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.
Genghis Bush
Man's greatest good fortune is to chase and defeat his enemy, seize his
total possessions, leave his married women weeping and wailing, ride his
gelding (and) use the bodies of his women as a nightshirt and support."
Genghis Khan - or is it George Bush?
http://www.furtherfield.org
http://www.furthernoise.org
http://www.dido.uk.net
We Can Make Our Own World.
total possessions, leave his married women weeping and wailing, ride his
gelding (and) use the bodies of his women as a nightshirt and support."
Genghis Khan - or is it George Bush?
http://www.furtherfield.org
http://www.furthernoise.org
http://www.dido.uk.net
We Can Make Our Own World.
Flight And Imagination
Flight And Imagination
Chris Hall talks about the dark side of capitalism
and the deceptions of reality with J.G. Ballard
Walking along Oxford Street the day after I finished reading JG Ballard's
new novel, Super-Cannes, it struck me, literally, the total acceptance of
the substrate of violence in consumer societies when it manifests itself. A
silent, monolithic crowd hurtled down either side of the road as I walked
from Centrepoint to Oxford Circus. I counted the number of times that I was
physically forced to move out of the way or get hit head on (five). I
counted the number of times I was pranged, bumped or rear-shunted (four).
It's said that London traffic moves at an average speed of 11mph, but
pedestrian traffic can't be far behind. Indeed, it's not too fanciful to see
in these crowds how the car has influenced our spatio-temporal perception.
You see overtaking manoeuvres, you see people checking their rear views, as
it were, with a glance behind before moving out. There is the same
frustration at slow moving traffic: the same parameters of territoriality
are in operation.
http://www.spikemagazine.com/1100jgballard.htm
Chris Hall talks about the dark side of capitalism
and the deceptions of reality with J.G. Ballard
Walking along Oxford Street the day after I finished reading JG Ballard's
new novel, Super-Cannes, it struck me, literally, the total acceptance of
the substrate of violence in consumer societies when it manifests itself. A
silent, monolithic crowd hurtled down either side of the road as I walked
from Centrepoint to Oxford Circus. I counted the number of times that I was
physically forced to move out of the way or get hit head on (five). I
counted the number of times I was pranged, bumped or rear-shunted (four).
It's said that London traffic moves at an average speed of 11mph, but
pedestrian traffic can't be far behind. Indeed, it's not too fanciful to see
in these crowds how the car has influenced our spatio-temporal perception.
You see overtaking manoeuvres, you see people checking their rear views, as
it were, with a glance behind before moving out. There is the same
frustration at slow moving traffic: the same parameters of territoriality
are in operation.
http://www.spikemagazine.com/1100jgballard.htm
Re: Fans Howl in Protest as Judge Decides X-Men Aren't Human
>(and ethical) concerns that
> society may have to deal with in, say, 50 years, if the wet dreams of all
> the post-humanists ever come to light.
Does that mean when one has sexual intercourse with a posthumanist that one
is really doing it with a doll? ;-)
marc
Subject: RHIZOME_RAW: Fans Howl in Protest as Judge Decides X-Men Aren't
Human
> Mostly, the story below is just plain silly: It's just a legal ruling that
> was once necessary because ToyBiz wanted X-Men action figures classified
as
> toys, not dolls, in China, to pay lower import duties. On the other hand,
> it's an interesting angle on the kinds of legal (and ethical) concerns
that
> society may have to deal with in, say, 50 years, if the wet dreams of all
> the post-humanists ever come to light. Mmmmmaybe. Mostly it's just silly.
> Silly is good.
>
> Francis
>
> + + +
>
> Fans Howl in Protest as Judge Decides X-Men Aren't Human
> http://online.wsj.com/article_email/0,,SB1043013622300562504,00.html
>
> Marvel Fought to Have Characters Ruled Nonhuman to Win Lower Tariff on
Toys
>
> By NEIL KING JR.
> Staff Reporter of THE WALL STREET JOURNAL
>
> Judge Judith Barzilay huddled late last year with a telepathic professor
and
> a cast of mutants to ponder an age-old question: What does it mean to be
> human?
>
> In her chambers at the U.S. Court of International Trade, in New York, the
> judge examined Prof. X and the rest of his band of X-Men, all of them
little
> plastic figures at the heart of a six-year tariff battle between their
> owner, Marvel Enterprises Inc., and the U.S. Customs Service.
