Since the beginning
Works in London Ireland

Garrett Lynch (IRL) is an artist, lecturer, curator and theorist. His work deals with networks (in their most open sense) within an artistic context; the spaces between artist, artworks and audience as a means, site and context for artistic initiation, creation and discourse. Recently most active in live performance Garrett’s networked practice spans online art, installation, performance and writing.

Post-graduate of the École Nationale Supérieure des Arts Décoratifs (EnsAD), Paris, France Garrett is currently Senior Lecturer in New Media and Award Leader for MA Moving Image at Cardiff School of Creative and Cultural Industries, Wales. He has previously taught on several new media courses throughout England.
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Call for papers and performances - Remote Encounters: Connecting bodies, collapsing spaces and temporal ubiquity in networked performance

Fri Aug 31, 2012 16:00

Cardiff, United Kingdom of Great Britain and Northern Ireland

Since the internet entered the public domain in the early 90's there has been an explosion in artistic interest in its use as a means, site and context for creative practice. Much of this practice is performative in nature; ether originating from a performance background and using the internet as a new site and/or augmenting aspect of that practice or is a form of practice developed as direct response to the internet and becomes performative to some degree in its spectatorship.

It has been well established that the internet is not the first or only example of the use of a networked technology repurposed for creative practice. There is a clear time line that can be traced back through the practice of Roy Ascott and his coining of the term Telematic Art in the 1980's to artist's use of satellite networks, telephone and other telecommunication devices as each were invented. Seen in this respect the internet can be considered as one of many networked technologies that has enabled networked performance.

The internet is unique however in that it is not a singular network type that favours a particular form of media, broadcast or spectatorship. Most famously known as the network of networks it enables multiple protocols of which the world wide web's http is just one, is multimedia in nature and encourages intertextual folding and layering of media, is multi-directional not simply a broadcast communication form, de-centralised in ownership and the majority of its technologies are openly accessible.

Remote Encounters, a two-day international conference with performance evening, aims to explore the use of networks as a means to enhance or create a wide variety of performance arts. How do networks as a site for performance provide opportunities for us as artists and performers? In particular how can we remotely collaborate, merge geographically separate places and times, reconfigure the space of performance and the relationship between artist and audience?

:: Call for papers and performances ::

Contributions are invited from practitioners and academics for papers and performances that contextualise current networked performance themes and issues both historically and across the spectrum of different types of networks, explore the wealth of performance opportunities offered by the internet and give a sample of future directions for networked performance.

Topics may include, but will not be limited to, the following:

Bodies and identity:
- Virtual identities and real bodies;
- Self projection as other;
- Hardware, software and wetware - networked bodies;
- The female body and the remote gaze;
- Gender and role play;
- Robots and cyborgs.

New sites, new narratives, new genre:
- Networks as new sites of opportunism;
- Networked spaces as new territories;
- Transmedia storytelling, new narratives;
- Mixed reality narratives;
- Personal and private spaces as public venue;
- First, second and third person narratives;
- Intertextuality;

The relationship between artist and audience:
- Primary and secondary audiences, local and global;
- Audience as performer;
- Interactive performances and breaking down the fourth wall;
- The transformation of audience to user;
- Strategies and levels of engagement;
- The network as a means for converging and collaborative practice.

Tools and technologies:
- Democratisation of form and presentation;
- Subverting networked communication media;
- Alternative and community based networks;
- Tubes and streams, from public access television to webcasting;
- Virtual worlds and video gaming;
- Social networking as performance;
- Pervasive and locative performance;
- Physical interfaces and feedback;
- Telephony and SMS messaging.

We are particularly interested in live performance proposals, existing or new, that employ OpenSim and as such could take advantage of a large space provided by the organisers.

For further details and an informal chat contact Garrett Lynch (glynch[at]glam[dot]ac[dot]uk) or Inga Burrows (iburrows[at]glam[dot]ac[dot]uk)

:: Submissions ::

Deadline: 4pm (GMT), Friday 31/08/12

Proposals are now being accepted for paper presentations and live performances delivered both at the venue and remotely. Your proposal should take the form of an OpenOffice (.odf), Word (.doc), .pdf or .rtf document only.

Proposals for papers should include the following:

- An abstract (500 words maximum including bibliography);
- A short bio (200 words maximum);
- Full name and full contact details;
- State whether your proposal is for participation on site or remotely.

Proposal for performances should include the following:

- A description of the work (500 words maximum);
- Accompanying media that may include video, images or sound to give us an idea of the proposed work provided online or on CD/DVD;
- A short bio (200 words maximum) with examples of previous works provided online or on CD/DVD;
- Artist(s) / group / performer(s) name and full contact details;
- A full list of required equipment. Note that where possible we will provide equipment however the event will host several performances so highly complex configurations and lengthy set-up times cannot be catered for. Please contact us before making a proposal to discuss requirements;
- State whether your proposal is for participation on site or remotely. If remotely performing please also state your networked environment of choice.

