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.
New Reviews & Articles on Furtherfield.org March 06.
New Reviews & Articles on Furtherfield.org March 06.
=========================================
All recent reviews & articles can be seen at http://www.furtherfield.org
META-CC.net by Conglomco. Reviewer: Mark R Hancock.
NODE.London - States of Interdependence. Article by Marc Garrett and
Ruth Catlow
Glitchbrowser, a collaboration between DMTR.org, BEFLIX.com,
Organised.info. Reviewer: Alison Colman
Latest Works by Michael Magruder. Reviewer:Tsila Hassine
The Danube Panorama Project by Michael Aschauer. Reviewer:Yasser Rashid
Revisiting Backspace/ Bukspc- a Node.London event. Reviewer: Marc Garrett.
META-CC.net by Conglomco
"A website featuring a real-time video captioning engine that allows
users to access multiple perspectives and resources to the mainstream
news media. The website seeks to create an open forum for real time
discussion and commentary of televised media by combining strategies
employed in web-based discussion forums, blogs , tele-text subtitling,
on-demand video streaming, and search engines. " META[CC] takes the
original texts and creates a new meaning for them. Positioning them as
it does within the larger context of keywords, images and blogs within
the database. But is it fair to describe the project within the context
of a SI reading? Certainly the theoretical grounding of the SI is both
political and social."
Reviewer: Mark R Hancock.
http://www.furtherfield.org/displayreview.php?From=Index&review\_id1
NODE.London - States of Interdependence.
"There is a Sufi fable in which a group of foreigners sit at breakfast,
excitedly discussing their previous night’s exploration. One starts
saying “…and what about that great beast we came across in the darkest
part of the Jungle? It was like a massive, rough wall.” The others look
perplexed. “No it wasn’t!” says one, “It was some kind of python”.
“Yeah…” another half-agrees, “…but it also had powerful wings”. The
shortest of the group looks bemused- “well it felt like a tree trunk to
me.” This fable aptly illustrates many aspects of the NODE.London
experience. The name, which stands for Networked Open Distributed
Events in London, indicates the open, lateral structure adopted to
develop a season of media arts. It is intentionally extensible,
suggesting possible future NODE(s), Rio, Moscow, Mumbai etc."
Collaborative text by Marc Garrett and Ruth Catlow.
http://www.furtherfield.org/displayreview.php?From=Index&review\_id9
Glitchbrowser - A collaboration between DMTR.org, BEFLIX.com,
Organised.info.
The term "glitch", coined in 1962 by former U.S. astronaut John Glenn,
originally referred to a spike or change in voltage in an electrical
current. The meaning of the word glitch has since expanded to refer to
any unmistakable yet unexplainable hiccup in what would otherwise be a
smoothly functioning system. When referring to computer glitches, they
range from the merely annoying to the panic-inducing symptom of a
full-scale systems breakdown (e.g., the "blue screen of death"). On the
other hand, glitches can also be about serendipity, a full-on happy
accident, embracing a mistake and running with it, or functioning as a
veritable readymade. In the case of artists Dimtre Lima and Iman
Morandi's Glitchbrowser, a fascination with glitch-as-metaphor serves as
a conceptual basis for a work of Internet art.
Reviewer: Alison Colman.
http://www.furtherfield.org/displayreview.php?From=Index&review\_id3
Latest Works by Michael Magruder.
In his recent works, {transmission} and re\_collection, Magruder looks
at reality through the eyes of our two new best “friends”: the
cell-phone camera, and of course the inevitable Internet. In both works
he addresses the notion of our perception of reality, both on the
personal and the global level. In both works, reality is visually
fragmented by the binary medium that carries it. His visual creations
examine the nature and sources of the images we consume on a daily
basis - be it images produced by global networks or ones we produce
ourselves.
Reviewer: Tsila Hassine
http://www.furtherfield.org/displayreview.php?From=Index&review\_id0
The Danube Panorama Project by Michael Aschauer.
This ambitious piece of work uses Europe’s second largest river as its
subject. The goal being to produce a full panorama of the Danube's
coastline using slit-scan photography, the result of which will be,
according to Aschauer, a “unique cross-section of contemporary Europe”.
In the digital realm, slit-scanning involves taking a series of images
and concatenating them together to create one whole image. Aschauer's
technique utilises GPS data to control the speed at which the video
camera records material, resulting in a series of images that are
indexed according to longitude and latitude. The geographical precision
of the images provide a unique method to contrast the area of the Danube.
