Art History

NODE.London: Getting Organised Openly?

by Marc Garrett

By Marc Garrett & Ruth Catlow. This copy of the article is on (eipcp) European Institute for Progressive Cultural Policies. But was also published on the Furtherfield.org web site & Node.london web site.

The first NODE.London Season of Media Arts in 2008 was conceived as an experiment in tools and structures of... more The first NODE.London Season of Media Arts in 2008 was conceived as an experiment in tools and structures of cooperation as invented or adapted by artists, technologists, and activists, many of whom were committed to ideas of social change through their practice. It was to be an experiment in radical openness. Not just to be confined to participatory artistic processes and events but also applied to the method of organisation.

This text by Ruth Catlow and Marc Garrett is a reflection on the NODE.London "experiment", its context, its cultures and the make up of its events, infrastructure and organisation. It points to some earlier grassroots media arts festivals in London and gives a bare­bones description of the components of the NODE.London 2006 season. Taking Felix Stalder's analysis of the difference between Open Source and Open Culture, this text looks at how different ideas and approaches to networks and openness were played out in the first season. With a focus on organisational matters, it further makes some judgements about where these were fruitful and where they were problematic. Finally it looks at the work of OpenOrganizations as one example of alternative frameworks for grassroots organisations and suggests that by directly addressing the particular problem of organisation, it might be possible and worthwhile to support the development of grassroots media arts infrastructure in London, including the possible iterations of a NODE.London season.

Revisiting the Curious World of Art & Hacktivism.

by Marc Garrett

published as an article on Furtherfield March 10th 2012.

Revisiting the Curious World of Art & Hacktivism, is the first of a series of articles exploring how contemporary... more Revisiting the Curious World of Art & Hacktivism, is the first of a series of articles exploring how contemporary artists engaged with technology and activism are transcending established art behaviours. Crossing over into territories that reflect not only social and political contexts, but new dialogues of experiencing and understanding art. The politics of today becomes the background, the material and canvas of imaginative and critical play.

Appropriation

by Andrew Stockwell

An Interview with John Stezaker

by Andrew Stockwell

Left shift: radical art in 1970s Britain

by Andrew Stockwell

The impossible document: photography and conceptual art in Britain, 1966-1976

by Andrew Stockwell

Semiotics and the Analysis of Film

by Andrea Veiga

How a Library Saved My Life

by Marc Garrett

First published on Furtherfield's Community Blog 07/02/2011

A personal text discussing my own personal history regarding, early education and 'how a library saved my life'. An... more A personal text discussing my own personal history regarding, early education and 'how a library saved my life'. An argument against the closing of public facilities such a libraries by the Conservative-Liberal Democrat coalition in the UK, and their assault on welfare, education, and social equality, in the age of austerity cloaking privatization with the reinstatement of the privileged classes.

Artists Re:Thinking Games

by Marc Garrett

Editors Ruth Catlow, Marc Garrett, Corrado Morgana.

Digital games are important not only because of their cultural ubiquity or their sales figures but for what they can... more Digital games are important not only because of their cultural ubiquity or their sales figures but for what they can offer as a space for creative practice. Games are significant for what they embody; human computer interface, notions of agency, sociality, visualisation, cybernetics, representation, embodiment, activism, narrative and play. These and a whole host of other issues are significant not only to the game designer but also present in the work of the artist that thinks and rethinks games. Re-appropriated for activism, activation, commentary and critique within games and culture, artists have responded vigorously.

Over the last decade artists have taken the engines and culture of digital games as their tools and materials. In doing so their work has connected with hacker mentalities and a culture of critical mash-up, recalling Situationist practices of the 1950s and 60s and challenging and overturning expected practice.

This publication looks at how a selection of leading artists, designers and commentators have challenged the norms and expectations of both game and art worlds with both criticality and popular appeal. It explores themes adopted by the artist that thinks and rethinks games and includes essays, interviews and artists' projects from Jeremy Bailey, Ruth Catlow, Heather Corcoran, Daphne Dragona, Mary Flanagan, Mathias Fuchs, Alex Galloway, Marc Garrett, Corrado Morgana, Anne-Marie Schleiner, David Surman, Tale of Tales, Bill Viola, and Emma Westecott.