Furtherfield.org is an artist-led online community and arts organization. It creates and supports global participatory projects with networks of artists, theorists and activists and offers "a chance for the public to present its own views and enter or alter various art discourses".
Furtherfield describes itself as "the collaborative work of artists, programmers, writers, activists, musicians and thinkers who explore beyond traditional remits; dedicated to the creation, promotion, and criticism of adventurous digital/networked media art work for public viewing, experience and interaction. Developing imaginative strategies in a range of digital and terrestrial media contexts, Furtherfield develops global, contributory projects that facilitate art activity simultaneously on the Internet, the streets and public venues."
History and Background
Furtherfield was founded in London in 1996 by artist-theorists Ruth Catlow and Marc Garrett. Inspired by the cultural value of collaboration as opposed to the traditional myth of individual artistic genius, Furtherfield has focused on the development of "artware" - software platforms for creating art – that engages its users in collaborative creative endeavours.
In 2004, Furtherfield opened HTTP, a physical gallery space for networked media art in North London, and since that time it has received funding from the Arts Council of England to support its activities. As well as its own projects, Furtherfield has contributed to other initiatives such as NODE.London., hosting exhibitions and events, and contributing to the resulting book, Media Mutandis: a NODE.London Reader; and the travelling exhibition Game/Play (2006-07), co-curated with Q Arts, Derby. In 2007, Furtherfield was ranked in Dazed and Confused’s Digital Top 50.
Furtherfield’s activities include artist presentations, residencies, reviews, theoretical texts, the Furtherfield blog, touring exhibitions, online exhibitions and events. All of these activities address the group’s interest in collaborative, networked art, open source, media art ecologies and provocative media-art projects.
Specific satellite projects that Furtherfield has developed include:
- Visitors Studio;
- Rosalind - Upstart New Media Lexicon; 
- HTTP - House of Technologically Termed Practice; 
- 5+5=5 NetArtFilm;
- NetBehaviour – new media art mailing list;
- Do-It-With-Others (DIWO).
Approximately 600 people are regular contributors and collaborators in Furtherfield activities, with an estimated global readership of 26,000. The organisation is run by a core group of six “current grafters” comprising founders Catlow and Garrett (Co-Directors), Neil Jenkins (Technical Director of Projects), Giles Pender (Technical, Network and Logistics’ guru), Michael Szpakowski (Outreach and Education) and Lauren Wright (Co-producer and Coordinator). A “neighbourhood crew” and “now-sleeping Furtherfielders” are also listed on the organisation’s web site.
- "Interviewing the Crisis - Marc Garret, Furtherfield & Netbehaviour". Artsblog.it. 8 January 2009 (Italian, English). http://www.interviewingthecrisis.org/?p=27.
- "Curediting: Translational Online Work". CONT3XT.NET. 2008. http://vagueterrain.net/journal11.
- Mancuso, Marco (2008). "CODING CULTURES - PART 1". CONT3XT.NET. http://www.digicult.it/digimag/article.asp?id=1121.
- Sterling, Bruce (2008). "You, Too, Can Be an Erudite Net.Art Critic". Wired 15. http://blog.wired.com/sterling/2008/07/you-too-can-be.html.
- Cornell, Lauren (2007). "INTERVIEW: Charlie Gere, Christiane Paul, Jemima Rellie". http://newmediafix.net/daily/?p=1528.
- Sloan, Helen (2007). SwanQuake: The User Manual. The Interface Revisited. Liquid Press. ISBN 978-1-84102-172-0.
- Loseby, Jess (May 2003). "Sampling net art". [a-n] Magazine For Artists: 36 - 37.
- Mancuso, Marco. "NET VISIONS". http://www.digicult.it/digimag/article.asp?id=1183.
- Charlotte Frost, ed. Production Lines. England: Louise Wirz, a-n The Artists Information Company. pp. 3,4.5,6 & 7. ISBN 0 907730 85 X.
- Navas, Eduardo (2004). "Is there such a thing as an online retrospective?". Net art review. http://www.netartreview.net/logs/2004_03_21_backlog.html#108034106196636406.
- Kovacevic, Vladimir (February 2004). "AFTER RHIZOME". http://www.geocities.com/afterrhizome.
- ↑ Loseby, Jess (Sept 2004). "Beyond the Big Boys". metamute. http://www.metamute.org/en/Beyond-the-Big-Boys.
- ↑ Bosma, Josephine (2004). "Constructing Media Spaces: The novelty of net(worked) art was and is all about access and engagement". Medien Kunst Netz. http://www.medienkunstnetz.de/themes/public_sphere_s/media_spaces/scroll/.
- ↑ "About Furtherfield". Furtherfield. Sept 2004. http://www.furtherfield.org/about.php.
- ↑ "About Furtherfield - Behaviour Statement". Furtherfield. 2008. http://www.furtherfield.org/about.php.
- ↑ Wright, Lauren (Nov 2006). "Outside In: Organising NODE.London". http://www.metamute.org/en/Outside-in-Organising-NODE.London.
- ↑ Marina Vishmidt, ed. (2008). Media Mutandis: a NODE.London Reader. Mary Anne Francis, Jo Walsh and Lewis Sykes. ISBN 0-9552435-0-5. http://publication.nodel.org.
- ↑ McPhail, Lora (2004). "Rosalind". Net Art Review. http://www.netartreview.net/weeklyFeatures/2004_10_10_archive.html#109750885082052162.
- ↑ Smith, Finn (Nov 2005). "Art, Autonomy and Automata". metamute. http://www.metamute.org/en/art_autonomy_and_automata.
- ↑ Simi, Giulia (2007). "DIWO: CO-CREATION, CO-CURATION". Digicult. http://www.digicult.it/digimag/article.asp?id=809.
- ↑ "About Furtherfield". Furtherfield. 2008. http://www.furtherfield.org/about.php.
- Visitors Studio
- HTTP - House of Technologically Termed Practice