Reviewer: Yasser Rashid.
http://www.furtherfield.org/displayreview.php?From=Index&review\_id4
Revisiting Backspace/ Bukspc- a NODE.London event.
Backspace officially opened to the public in spring 1996 and ended its
evolutionary, dynamic and explorative short life in 1999. The space was
situated in London and the building kissed right up against the River
Thames, on Clink Street. It was a central location, near the London
Bridge and also a few steps away ironically from the historically known
Clink Prison Museum, built on the foundations of one of the original
prisons owned by the Bishop of Winchester. "It is thought it got its
name from the clinking of the manacles, fetters, chains and bolts that
were used there. It was also the origin of the phrase "In the Clink", to
mean in prison."
Reviewer: Marc Garrett.
http://www.furtherfield.org/displayreview.php?From=Index&review\_id5
=========================================
All recent reviews & articles can be seen at http://www.furtherfield.org
META-CC.net by Conglomco. Reviewer: Mark R Hancock.
NODE.London - States of Interdependence. Article by Marc Garrett and
Ruth Catlow
Glitchbrowser, a collaboration between DMTR.org, BEFLIX.com,
Organised.info. Reviewer: Alison Colman
Latest Works by Michael Magruder. Reviewer:Tsila Hassine
The Danube Panorama Project by Michael Aschauer. Reviewer:Yasser Rashid
Revisiting Backspace/ Bukspc- a Node.London event. Reviewer: Marc Garrett.
META-CC.net by Conglomco
"A website featuring a real-time video captioning engine that allows
users to access multiple perspectives and resources to the mainstream
news media. The website seeks to create an open forum for real time
discussion and commentary of televised media by combining strategies
employed in web-based discussion forums, blogs , tele-text subtitling,
on-demand video streaming, and search engines. " META[CC] takes the
original texts and creates a new meaning for them. Positioning them as
it does within the larger context of keywords, images and blogs within
the database. But is it fair to describe the project within the context
of a SI reading? Certainly the theoretical grounding of the SI is both
political and social."
Reviewer: Mark R Hancock.
http://www.furtherfield.org/displayreview.php?From=Index&review\_id1
NODE.London - States of Interdependence.
"There is a Sufi fable in which a group of foreigners sit at breakfast,
excitedly discussing their previous night’s exploration. One starts
saying “…and what about that great beast we came across in the darkest
part of the Jungle? It was like a massive, rough wall.” The others look
perplexed. “No it wasn’t!” says one, “It was some kind of python”.
“Yeah…” another half-agrees, “…but it also had powerful wings”. The
shortest of the group looks bemused- “well it felt like a tree trunk to
me.” This fable aptly illustrates many aspects of the NODE.London
experience. The name, which stands for Networked Open Distributed
Events in London, indicates the open, lateral structure adopted to
develop a season of media arts. It is intentionally extensible,
suggesting possible future NODE(s), Rio, Moscow, Mumbai etc."
Collaborative text by Marc Garrett and Ruth Catlow.
http://www.furtherfield.org/displayreview.php?From=Index&review\_id9
Glitchbrowser - A collaboration between DMTR.org, BEFLIX.com,
Organised.info.
The term "glitch", coined in 1962 by former U.S. astronaut John Glenn,
originally referred to a spike or change in voltage in an electrical
current. The meaning of the word glitch has since expanded to refer to
any unmistakable yet unexplainable hiccup in what would otherwise be a
smoothly functioning system. When referring to computer glitches, they
range from the merely annoying to the panic-inducing symptom of a
full-scale systems breakdown (e.g., the "blue screen of death"). On the
other hand, glitches can also be about serendipity, a full-on happy
accident, embracing a mistake and running with it, or functioning as a
veritable readymade. In the case of artists Dimtre Lima and Iman
Morandi's Glitchbrowser, a fascination with glitch-as-metaphor serves as
a conceptual basis for a work of Internet art.
Reviewer: Alison Colman.
http://www.furtherfield.org/displayreview.php?From=Index&review\_id3
Latest Works by Michael Magruder.
In his recent works, {transmission} and re\_collection, Magruder looks
at reality through the eyes of our two new best “friends”: the
cell-phone camera, and of course the inevitable Internet. In both works
he addresses the notion of our perception of reality, both on the
personal and the global level. In both works, reality is visually
fragmented by the binary medium that carries it. His visual creations
examine the nature and sources of the images we consume on a daily
basis - be it images produced by global networks or ones we produce
ourselves.
