Preservation represents a continuum," said Carol Stringari, a senior
>>>conservator for contemporary art at the Solomon R. Guggenheim Museum in New
>>>York. "There have always been periods in history in which there was
>>>experimentation in art, and there have always been new materials. But the
>>>questions about preservation remain the same, regardless of the media. We
>>>must strive to understand the meaning and integrity of the work, which
>>>allows us to make informed decisions about its long-term preservation."
>>>
>>>Keeping alive art that is based on interactivity or computer code was not
>>>part of her training, Ms. Stringari said, and raises questions about
>>>maintaining a collection.
>>>
>>>For example:
>>>
>>>A Felix Gonzalez-Torres piece from 1991, "Untitled (Public Opinion)," was
>>>shown as a pile of cellophane-wrapped black licorice candies against a wall
>>>where people could remove them, changing the shape. To consider preserving
>>>the work for restaging, the museum dealt with the artist's estate (he died
>>>in 1996) on questions like whether the brand of candy was important; the
>>>pile's exact shape had to be kept; and the color or look of the candies must
>>>be the same.
>>>
>>>"For the moment, those same candies are still available, but they may not
>>>always be available," although efforts have been made to specify acceptable
>>>parameters, she said.
>>>
>>>A computer-based presentation by Mark Napier from 2002 called "net.flag"
>>>invited visitors to use symbols from international flags to change a set of
>>>stars, among other things, a work partly intended to show how the Internet
>>>has dissolved national border limitations. The art is in the interactivity,
>>>which is difficult to preserve.
>>>
>>>Video works by Nam June Paik, who died in January, were made on machinery
>>>using cathode ray tubes, on monitors giving way to plasma screens and with
>>>other technology. Conservators suggest that restaging his art reflects the
>>>discussion about intention versus physical replication involving hardware,
>>>which could change the work.
>>>
>>>Art institutions have begun to look at these issues systematically. The
>>>Guggenheim is part of a collaborative project that includes the Berkeley Art
>>>Museum and Pacific Film Archive, Rhizome, an online community for digital
>>>artists, the Franklin Furnace Archive, the Walker Art Center in Minneapolis
>>>and the Cleveland Performance Art Festival and Archive. The National
>>>Endowment for the Arts granted the consortium $165,000 to create models for
>>>preservation. The Guggenheim linked with the Daniel Langlois Foundation for
>>>Art, Science and Technology to stage an exhibition and symposium on variable
>>>media art and emulation, which uses newer computers to run older software.
>>>And the Museum of Modern Art is working with the Tate Modern in London and
>>>the San Francisco Museum of Modern Art on related work.
>>>
>>>"It is a paradox that the task is to preserve things that are not
>>>materials," said Lauren Cornell, executive director of Rhizome, which
>>>documents digital work by participating artists and works with the Museum of
>>>Contemporary Art in Los Angeles. "There really aren't any standards for how
>>>to do this. We're all testing out different ways to preserve work that is
>>>online and then goes out of date really, really quickly."
>>>
>>>In addition to emulation, other preservation techniques include storing the
>>>original work and machinery, making computer copies or preparing extensive
>>>documentation.
>>>
>>>Mr. Rinehart, a digital artist himself, said that questions about digital
>>>art may signify a larger issue. "Digital art, like all art, may be at the
>>>forefront of a larger question," he said. "What is rapidly developing is
>>>this black hole. In the future, people may look back and be able to see what
>>>was happening in the 18th century, the 19th century, and then will come a
>>>period in which we cannot tell what artists were working on. But this is not
>>>limited to the art world. This problem about retaining things will be for
>>>our collective social memory, and it will be of concern to everyone in every
>>>walk of life. Government documents, for example."
>>>
>>>Still, he added, the heart of computer-generated art "separates the logical
>>>from the physical."
>>>
>>>"We have worried about preserving the physical," he said. "Perhaps we should
>>>be worried more about preserving the logical." Mr. Rinehart has written
>>>academic proposals for creating documentation that is more akin to a music
>>>score

DISCUSSION

Les logiciels artistiques d'Andy Deck


Selection d'oeuvres en ligne du Nodel.L
Les logiciels artistiques d'Andy Deck

jeudi 23 mars 2006 - 16:42

La galerie HTTP, situee dans un entrepot du nord de Londres, est la
premiere galerie dediee a l'art en reseau et aux nouveaux medias de la
metropole britannique. Membres-fondateurs du collectif en ligne de
net-artistes et critiques Furtherfield, lance en 1997, les deux
commissaires du lieu Ruth Catlow et Marc Garrett exposent les oeuvres
simultanement dans l'espace physique de la gallerie et en ligne,
favorisant une pratique de l'art participative et collaborative.

http://linkme2.net/7f