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

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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.
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DISCUSSION

Zero Gamer - Taking the action out of interaction.


Zero Gamer - Taking the action out of interaction.

Zero Gamer looks at games played, unplayed and unplayable, the spectator
and the spectacle.

The exhibition is curated by critical game theorist Corrado Morgana in
partnership with HTTP Gallery, a Furtherfield.org project.

At the London Games Festival Fringe 2007, HTTP Gallery presents the Zero
Gamer exhibition in the festival lounge at 01zero-one before its
presentation at HTTP Gallery. It includes works by Axel Stockburger,
TheGhost, Corrado Morgana, Ljudmila, Progress Quest and JODI. The
exhibition is accompanied by short publication with a keynote text by
Axel Stockburger.

For texts and exibition details, check out the Zero Gamer website:
http://www.http.uk.net/zerogamer/

The festival lounge, is open for business every afternoon throughout the
London Games Festival. Fully equipped for work & play with internet and
all the coffee you can drink. Open 12-6pm.

Info on other events at 01zero-one:
http://www.londongamesfestival.co.uk//Events.aspx

DISCUSSION

Re: RHIZOME_RAW: cheesy SL


Hi All,

One of the most disturbing things about Ars Electronica this year was
how dominating Second Life was, it really felt quite unimaginative, but
if you are scared of building an independent community I'm sure that
it's just a sideways step - not much of a shift really.

marc

> Damian Stewart wrote:
>
>> a lot of the people who
>> inhabit second life actually do have quite active (first) social lives.
>
> Well there you are then. :-)
>
>> and those that don't aren't going to find SL a stepping stone toward
>> a 'real' social life. on the contrary, i think.
>
> There is socialization of a kind to be had in SL. As I say it is at
> worst better than isolation.
>
>> anyway my point in bringing this up was to try and figure out why
>> there is this perception around SL that people who play it don't have
>> lives.
>>
>> whenever i've visited SL (even the 'art' parts) it seems to be just a
>> whole bunch of incredibly unattractive avatars standing around
>> staring blankly at each other, with the occasional twitchy body
>> language, and everything is *ugly*, *ugly*, *ugly*.
>
> That sounds like a private view in RL. ;-)
>
> Try Luskwood or somewhere further from the entry area.
>
> If things are ugly then you can get some land and make something
> beautiful.
>
>> as an outsider i just don't get it. i don't understand why people
>> would spend so much time on something that seems ultimately
>> completely self-serving.
>
> There is a long history of aestheticized social affect that SL can at
> least aspire to (drag, dandyism, masked balls, Commedia, LRP, fancy
> dress, subcultural style). People like to dress up and socialize under
> aestheticized assumed personas. This is widespread enough that we can
> assume it's socially useful. I believe SL serves this function in a
> broadcast media age.
>
>> my personal take on things: i write code, yes, i'm a big geek
>> actually, but all of the geeking that i do has as its end an object
>> that is destined to be shown to the world outside - either as an
>> interactive installation piece for uninitiated members of the general
>> public, or as a music performance for non-geek members of the
>> music-listening public.
>>
>> but with SL, no-one's going to see it except for other SL users. if
>> this is going to change, then this no-life perception has to be
>> addressed head-on. this isn't happening, and so SL will remain
>> marginalised.
>
> The world outside comes into SL in the same way it comes into a
> gallery. SL is a less exclusive social setting than a gallery at
> private view time.
>
>> i've watched some of Gazira Bebell's videos and they just don't touch
>> me at all. it's kind of interesting but i don't feel like there's
>> someone /performing/. there's no risk. part of performance is the
>> fact of having someone flesh and blood right there. but in SL,
>> everything matters less, there's less emotional engagement, and so
>> it's so much harder to care.
>
> Early films were shot like stage plays. It wasn't until people stopped
> trying to make films into (bad) plays and developed an actual grammar
> for the medium that film got really interesting.
>
> It is trivially true that an avatar is not a flesh and blood person on
> a stage. Nor is an image of a person in a painting or a photograph. If
> they don't touch you then someone isn't using (or evaluating) the
> medium effectively.
>
> - Rob.
> +
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> +
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>

DISCUSSION

Zero Gamer exhibition at London Games Festival.


Zero Gamer exhibition at London Games Festival.

FRINGE: Lounge & Zero Gamer exhibition, London Games Festival.
http://www.http.uk.net/zerogamer/exhibition.shtml

Open: 1pm-6pm, Monday 22 - Friday 26 October
Venue: 01zero-one, Hopkins Street, Soho,
London W1F 0HS
Free to attend.

Zero Gamer looks at games played, unplayed and unplayable, the spectator
and the spectacle. Sometimes we just like to watch, and machinima,
gameplay videos and spectator gaming events take the activity out of
interactivity. Games that play themselves, video documents of in-game
performance, game engine experiments and challenging documentaries on
gameplay.

