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.
Defiant Downloads Rise From Underground
February 25, 2004
Defiant Downloads Rise From Underground
By BILL WERDE
http://www.nytimes.com/2004/02/25/arts/music/25REMI.html?th
The New York Times
More than 300 Web sites and blogs staged a 24-hour online protest yesterday
over a record company's efforts to stop them from offering downloadable
copies of "The Grey Album." A popular underground collection of music, "The
Grey Album" mixes tracks from the Beatles' classic White Album with raps
from Jay-Z's latest release, "The Black Album."
The protesters billed the event as "Grey Tuesday," calling it "a day of
coordinated civil disobedience," during which more than 150 sites offered
the album for download. Recording industry lawyers saw it as 24 hours of
mass copyright infringement and sent letters to the Web sites demanding that
they not follow through on the protest.
"The Grey Album" is a critically praised collection of tracks created by
Brian Burton, a Los Angeles D.J. who records as Danger Mouse. Mr. Burton
created the album by layering Jay-Z's a cappella raps from "The Black
Album," released on Jay-Z's Roc-A-Fella label, over music he arranged using
melodies and rhythms from "The Beatles," commonly known as the White Album.
Mr. Burton did not seek permission from EMI, which owns the publishing
rights to the White Album. When EMI learned that Mr. Burton was distributing
"The Grey Album" early this month, its lawyers sent him a cease-and-desist
letter, and Mr. Burton complied.
EMI views any distribution, reproduction or public performance of "The Grey
Album" to be a copyright violation. "They may say EMI is trying to stop an
artwork," said Jeanne Meyer, an EMI spokeswoman, referring to the Web sites,
"but they neglect to understand that there is a well-established market for
licensing samples, and Mr. Burton didn't participate in it."
Some protesters say "The Grey Album" illustrates a need for revisions in
copyright law. They say that sampling should be allowed under fair use of
copyrighted material, or that a system of fair compensation should be
created to allow for sampling.
"To a lot of artists and bedroom D.J.'s, who are now able to easily edit and
remix digital files of their favorite songs using inexpensive computers and
software, pop music has become source material for sonic collages," said
Nicholas Reville, a co-founder of Downhill Battle, an organization of music
industry activists who promoted Grey Tuesday.
Jonathan Zittrain, a director of the Berkman Center for Internet and Society
at Harvard Law School, said the issue is indeed a gray one. "As a matter of
pure legal doctrine, the Grey Tuesday protest is breaking the law, end of
story," Mr. Zittrain said. "But copyright law was written with a particular
form of industry in mind. The flourishing of information technology gives
amateurs and home-recording artists powerful tools to build and share
interesting, transformative, and socially valuable art drawn from pieces of
popular culture. There's no place to plug such an important cultural sea
change into the current legal regime."
He said that under copyright law a judge can impose damages as high as
$150,000 for each infringement.
To create a collection like "The Grey Album" legally, an artist would first
have to get permission to use copyrighted material. Then he would have to
negotiate compensation with the copyright holder. Many artists, however,
like the Beatles, will not allow their music to be sampled. But even if
permission is granted, it is common for a copyright holder to request more
than 50 percent of publishing rights for a new song created from the
copyrighted work. So if Mr. Burton had been able to get permission to make
"The Grey Album" from both the Beatles and Jay-Z, he would probably have had
to give away more than 100 percent of his publishing rights.
Around the same time Mr. Burton received his cease-and-desist letter, his
album was receiving critical acclaim in Rolling Stone magazine. The album
took on a distribution life of its own online, circulated via file-trading
sites and on e-Bay, where bootleg CD's were selling for as much as $80
yesterday. Two weeks ago EMI issued cease-and-desist letters to an
undisclosed number of record stores and e-Bbay sellers.
Downhill Battle went live last Wednesday with a site devoted to the protest,
Greytuesday.org. In 12 hours it had more than 40 sites signed on to
participate. Within two days, Greytuesday.org reached the top ranking on
Blogdex and Popdex, Web sites that track which sites are being linked to
from blogs.
Monday night lawyers for EMI issued cease-and-desist letters to more than
150 Web sites participating in the protest. The letter said distribution of
"The Grey Album" "will subject you to serious legal remedies for willful
violation of the laws."