Send proposals to Garrett Lynch:

Email: glynch[at]glam[dot]ac[dot]uk (proposals as zipped attachments less than 10mb).

Dropbox: (account - glynch[at]glam[dot]ac[dot]uk)

Post: Garrett Lynch, ATRiuM, Cardiff School of Creative & Cultural Industries, University of Glamorgan, Adam Street, Cardiff, Wales, CF24 2FN.

:: Conference information ::

Early bird fee - academic affiliated £80, non-affiliated £40
Late fee - academic affiliated £100, non-affiliated £50

Full registration details will be announced at a later date. Attending conference participants will be required to cover their own travel and if required, accommodation expenses. Travel information as well as a list of affordable hotels will be posted on the conference website.

Location: ATRiuM, Cardiff School of Creative & Cultural Industries, University of Glamorgan, Adam Street, Cardiff, Wales, CF24 2FN.

Date: 11th - 12th of April 2013


The Postmedia Perspective

>Of course, I'm working on a possible english version of the book.
>I will keep you updated about it.
Great news, look forward to seeing this.
>My point (again, overly summarized
here) is that while the art
>evolved, the corresponding art world didn't
evolve accordingly.
>Of course, many new and dinamic institutions, better
fitting to
>this new approach (such as rhizome), emerged along the
This is unfortunately very true, the new media art world never seems to manage to fully engage with the art world, it's a gimmick or a fad for them.


‘Decode’ at the V&A: Digital Reflections and Refractions

An interesting point about reflection being a dominant connecting theme of much of the work in this exhibition. This is very true but the point should be made that much of new media art (certain anything which is interactive) is reflective of the user, not necessarily in a literal way as it is in Decode but it 'reflects' a users desire, intent and action.

I think it's a fair assumption that the curators of this show would have felt comfortable with the literal interpretation of reflection i.e. its use of (probably) video to achieve that or a close to figurative representation of the user as in the case of Daniel Rozins work. Why the curators have failed to identify this sub current in their choice of works for the exhibition within a curatorial statement and elaborated that into a discussion of possibly how new media art itself 'reflects' our cultures expectation of instant response / gratification from media seems quite an oversight.

As a curatorial whole there seems to have been much oversight in this exhibition. It's safe to say that both you and I would fall into the perhaps not so "niche" but certainly "informed audience" of this type of exhibition but all of the structure around the exhibition, the workshops (a particular segment of which is tailored to teenagers) the promoted accommodation of school and college trips (free entrance offered as an incentive), makes it clear that this is targeted at the uninitiated and particularly a young audience. Your completely correct in that the curators have not decoded for that audience what new media art is. The information next to the exhibits and in the catalog simply reads as a technology listing exercise with some background on the artist / designer / company. Insight into the process of the work, it's overall aims, what the artist is dealing with as a particular subject matter is almost completely missing.

Reading the catalog after the show, I got more satisfaction from reading Golan Levins interview where he retro-justifies the premise of the exhibition as accessible to all and puts that into context with some notable English exhibitions such as Cybernetic Serendipity than I did from any of the curator statements under the titled segments of the exhibition. We could be overly pessimistic and say, as the English are forever fond of saying about much of their culture / education / politics etc. that the exhibition is dumbing down but accessibility of content doesn't necessitate dumbing down.


Snd:arc- video documentation now online

Snd:arc- (Sound and Architecture) a free evening of live sound art and
visual experimentation curated by Paul Adams and Garrett Lynch as part
of the Open Ear collaborations took place Friday 18th May 8:00 -
11:30pm at Canterbury Christ Church University, Broadstairs Campus,
Northwood Road, Broadstairs, England.

Complete video documentation of the performances and experimental
videos are now online at:

Video documentation of previous Open Ear events can be seen online at:



Snd:arc- Line up 11/05/07

Snd:arc- Line up 11/05/07

Open Ear presents Snd:arc- (Sound and Architecture) a free evening of
open air live sound art and visual experimentation on Friday 11th May
8:00 - 11:30pm (Bar until 12:00am) in the space of the open courtyard
at Canterbury Christ Church University, Broadstairs Campus, Northwood
Road, Broadstairs.

The event will feature performances and experimental video works by a
number of artists including:

Performances by:
Matt Wright
Andy Birtwistle
Garrett Lynch
Paul Adams

Experimental videos by:
Pascal Bouchet

and more

Please note that this is an open air event and as such weather
permitting, contact Broadstairs Campus closer to the date to confirm
that the event will be taking place (t: +44 (0)1843 609120, e:
broadstairs [at] canterbury dot ac dot uk).

Time: Friday 11th May 8:00 - 11:30pm
Location: Canterbury Christ Church University, Broadstairs Campus,
Northwood Road, Broadstairs (Broadstairs Campus on Google Maps -,+Kent,+CT10+2WA&