Reviewer: Tsila Hassine
http://www.furtherfield.org/displayreview.php?From=Index&review\_id0
The Danube Panorama Project by Michael Aschauer.
This ambitious piece of work uses Europe’s second largest river as its
subject. The goal being to produce a full panorama of the Danube's
coastline using slit-scan photography, the result of which will be,
according to Aschauer, a “unique cross-section of contemporary Europe”.
In the digital realm, slit-scanning involves taking a series of images
and concatenating them together to create one whole image. Aschauer's
technique utilises GPS data to control the speed at which the video
camera records material, resulting in a series of images that are
indexed according to longitude and latitude. The geographical precision
of the images provide a unique method to contrast the area of the Danube.
Reviewer: Yasser Rashid.
http://www.furtherfield.org/displayreview.php?From=Index&review\_id4
Revisiting Backspace/ Bukspc- a NODE.London event.
Backspace officially opened to the public in spring 1996 and ended its
evolutionary, dynamic and explorative short life in 1999. The space was
situated in London and the building kissed right up against the River
Thames, on Clink Street. It was a central location, near the London
Bridge and also a few steps away ironically from the historically known
Clink Prison Museum, built on the foundations of one of the original
prisons owned by the Bishop of Winchester. "It is thought it got its
name from the clinking of the manacles, fetters, chains and bolts that
were used there. It was also the origin of the phrase "In the Clink", to
mean in prison."
Reviewer: Marc Garrett.
http://www.furtherfield.org/displayreview.php?From=Index&review\_id5
Andy Deck Talk at the Dana Centre.Andy Deck Talk at the Dana Centre.
Andy Deck Talk at the Dana Centre.
RARE OPPORTUNITY to meet and hear from leading net artist Andy Deck, at the
Science Museum's Dana Centre, informal cafe-bar.
Wednesday March 8, 2006. Two part event:
5:30 - 6:30pm: Informal opportunity to meet the artist, with the curators of
his forthcoming HTTP Gallery exhibition, Ruth Catlow and Marc Garrett, and
interact live with key online works.
7 - 8:30pm: Artist's presentation.
Free but BOOKING ESSENTIAL as numbers limited. Call 020 7942 4040.
www.danacentre.org.uk
The Science Museum's Dana Centre.
165 Queen's Gate, South Kensington, London, SW7 5HD.
A collaboration between HTTP Gallery and Science Museum Arts Programme.
Andy Deck has been making art software, public art for the internet, since
1990. Deck's collaborative drawing spaces, game-like search engines,
problematic interfaces and informative art resist generic categorisation: he
uses the internet, the gallery and public space to challenge corporate
control over communication, tools and software, and by extension the social
imagination. Deck works with the web using the sites; artcontext.net,
andyland.net
He has received online commissions from New Radio and Performing Arts,
Rhizome.org, the Whitney Artport and the Tate, and exhibited internationally
at: Machida City Museum, ZKM, PS1, Museum of Contemporary Art Barcelona,
Walker Art Center and Ars Electronica.
Andy Deck's solo show, 'Open Vice/Virtue: The Online Art Context' runs at
HTTP Gallery from 9 March - 22 April 2006.
Preview: Thursday 9 March 7 - 9pm.
http://http.uk.net/
Part of the NODE.London season of media arts. www.nodel.org
Works on display at the Dana Centre include:
Open Studio:
An online graphic software which allows for public
contributions. Visitors can go online, create a drawing, and have the
option to save the drawing. The website acts as a databank for all
contributions, which can be seen animated on the site.
Imprimatur:
Consists of online 'groupware' for poster illustration and layout
accessible through a computer workstation installed in the gallery space.
This piece provides a framework for visitors/participants to launch a
personal poster campaign based on their own social and political concerns.
Visitors can use the software to create their own poster in collaboration
with their online counterparts.
Icontext:
A free space on the Web that presents visitors with an
open-ended interplay of words and pictures. What you do with your keyboard
and mouse determines what appears on the screen and what subsequent visitors
see and read. It sets up a fluid correspondence between keystrokes and
blocks of colour. For example, when you type "dog," the word "dog" appears,
and so does a series of three colour blocks. Icontext also works on other
levels, allowing visitors to collaborate with each other and to upload,
archive, and reconfigure "icontexts."
glyphiti:
An online collaborative drawing project. A large-scale
projection forms an evolving graffiti wall and visitors to the space are
invited to edit and add graphical units or 'glyphs', which compose the
image, in real time. The marks made by each person combine with others and
are shown as a time-lapse image stream.