>
> Her ruling thundered through the world of Marvel Comics fans. The famed
> X-Men, those fighters of prejudice sworn to protect a world that hates and
> fears them, are not human, she decreed Jan. 3. Nor are many of the
villains
> who do battle with Spiderman and the Fantastic Four. They're all "nonhuman
> creatures," concluded Judge Barzilay.
>
> Marvel subsidiary Toy Biz Inc. pushed Judge Barzilay to declare its heroes
> nonhuman so it could win a lower duty rate on action figures imported from
> China in the mid-1990s. At the time, tariffs put higher duties on dolls
than
> toys. According to the U.S. tariff code, human figures are dolls, while
> figures representing animals or "creatures," such as monsters and robots,
> are deemed toys.
>
> To Brian Wilkinson, editor of the online site X-Fan
(x-mencomics.com/xfan/),
> Marvel's argument is appalling. The X-Men -- mere creatures? "This is
almost
> unthinkable," he says. "Marvel's super heroes are supposed to be as human
as
> you or I. They live in New York. They have families and go to work. And
now
> they're no longer human?"
>
> Chuck Austen, current author of Marvel's "Uncanny X-Men" comic-book
series,
> is also incredulous. He has worked hard for a year, he says, to emphasize
> the X-Men's humanity, to show "that they're just another strand in the
> evolutionary chain."
>
> Marvel issued this statement: "Don't fret, Marvel fans, our heroes are
> living, breathing human beings -- but humans who have extraordinary
> abilities ... . A decision that the X-Men figures indeed do have
'nonhuman'
> characteristics further proves our characters have special, out-of-this
> world powers."
>
> The X-Men series broke new ground when it began in 1963 by confronting
> racism and intolerance head-on. The good-hearted mutants rallied around
> their mentor, the wheelchair-bound Prof. Charles Xavier, to protect
mankind,
> even as humans shunned and despised them.
>
> In 1996, Toy Biz sued Customs in the Court of International Trade, which
> arbitrates foreign-trade disputes between U.S. companies and the
government.
> Toy Biz said its pantheon of action figures should be classified as toys
> instead of dolls. Customs insisted the figures are dolls, and thus subject
> to 12% import duties, instead of the 6.8% rate for toys. Duties have since
> been eliminated from both categories.
>
> Thus began the great debate over the figures' true being. Barbie is a
doll.
> Pooh Bear's a toy. That much is easy.
>
> But what about Wolverine, the muscular X-Man with the metal claws that jut
> out from his fists? Wolverine has known many forms in his more than 40
years
> as a Marvel character. In some comics, he resembles a futuristic robot. In
> the movie "X-Men," he's a scruffy Canadian who drives a camper until
falling
> under the protection of the telepathic Prof. Xavier, dean of an academy
for
> gifted mutants in suburban New York.
>
> But is he human?
>
> To weigh that question, Judge Barzilay sat down with a sheaf of opposing
> legal briefs and more than 60 action figures, including Wolverine, Storm,
> Rogue and Bonebreaker.
>
> Toy Biz, in its filings, pulled no punches. The figures "stand as potent
> witnesses for their status as nonhuman creatures," the company argued. How
> could they be humans, Toy Biz said, if they possessed "tentacles, claws,
> wings or robotic limbs?"
>
> Toy Biz had good cause to pursue this line. Having its action figures
> declared toys would mean a hefty reimbursement of past duties, though the
> company declines to give specifics on how much was at stake.
>
> The U.S. government showed more feeling. Each figure had a "distinctive
> individual personality," the federal legal team argued. Some were
Russians,
> Japanese, black, white, women, even handicapped. Wolverine, the government
> insisted, was simply "a man with prosthetic hands." Justice Department
> lawyers who handled the case didn't return calls seeking comment.
>
> Judge Barzilay, through a spokesman, said that she would let her 32-page
> decision speak for itself. But she described in her ruling how she
subjected
> many of the figures to "comprehensive examinations." At times, that
included
> "the need to remove the clothes of the figure."