The exhibition is co-curated between critical game theorist Corrado
Morgana in partnership with HTTP Gallery and Furtherfield.org

Works by
Axel Stockburger
Jodi
The Ghost
Corrado Morgana
Ljudmila
Progress Quest & more...

More Info:

Download Catalogue:
http://www.http.uk.net/zerogamer/zero_game_catalogue.pdf

Keynote Text by Axel Stockburger 2007.
The devil makes work for idle thumbs:
http://www.http.uk.net/zerogamer/keynote.shtml

Zero Gamer.
Collaborative, curatorial text by Ruth Catlow, Marc Garrett & Corrado
Morgana 2007.

This is the second exhibition, produced by HTTP Gallery as part of the
London Games Fringe Festival to focus on the intersection of media art
and games cultures. In 2006 Game/Play, a networked exhibition focusing
on the rhetorical constructs of game and play in a media art context,
was installed alongside the World Series of Video Games in London.
Visitors to the Trocadero moved between the frenzied competition of the
WSVG events, part of the mainstream festival, and a more critical
engagement with a selection of artworks presented as part of the Fringe.
The exhibition comprised of a series of games that subverted the
stereotypical genres and an installation of [giantJoystick] by Mary
Flanagan which "highlighted the spatial and social role of the game
interface." Visitors seemed to slip happily between modes of engagement.

The meaning of contemporary media art is often crafted by the context in
which it is encountered by its audience or participants. The way in
which participants interact when engaged (in games and art) remains an
important factor for both artists and game designers, gamers and
audiences for videogame-art. This provides a starting point for this
exhibition. It considers on the one hand, avidly and actively immersed
gamers, and on the other, the gamer-in-every-viewer of art games who
encounters game modifications, appropriations and detournements as jolts
to the mesmerizing flow and illusory worlds of regular game play. They
are thereby placed in a more thoughtful and reflective relationship with
them. This is the fertile antagonism that informs Zero Gamer.

So, what happens when the action is taken out of interaction?

To read the rest of this text:
http://www.http.uk.net/zerogamer/exhibition.shtml

DISCUSSION

Re: RHIZOME_RAW: Media Arts for the ICA Web Site


Hi Lee, Emma & all,

I see the issue is coming from a different level. Emma could expand her
resources and collaborate experience beyond, outside the
complex/building of the ICA and ask for support by others who are
already themselves engaged in the practice, curating, making it, writing
about etc...

For instance, furtherfield.org are only 4 miles down the road - and we
could advise on various matters regarding such things. We are not still
around for 10 years still surviving for nothing, or just because we look
cute (although I would settle for the latter;-)

marc

> Hi Emma:
>
> I think what you are doing is great. Not enough institutions are getting
> behind cutting edge work in this way. Most artists don't understand the
> importance of marketing and the attention that it will draw, if only even
> internally at ICA.
>
> Funding in the arts is an issue, especially here in the US.
> I wish we had the lottery here as well.
> Keep up the good work.
>
> Cheers,
> Lee
>
>

DISCUSSION

FURTHERNOISE RADIO ON BCFM 93.2 FM 22.00 - 23.00 TONIGHT TUESDAY 25th SEPTEMBER.


FURTHERNOISE RADIO ON BCFM 93.2 FM 22.00 - 23.00 TONIGHT TUESDAY 25th
SEPTEMBER.

Online Stream - http://www.bcfm.org.uk

BCFM 93.2 FM (Bristol, UK)
22.00-23.00 pm BST (+ 1GMT)
Repeated 11-12 am BST Wednesday 26th September.
See http://www.timeanddate.com/worldclock for your own location time.

22.00 - 23.00 UK
17.00 - 18.00 NYC
23.00 - 24.00 Europe
6 - 7 am - Tokyo Wednesday 26th (Repeated 19.00 - 20.00)
7 - 8 am - Australia Wednesday 26th (Repeated 20.00 - 21.00)

>From Stravinski to Stump tonight's programme features a great line up
of experimental music old & new along with tracks from Jon Hassell &
Brian Eno, Luca Formentini, Tim Reed and a host of local noisemakers
including Pete Brandt & Paul Dunmall. Matt Davies & Rachel Connelly will
also be joining me in the studio to talk about the new experimental
sound night Unmeasured Music they are organising at Spike Island in
Bristol.

As always we also have a live online visual mix from our regular VJ's
Grazmaster & Neil. To get the radio stream and the online visual mixing
open 2 browser windows with the following URLs in each window.

Radio stream http://www.bcfm.org.uk
Visual Stream Log into http://www.visitorsstudio.org

Subscribe to our new itunes podcasts of current and past programmes from
the radio menu of the site http://www.furthernoise.org