Unlike most image software available on the Internet, Glyphiti functions
through most corporate firewalls by using standard Web server requests. For
the artist, penetrating firewalls acts as a metaphor to graffiti making:
both activities necessitate the appropriation of privatised space for visual
play.
Hannah Redler
Science Museum Arts Programme
RARE OPPORTUNITY to meet and hear from leading net artist Andy Deck, at the
Science Museum's Dana Centre, informal cafe-bar.
Wednesday March 8, 2006. Two part event:
5:30 - 6:30pm: Informal opportunity to meet the artist, with the curators of
his forthcoming HTTP Gallery exhibition, Ruth Catlow and Marc Garrett, and
interact live with key online works.
7 - 8:30pm: Artist's presentation.
Free but BOOKING ESSENTIAL as numbers limited. Call 020 7942 4040.
www.danacentre.org.uk
The Science Museum's Dana Centre.
165 Queen's Gate, South Kensington, London, SW7 5HD.
A collaboration between HTTP Gallery and Science Museum Arts Programme.
Andy Deck has been making art software, public art for the internet, since
1990. Deck's collaborative drawing spaces, game-like search engines,
problematic interfaces and informative art resist generic categorisation: he
uses the internet, the gallery and public space to challenge corporate
control over communication, tools and software, and by extension the social
imagination. Deck works with the web using the sites; artcontext.net,
andyland.net
He has received online commissions from New Radio and Performing Arts,
Rhizome.org, the Whitney Artport and the Tate, and exhibited internationally
at: Machida City Museum, ZKM, PS1, Museum of Contemporary Art Barcelona,
Walker Art Center and Ars Electronica.
Andy Deck's solo show, 'Open Vice/Virtue: The Online Art Context' runs at
HTTP Gallery from 9 March - 22 April 2006.
Preview: Thursday 9 March 7 - 9pm.
http://http.uk.net/
Part of the NODE.London season of media arts. www.nodel.org
Works on display at the Dana Centre include:
Open Studio:
An online graphic software which allows for public
contributions. Visitors can go online, create a drawing, and have the
option to save the drawing. The website acts as a databank for all
contributions, which can be seen animated on the site.
Imprimatur:
Consists of online 'groupware' for poster illustration and layout
accessible through a computer workstation installed in the gallery space.
This piece provides a framework for visitors/participants to launch a
personal poster campaign based on their own social and political concerns.
Visitors can use the software to create their own poster in collaboration
with their online counterparts.
Icontext:
A free space on the Web that presents visitors with an
open-ended interplay of words and pictures. What you do with your keyboard
and mouse determines what appears on the screen and what subsequent visitors
see and read. It sets up a fluid correspondence between keystrokes and
blocks of colour. For example, when you type "dog," the word "dog" appears,
and so does a series of three colour blocks. Icontext also works on other
levels, allowing visitors to collaborate with each other and to upload,
archive, and reconfigure "icontexts."
glyphiti:
An online collaborative drawing project. A large-scale
projection forms an evolving graffiti wall and visitors to the space are
invited to edit and add graphical units or 'glyphs', which compose the
image, in real time. The marks made by each person combine with others and
are shown as a time-lapse image stream.
Unlike most image software available on the Internet, Glyphiti functions
through most corporate firewalls by using standard Web server requests. For
the artist, penetrating firewalls acts as a metaphor to graffiti making:
both activities necessitate the appropriation of privatised space for visual
play.
Hannah Redler
Science Museum Arts Programme
Re-opened Skin/Strip, the archived version.
We have just re-opened Skin/Strip, the archived version.
http://www.skinstrip.net/index_archive.htm
Here are 3 articles written about SkinStrip:
Charlotte L. Frost
Putting the personal in PC or the dirty in Mac
"When travelling through JFK airport recently, I was made to feel
utterly naked..."
http://www.furtherfield.org/cfrost/review1.htm
Alan Sondheim
"The Internet revolution isn't one of communications and technology
alone - it touches the very social fabric of our world. Sexuality and
desire are foregrounded everywhere..."
http://www.skinstrip.net/docs/reviews_articles_sondheim.htm
Lewis Lacook
"The body looms large in post-modern and contemporary art practice. It's
the symbol of all that's sensual and corporeal--including the artwork
itself. Ever since Andy Warhol..."
http://www.skinstrip.net/docs/reviews_articles_lacook.htm
info about Skin/Strip:
==============
Skin/Strip Online was/still is, a collaboration between Completely Naked
and Furtherfield.