>
> The X-Men, oddly, gave her the least trouble. They are mutants, she
> declared, who "use their extraordinary and unnatural ... powers on the
side
> of good or evil." The judge observed how the character Storm, with her
> flowing white hair and dark skin, "can summon storms at will," while Pyro
> has a "mutant ability to control and shape flames."
>
> Thus the X-Men are "something other than human." Case closed.
>
> Tougher for the judge were figures from the Fantastic Four and Spiderman
> series. Judge Barzilay wrestled at length with Kraven, a famed hunter who
> once vanquished Spiderman, thanks in part to the strength gained from
> drinking secret jungle elixirs.
>
> The judge found that Kraven exhibited "highly exaggerated muscle tone in
> arms and legs." He wore a "lion's mane-like vest." Both features helped
> relegate him, in the judge's mind, to the netherworld of robots, monsters
> and devils.
>
> Judge Barzilay conceded that the closest call was the Mole Man, who once
> blinded the Fantastic Four with searing beams of light. The judge found
him
> to be "stout and thick," with "exaggerated troll-like features" and very
> pale skin -- fitting for someone who lives underground. Given all that,
> Judge Barzilay concluded, the Mole Man was more mole than man.
>
> Veteran comics fan Christian Cooper, who once worked as a Marvel editor,
> thinks Judge Barzilay got carried away. If Kraven isn't human, what about
> the twisted villains in Dick Tracy? Or worse yet, Superman himself?
>
> "Here's a guy who changes his clothes in a phone booth and flies through
the
> air," says Mr. Cooper. "Does that mean he's now an animal?"
>
> + 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
>
> society may have to deal with in, say, 50 years, if the wet dreams of all
> the post-humanists ever come to light.
Does that mean when one has sexual intercourse with a posthumanist that one
is really doing it with a doll? ;-)
marc
Subject: RHIZOME_RAW: Fans Howl in Protest as Judge Decides X-Men Aren't
Human
> Mostly, the story below is just plain silly: It's just a legal ruling that
> was once necessary because ToyBiz wanted X-Men action figures classified
as
> toys, not dolls, in China, to pay lower import duties. On the other hand,
> it's an interesting angle on the kinds of legal (and ethical) concerns
that
> society may have to deal with in, say, 50 years, if the wet dreams of all
> the post-humanists ever come to light. Mmmmmaybe. Mostly it's just silly.
> Silly is good.
>
> Francis
>
> + + +
>
> Fans Howl in Protest as Judge Decides X-Men Aren't Human
> http://online.wsj.com/article_email/0,,SB1043013622300562504,00.html
>
> Marvel Fought to Have Characters Ruled Nonhuman to Win Lower Tariff on
Toys
>
> By NEIL KING JR.
> Staff Reporter of THE WALL STREET JOURNAL
>
> Judge Judith Barzilay huddled late last year with a telepathic professor
and
> a cast of mutants to ponder an age-old question: What does it mean to be
> human?
>
> In her chambers at the U.S. Court of International Trade, in New York, the
> judge examined Prof. X and the rest of his band of X-Men, all of them
little
> plastic figures at the heart of a six-year tariff battle between their
> owner, Marvel Enterprises Inc., and the U.S. Customs Service.
>
> Her ruling thundered through the world of Marvel Comics fans. The famed
> X-Men, those fighters of prejudice sworn to protect a world that hates and
> fears them, are not human, she decreed Jan. 3. Nor are many of the
villains
> who do battle with Spiderman and the Fantastic Four. They're all "nonhuman
> creatures," concluded Judge Barzilay.
>
> Marvel subsidiary Toy Biz Inc. pushed Judge Barzilay to declare its heroes
> nonhuman so it could win a lower duty rate on action figures imported from
> China in the mid-1990s. At the time, tariffs put higher duties on dolls
than
> toys. According to the U.S. tariff code, human figures are dolls, while
> figures representing animals or "creatures," such as monsters and robots,
> are deemed toys.
>
> To Brian Wilkinson, editor of the online site X-Fan
(x-mencomics.com/xfan/),
> Marvel's argument is appalling. The X-Men -- mere creatures? "This is
almost
> unthinkable," he says. "Marvel's super heroes are supposed to be as human
as
> you or I. They live in New York. They have families and go to work. And
now
> they're no longer human?"