By yesterday afternoon some of the Web masters of the protesting sites said
they had served 85 to 100 copies of the album, while other reported as many
as 1,000 downloads.
(I saw this originally on the list below - marc)
****************************************************************************
********
Distributed through Cyber-Society-Live [CSL]: CSL is a moderated discussion
list made up of people who are interested in the interdisciplinary academic
study of Cyber Society in all its manifestations.To join the list please
visit:
http://www.jiscmail.ac.uk/lists/cyber-society-live.html
****************************************************************************
*********
Defiant Downloads Rise From Underground
By BILL WERDE
http://www.nytimes.com/2004/02/25/arts/music/25REMI.html?th
The New York Times
More than 300 Web sites and blogs staged a 24-hour online protest yesterday
over a record company's efforts to stop them from offering downloadable
copies of "The Grey Album." A popular underground collection of music, "The
Grey Album" mixes tracks from the Beatles' classic White Album with raps
from Jay-Z's latest release, "The Black Album."
The protesters billed the event as "Grey Tuesday," calling it "a day of
coordinated civil disobedience," during which more than 150 sites offered
the album for download. Recording industry lawyers saw it as 24 hours of
mass copyright infringement and sent letters to the Web sites demanding that
they not follow through on the protest.
"The Grey Album" is a critically praised collection of tracks created by
Brian Burton, a Los Angeles D.J. who records as Danger Mouse. Mr. Burton
created the album by layering Jay-Z's a cappella raps from "The Black
Album," released on Jay-Z's Roc-A-Fella label, over music he arranged using
melodies and rhythms from "The Beatles," commonly known as the White Album.
Mr. Burton did not seek permission from EMI, which owns the publishing
rights to the White Album. When EMI learned that Mr. Burton was distributing
"The Grey Album" early this month, its lawyers sent him a cease-and-desist
letter, and Mr. Burton complied.
EMI views any distribution, reproduction or public performance of "The Grey
Album" to be a copyright violation. "They may say EMI is trying to stop an
artwork," said Jeanne Meyer, an EMI spokeswoman, referring to the Web sites,
"but they neglect to understand that there is a well-established market for
licensing samples, and Mr. Burton didn't participate in it."
Some protesters say "The Grey Album" illustrates a need for revisions in
copyright law. They say that sampling should be allowed under fair use of
copyrighted material, or that a system of fair compensation should be
created to allow for sampling.
"To a lot of artists and bedroom D.J.'s, who are now able to easily edit and
remix digital files of their favorite songs using inexpensive computers and
software, pop music has become source material for sonic collages," said
Nicholas Reville, a co-founder of Downhill Battle, an organization of music
industry activists who promoted Grey Tuesday.
Jonathan Zittrain, a director of the Berkman Center for Internet and Society
at Harvard Law School, said the issue is indeed a gray one. "As a matter of
pure legal doctrine, the Grey Tuesday protest is breaking the law, end of
story," Mr. Zittrain said. "But copyright law was written with a particular
form of industry in mind. The flourishing of information technology gives
amateurs and home-recording artists powerful tools to build and share
interesting, transformative, and socially valuable art drawn from pieces of
popular culture. There's no place to plug such an important cultural sea
change into the current legal regime."
He said that under copyright law a judge can impose damages as high as
$150,000 for each infringement.
To create a collection like "The Grey Album" legally, an artist would first
have to get permission to use copyrighted material. Then he would have to
negotiate compensation with the copyright holder. Many artists, however,
like the Beatles, will not allow their music to be sampled. But even if
permission is granted, it is common for a copyright holder to request more
than 50 percent of publishing rights for a new song created from the
copyrighted work. So if Mr. Burton had been able to get permission to make
"The Grey Album" from both the Beatles and Jay-Z, he would probably have had
to give away more than 100 percent of his publishing rights.
Around the same time Mr. Burton received his cease-and-desist letter, his
album was receiving critical acclaim in Rolling Stone magazine. The album
took on a distribution life of its own online, circulated via file-trading
sites and on e-Bay, where bootleg CD's were selling for as much as $80
yesterday. Two weeks ago EMI issued cease-and-desist letters to an
undisclosed number of record stores and e-Bbay sellers.