The global digital community were invited to anonymously express their
naked identity using visual images of their bodies. Individual net users
participate in a collective, live event, confronting social and cultural
representations of the body within the net community, by revealing and
viewing their previously unknown corporeality via net-based technology.
Skin/Strip Online was open for contributors between March and August 2003.
During that time the website received 12585 visitors
Over 1500 people uploaded a total of 2800 images to the artwork of which
400 were removed due to their overt sexual content disallowed under the
conditions of the SLA commission.
Skin/Strip Online was commissioned as an online live artistic project
for Shooting Live Artists, a partnership initiative between the Arts
Council of England, BBC, Yorkshire Media Production Agency's Studio of
the North (SON) and b.tv / The Culture Company, aiming to create a new
axis of digital activity in Britain.
And yes- we do have the raw version on the server but, the last time we
had it up. Over 1.8 million visitors crashed it within 4 days. So it is
closed for now until we can get our heads together regarding what to do
with it.
http://www.skinstrip.net/index_archive.htm
Here are 3 articles written about SkinStrip:
Charlotte L. Frost
Putting the personal in PC or the dirty in Mac
"When travelling through JFK airport recently, I was made to feel
utterly naked..."
http://www.furtherfield.org/cfrost/review1.htm
Alan Sondheim
"The Internet revolution isn't one of communications and technology
alone - it touches the very social fabric of our world. Sexuality and
desire are foregrounded everywhere..."
http://www.skinstrip.net/docs/reviews_articles_sondheim.htm
Lewis Lacook
"The body looms large in post-modern and contemporary art practice. It's
the symbol of all that's sensual and corporeal--including the artwork
itself. Ever since Andy Warhol..."
http://www.skinstrip.net/docs/reviews_articles_lacook.htm
info about Skin/Strip:
==============
Skin/Strip Online was/still is, a collaboration between Completely Naked
and Furtherfield.
The global digital community were invited to anonymously express their
naked identity using visual images of their bodies. Individual net users
participate in a collective, live event, confronting social and cultural
representations of the body within the net community, by revealing and
viewing their previously unknown corporeality via net-based technology.
Skin/Strip Online was open for contributors between March and August 2003.
During that time the website received 12585 visitors
Over 1500 people uploaded a total of 2800 images to the artwork of which
400 were removed due to their overt sexual content disallowed under the
conditions of the SLA commission.
Skin/Strip Online was commissioned as an online live artistic project
for Shooting Live Artists, a partnership initiative between the Arts
Council of England, BBC, Yorkshire Media Production Agency's Studio of
the North (SON) and b.tv / The Culture Company, aiming to create a new
axis of digital activity in Britain.
And yes- we do have the raw version on the server but, the last time we
had it up. Over 1.8 million visitors crashed it within 4 days. So it is
closed for now until we can get our heads together regarding what to do
with it.
Be a reviewer on Futherfield
Be a reviewer on Futherfield
============================
Furtherfield is currently looking for more reviewers.
http://www.furtherfield.org
Furtherfield connects to an ever increasing and diverse community of
people from all walks of life who are hungry to experience and explore
contemorary media art and related creativities. We regularly receive
submissions from artists/groups from all over the world inviting us to
feature their work on Furtherfield. Because we receive so many
interesting submissions by those who want their work reviewed on
Furtherfield, we are always interested in having more reviewers.
As a reviewer you will be asked to select from these works and
contribute to the context of what is being created and write about why
it is relevant. You will also have the option of seeking out and writing
about other works that you think should be seen.
We are interested in people who understand and know net art, software
art, aspects of media art (new media art), social networks connected to
media art, live net art (real-time), psychogeography, live Internet tv,
open source, tactical media, art blogs, activist games, net activism,
relational media art & its variants...
If you possess knowledge and enthusiasm for any of these subjects, are
able to write;-) and are interested in being part of a group that is
growing daily as an adventurous community, join us and share the
rewarding experience of engaging in a contemporary, critical and
creative digitally vista that is shifting and changing each day.