>
> Chuck Austen, current author of Marvel's "Uncanny X-Men" comic-book
series,
> is also incredulous. He has worked hard for a year, he says, to emphasize
> the X-Men's humanity, to show "that they're just another strand in the
> evolutionary chain."
>
> Marvel issued this statement: "Don't fret, Marvel fans, our heroes are
> living, breathing human beings -- but humans who have extraordinary
> abilities ... . A decision that the X-Men figures indeed do have
'nonhuman'
> characteristics further proves our characters have special, out-of-this
> world powers."
>
> The X-Men series broke new ground when it began in 1963 by confronting
> racism and intolerance head-on. The good-hearted mutants rallied around
> their mentor, the wheelchair-bound Prof. Charles Xavier, to protect
mankind,
> even as humans shunned and despised them.
>
> In 1996, Toy Biz sued Customs in the Court of International Trade, which
> arbitrates foreign-trade disputes between U.S. companies and the
government.
> Toy Biz said its pantheon of action figures should be classified as toys
> instead of dolls. Customs insisted the figures are dolls, and thus subject
> to 12% import duties, instead of the 6.8% rate for toys. Duties have since
> been eliminated from both categories.
>
> Thus began the great debate over the figures' true being. Barbie is a
doll.
> Pooh Bear's a toy. That much is easy.
>
> But what about Wolverine, the muscular X-Man with the metal claws that jut
> out from his fists? Wolverine has known many forms in his more than 40
years
> as a Marvel character. In some comics, he resembles a futuristic robot. In
> the movie "X-Men," he's a scruffy Canadian who drives a camper until
falling
> under the protection of the telepathic Prof. Xavier, dean of an academy
for
> gifted mutants in suburban New York.
>
> But is he human?
>
> To weigh that question, Judge Barzilay sat down with a sheaf of opposing
> legal briefs and more than 60 action figures, including Wolverine, Storm,
> Rogue and Bonebreaker.
>
> Toy Biz, in its filings, pulled no punches. The figures "stand as potent
> witnesses for their status as nonhuman creatures," the company argued. How
> could they be humans, Toy Biz said, if they possessed "tentacles, claws,
> wings or robotic limbs?"
>
> Toy Biz had good cause to pursue this line. Having its action figures
> declared toys would mean a hefty reimbursement of past duties, though the
> company declines to give specifics on how much was at stake.
>
> The U.S. government showed more feeling. Each figure had a "distinctive
> individual personality," the federal legal team argued. Some were
Russians,
> Japanese, black, white, women, even handicapped. Wolverine, the government
> insisted, was simply "a man with prosthetic hands." Justice Department
> lawyers who handled the case didn't return calls seeking comment.
>
> Judge Barzilay, through a spokesman, said that she would let her 32-page
> decision speak for itself. But she described in her ruling how she
subjected
> many of the figures to "comprehensive examinations." At times, that
included
> "the need to remove the clothes of the figure."
>
> The X-Men, oddly, gave her the least trouble. They are mutants, she
> declared, who "use their extraordinary and unnatural ... powers on the
side
> of good or evil." The judge observed how the character Storm, with her
> flowing white hair and dark skin, "can summon storms at will," while Pyro
> has a "mutant ability to control and shape flames."
>
> Thus the X-Men are "something other than human." Case closed.
>
> Tougher for the judge were figures from the Fantastic Four and Spiderman
> series. Judge Barzilay wrestled at length with Kraven, a famed hunter who
> once vanquished Spiderman, thanks in part to the strength gained from
> drinking secret jungle elixirs.
>
> The judge found that Kraven exhibited "highly exaggerated muscle tone in
> arms and legs." He wore a "lion's mane-like vest." Both features helped
> relegate him, in the judge's mind, to the netherworld of robots, monsters
> and devils.
>
> Judge Barzilay conceded that the closest call was the Mole Man, who once
> blinded the Fantastic Four with searing beams of light. The judge found
him
> to be "stout and thick," with "exaggerated troll-like features" and very
> pale skin -- fitting for someone who lives underground. Given all that,
> Judge Barzilay concluded, the Mole Man was more mole than man.
>
> Veteran comics fan Christian Cooper, who once worked as a Marvel editor,
> thinks Judge Barzilay got carried away. If Kraven isn't human, what about
> the twisted villains in Dick Tracy? Or worse yet, Superman himself?