Downhill Battle went live last Wednesday with a site devoted to the protest,
Greytuesday.org. In 12 hours it had more than 40 sites signed on to
participate. Within two days, Greytuesday.org reached the top ranking on
Blogdex and Popdex, Web sites that track which sites are being linked to
from blogs.
Monday night lawyers for EMI issued cease-and-desist letters to more than
150 Web sites participating in the protest. The letter said distribution of
"The Grey Album" "will subject you to serious legal remedies for willful
violation of the laws."
By yesterday afternoon some of the Web masters of the protesting sites said
they had served 85 to 100 copies of the album, while other reported as many
as 1,000 downloads.
(I saw this originally on the list below - marc)
****************************************************************************
********
Distributed through Cyber-Society-Live [CSL]: CSL is a moderated discussion
list made up of people who are interested in the interdisciplinary academic
study of Cyber Society in all its manifestations.To join the list please
visit:
http://www.jiscmail.ac.uk/lists/cyber-society-live.html
****************************************************************************
*********
RIch White live online at FurtherStudio - Last chance
RIch White live online at FurtherStudio - Last chance
http://www.furtherstudio.org
This week's live online events
+++++++++++++++++++++
This is Rich White's last week as the FurtherStudio artist in residence.
Visitors are invited to contribute to both strands of 'create /remove' by
emailing html, javascript and actionscript for use in 'readymade'
net.artworks in 'create' and sending in or suggesting artworks to be
censored for 'remove'. He will be working online and available for
conversation in the chat roon at the following times:-
Monday 23rd February 20:00 - 21:00GMT
Tuesday 24th February 14:00 - 15:00GMT
Friday 27th February 20:00 - 21:00GMT
+++++++++++++++++++++
CRITICAL FORUM Thursday 26th February 16:00GMT
http://www.furtherfield.org/furtherstudio/online
Charlie Gere and Giles Lane, will discuss the ideas and themes explored by
'create/remove' with the artist Rich White. Chaired by Marc Garrett.
To view the live critical debate, select FORUM from the FurtherStudio menu.
You are then invited to join the panelists in an open, public discussion in
the FurtherStudio chat room.
THE PANELISTS
+++++++++++++++++++++
MARC GARRETT will be chairing this event and is a net artist & co-director
of Furtherfield.org http://www.furtherfield.org/mgarrett
CHARLIE GERE is Lecturer in Digital Art History in the School of History of
Art, Film and Visual Media, Birkbeck College, University of London. He is
the author of Digital Culture (Reaktion Books, 2002). He is currently
undertaking research into the relation between speed, technology and the
avant-garde.
GILES LANE is the founder and director of Proboscis, a non profit creative
studio and cultural think tank. Giles founded and edited COIL journal of the
moving image (1995-2000) as well as conceiving and developing the DIFFUSION
eBook downloadable book format. He has published around 30 titles in this
format since 2000. In 1998 Giles founded the imprint RCA CRD RESEARCH at the
Royal College of Art where he commissioned, edited and published five books
on experimental interaction design projects. He has written other books on
digital design and creativity for Rotovision and product design company
IDEO.
http://www.proboscis.org.uk/publications
http://www.diffusion.org.uk
RICH WHITE uses various themes and ideas to explore the meaning and value of
art including art history, context, perception, time-travel,
decontextualisation and censorship. For the Furtherstudio residency Rich is
creating a project with two parallel bodies of work under the headings
'create' and 'remove'.
In 'Create' Rich is exploring the theoretical, conceptual and practical
possibilities of creating an 'original' net/software artwork - that is, a
work that remains unique in a digital environment. 'Remove' concerns
censoring art available on the net. The result will form a comprehensive
archive of censored artworks. One half creates - art is made by addition.
One half removes - art is made by subtraction.
+++++++++++++++++++++
FurtherStudio is an exploratory, year long project, set up to create online,
real-time, net art residencies during which time the artists need not leave
their studio or home environments, as the FurtherStudio web facility offers
a public window on the artist's PC desktop as they work.