If you are interested, please contact- marc.garrett@furtherfield.org
The Furtherfield Reader
=======================
In response to demand from visitors at HTTP Gallery
(http://www.http.uk.net/) as well as Furtherfield.org visitors and
artists, in Summer 06, we will publish selected Furtherfield
reviews/articles as pdf downloads. These quarterly editions will be
accessible via the Internet for print in a book format. This is also due
to the influx of fresh interest in media arts, especially in the UK as
evidenced by projects such as the upcoming NODE.London Season of Media
Arts http://www.nodel.org/.
Furtherfield and the HTTP Gallery, has been connecting with various
Colleges and Universities in the UK and internationally, gaining
interest in the ideas, content and context(s) provided and investigated
by both platforms. We are dedicated to bringing about a new and wider
audience to media arts, bringing about a more engaged culture of
understanding, critical thinking and independent consciousness.
OTHER FURTHERFIELD PROJECTS:
=======================================================
http://www.furtherfield.org/furthercritic (MEZ is our current resident
critic)
http://www.furtherfield.org/furtherstudio/ (archived for view)
http://www.furtherfield.org/gestation/
http://www.furtherfield.org/dissensionconvention/ (archive of event)
http://www.skinstrip.net/index_archive.htm
http://www.netbehaviour.org (an open email list that explores networked
behaviour & media arts)
---------------------------------------------------->
============================
Furtherfield is currently looking for more reviewers.
http://www.furtherfield.org
Furtherfield connects to an ever increasing and diverse community of
people from all walks of life who are hungry to experience and explore
contemorary media art and related creativities. We regularly receive
submissions from artists/groups from all over the world inviting us to
feature their work on Furtherfield. Because we receive so many
interesting submissions by those who want their work reviewed on
Furtherfield, we are always interested in having more reviewers.
As a reviewer you will be asked to select from these works and
contribute to the context of what is being created and write about why
it is relevant. You will also have the option of seeking out and writing
about other works that you think should be seen.
We are interested in people who understand and know net art, software
art, aspects of media art (new media art), social networks connected to
media art, live net art (real-time), psychogeography, live Internet tv,
open source, tactical media, art blogs, activist games, net activism,
relational media art & its variants...
If you possess knowledge and enthusiasm for any of these subjects, are
able to write;-) and are interested in being part of a group that is
growing daily as an adventurous community, join us and share the
rewarding experience of engaging in a contemporary, critical and
creative digitally vista that is shifting and changing each day.
If you are interested, please contact- marc.garrett@furtherfield.org
The Furtherfield Reader
=======================
In response to demand from visitors at HTTP Gallery
(http://www.http.uk.net/) as well as Furtherfield.org visitors and
artists, in Summer 06, we will publish selected Furtherfield
reviews/articles as pdf downloads. These quarterly editions will be
accessible via the Internet for print in a book format. This is also due
to the influx of fresh interest in media arts, especially in the UK as
evidenced by projects such as the upcoming NODE.London Season of Media
Arts http://www.nodel.org/.
Furtherfield and the HTTP Gallery, has been connecting with various
Colleges and Universities in the UK and internationally, gaining
interest in the ideas, content and context(s) provided and investigated
by both platforms. We are dedicated to bringing about a new and wider
audience to media arts, bringing about a more engaged culture of
understanding, critical thinking and independent consciousness.
OTHER FURTHERFIELD PROJECTS:
=======================================================
http://www.furtherfield.org/furthercritic (MEZ is our current resident
critic)
http://www.furtherfield.org/furtherstudio/ (archived for view)
http://www.furtherfield.org/gestation/
http://www.furtherfield.org/dissensionconvention/ (archive of event)
http://www.skinstrip.net/index_archive.htm
http://www.netbehaviour.org (an open email list that explores networked
behaviour & media arts)
---------------------------------------------------->
archive of older Rhizome emails.
Hi All,
I was wondering if anyone could nlighten me here- a couple of weeks ago
I was searching for some older emails on Rhizome. Dating back to about
98-99, for some interesting discussions that I was involved in at that
time but, I failed to find them. Does anyone know whether they are still
accessible anywhere?
marc
I was wondering if anyone could nlighten me here- a couple of weeks ago
I was searching for some older emails on Rhizome. Dating back to about
98-99, for some interesting discussions that I was involved in at that
time but, I failed to find them. Does anyone know whether they are still
accessible anywhere?
marc