>
> "Here's a guy who changes his clothes in a phone booth and flies through
the
> air," says Mr. Cooper. "Does that mean he's now an animal?"
>
> + 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
>
From Bush to Bonaparte
Reign of Terror Redux: From Bush to Bonaparte
Here's the situation: The nation's leadership is taken over by a secretive
group of elitists who profess democracy while dragging the country into a
totalitarian nightmare. Confusion and fear take hold, civil rights are
eroded in the name of fighting a terror war, and impersonal governmental
bodies with names like "Committee of General Security" start labeling
dissenters as enemies of the state. Secretive courts with limited
accountability punish civilians who object. Tightening its grip on power,
the government creates public crises it can later be seen as solving, and
military service is made mandatory for young men. The ongoing terror war
drains the country's resources, foreign relations hit rock bottom, and the
economy slides even further. But since fear is the government's most
effective weapon against its own population, the terror war is expanded.
Sound familiar?
The Reign of Terror, in late 18th century France, lasted only one year but
left the country in chaos and ripe for Napolean's despotic rule soon after.
Unless we learn from history, we could suffer the same fate.
http://www.heatherwokusch.com/
Here's the situation: The nation's leadership is taken over by a secretive
group of elitists who profess democracy while dragging the country into a
totalitarian nightmare. Confusion and fear take hold, civil rights are
eroded in the name of fighting a terror war, and impersonal governmental
bodies with names like "Committee of General Security" start labeling
dissenters as enemies of the state. Secretive courts with limited
accountability punish civilians who object. Tightening its grip on power,
the government creates public crises it can later be seen as solving, and
military service is made mandatory for young men. The ongoing terror war
drains the country's resources, foreign relations hit rock bottom, and the
economy slides even further. But since fear is the government's most
effective weapon against its own population, the terror war is expanded.
Sound familiar?
The Reign of Terror, in late 18th century France, lasted only one year but
left the country in chaos and ripe for Napolean's despotic rule soon after.
Unless we learn from history, we could suffer the same fate.
http://www.heatherwokusch.com/
Re: shine on you crazy diamond
Thanx curt,
Ace sight, been listening to all the trakz - love it all.
marc
> There's a very thin line between "professional" design and good
> "amateur" design, and the line is getting thinner all the time.
> Those who spent the cash and time on a design education feel
> themselves to be on the "professional" side of the line, and are
> obliged to make a great deal about the line, lest their elitism be
> diminished. So they are constantly puffing up the mystique of their
> secret knowledge/skill by dogging those whom they perceive to be on
> the other side of the line.
>
> The line between professional and amateur in the contemporary art
> world is thinner yet, so even more huffing and puffing (and several
> more degrees, grants, endowments, etc.) by insiders is required to
> maintain the line. Insiders will even go so far as to assimilate
> outsiders when they become too inarguably popular or troublesome. If
> you can't beat 'em, give 'em a free membership.
>
> In both cases, it's always more about the scene and the line around
> the scene than it is about any actual design or art. Which is why I
> prefer rock & roll.
>
> http://falco.kuci.uci.edu/~brianm/lancelockarm/
>
> _
> _
> _
> + 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
>
>
Ace sight, been listening to all the trakz - love it all.
marc
> There's a very thin line between "professional" design and good
> "amateur" design, and the line is getting thinner all the time.
> Those who spent the cash and time on a design education feel
> themselves to be on the "professional" side of the line, and are
> obliged to make a great deal about the line, lest their elitism be
> diminished. So they are constantly puffing up the mystique of their
> secret knowledge/skill by dogging those whom they perceive to be on
> the other side of the line.
>
> The line between professional and amateur in the contemporary art
> world is thinner yet, so even more huffing and puffing (and several
> more degrees, grants, endowments, etc.) by insiders is required to
> maintain the line. Insiders will even go so far as to assimilate
> outsiders when they become too inarguably popular or troublesome. If
> you can't beat 'em, give 'em a free membership.
>
> In both cases, it's always more about the scene and the line around
> the scene than it is about any actual design or art. Which is why I
> prefer rock & roll.
>
> http://falco.kuci.uci.edu/~brianm/lancelockarm/
>
> _
> _
> _
> + 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
>
>