The curatorial theme of 'appropriation and ownership of ideas, services,
products and images' is explored with the artist through a programme of open
studio events and discussions between artists, net art critics and anyone
interested in exploring creativity on the Internet. More about FurtherStudio
at http://www.furtherfield.org/furtherstudio/docs/about.html
http://www.furtherstudio.org
This week's live online events
+++++++++++++++++++++
This is Rich White's last week as the FurtherStudio artist in residence.
Visitors are invited to contribute to both strands of 'create /remove' by
emailing html, javascript and actionscript for use in 'readymade'
net.artworks in 'create' and sending in or suggesting artworks to be
censored for 'remove'. He will be working online and available for
conversation in the chat roon at the following times:-
Monday 23rd February 20:00 - 21:00GMT
Tuesday 24th February 14:00 - 15:00GMT
Friday 27th February 20:00 - 21:00GMT
+++++++++++++++++++++
CRITICAL FORUM Thursday 26th February 16:00GMT
http://www.furtherfield.org/furtherstudio/online
Charlie Gere and Giles Lane, will discuss the ideas and themes explored by
'create/remove' with the artist Rich White. Chaired by Marc Garrett.
To view the live critical debate, select FORUM from the FurtherStudio menu.
You are then invited to join the panelists in an open, public discussion in
the FurtherStudio chat room.
THE PANELISTS
+++++++++++++++++++++
MARC GARRETT will be chairing this event and is a net artist & co-director
of Furtherfield.org http://www.furtherfield.org/mgarrett
CHARLIE GERE is Lecturer in Digital Art History in the School of History of
Art, Film and Visual Media, Birkbeck College, University of London. He is
the author of Digital Culture (Reaktion Books, 2002). He is currently
undertaking research into the relation between speed, technology and the
avant-garde.
GILES LANE is the founder and director of Proboscis, a non profit creative
studio and cultural think tank. Giles founded and edited COIL journal of the
moving image (1995-2000) as well as conceiving and developing the DIFFUSION
eBook downloadable book format. He has published around 30 titles in this
format since 2000. In 1998 Giles founded the imprint RCA CRD RESEARCH at the
Royal College of Art where he commissioned, edited and published five books
on experimental interaction design projects. He has written other books on
digital design and creativity for Rotovision and product design company
IDEO.
http://www.proboscis.org.uk/publications
http://www.diffusion.org.uk
RICH WHITE uses various themes and ideas to explore the meaning and value of
art including art history, context, perception, time-travel,
decontextualisation and censorship. For the Furtherstudio residency Rich is
creating a project with two parallel bodies of work under the headings
'create' and 'remove'.
In 'Create' Rich is exploring the theoretical, conceptual and practical
possibilities of creating an 'original' net/software artwork - that is, a
work that remains unique in a digital environment. 'Remove' concerns
censoring art available on the net. The result will form a comprehensive
archive of censored artworks. One half creates - art is made by addition.
One half removes - art is made by subtraction.
+++++++++++++++++++++
FurtherStudio is an exploratory, year long project, set up to create online,
real-time, net art residencies during which time the artists need not leave
their studio or home environments, as the FurtherStudio web facility offers
a public window on the artist's PC desktop as they work.
The curatorial theme of 'appropriation and ownership of ideas, services,
products and images' is explored with the artist through a programme of open
studio events and discussions between artists, net art critics and anyone
interested in exploring creativity on the Internet. More about FurtherStudio
at http://www.furtherfield.org/furtherstudio/docs/about.html
Tonight live at VisitorsStudio - Furthernoise
Hi there everyone - pop in for the debate this evening :-)
As part this feature Furthernoise will be hosting a two part series of
online Jam sessions and interviews in Furtherfield
As part this feature Furthernoise will be hosting a two part series of
online Jam sessions and interviews in Furtherfield
New Explorations in Computer Art Dr Nick Lambert
The Path Less Travelled Old Directions & New Explorations in Computer Art by
Dr Nick Lambert.
http://www.furthertxt.org/nlambert.html
Dr Nick Lambert.
http://www.furthertxt.org/nlambert.html
A Fistful of Kryptonite
A Fistful of Kryptonite
By Thom Hartmann, AlterNet
February 17, 2004
'We must repeatedly remind the American people that a horrific crime
By Thom Hartmann, AlterNet
February 17, 2004
'We must repeatedly remind the American people that a horrific crime