Carol Anne Connolly
'For I is Someone Else' is an exhibition of work focusing on the politics of influence, sharing and appropriation in music. The artist has become increasingly interested in copyright and intellectual property rights, in particular the ideological conflicts between copyright law and appropriation, the growth of sharing and sampling and the evolution of the notion of the 'author'. Freedom of expression, both creative and political, has been affected by restrictive copyright legislation, to the point where this is inhibiting the production of artistic work, thereby counteracting one of the original reasons copyright was initiated.
Connolly presents the argument that art does not exist in a vacuum, every piece of work is influenced by another, and from that point of view looks at practices and modes of resistance that challenge the core concepts of copyright law and the politics behind it. The artists refers to research which considers this as a predominantly cultural issue, one of amplified individualism affecting creativity and copyright law by way of the dismissal of collective and cultural influence.
Her research encompasses the political motivations of musicians ranging from the early nineteenth century through to contemporary times and looks at how the practices of appropriation, sharing and influence, and their political relevance, have developed over time. She has responded to this research by developing methods that conflict with the notion of copyright but respond to the timeless notion of sharing. This is mainly to highlight the imbalance of contemporary copyright laws and to present an alternative dialogue in regards to copyright and the restrictions it places on creative freedom. Connolly’s work focuses in particular on the advent of the Internet as a technology that provides, in the main, the opportunity for these ‘balancing’ practices to thrive and effectively addresses the tradition of sharing in relation to creative practices – for example the oral tradition of passing songs, melodies, and narratives down from peer to peer and generation to generation – and how the Internet acts as a highly efficient contemporary equivalent to this long tradition.
Connolly has brought all these strands together by producing a solo project comprised of work generated from source material found in the public domain, involving methods of appropriation and with participation of agents involved in practices that challenge copyright. A series of collaborations, performative actions, and events will take place within the project space in order to expand upon the intricacies of the conflict between copyright law and appropriation, to delve into the growth of sharing and investigate the history of authorial structures, particularly within a contemporary Irish context.
Performances and events
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Saturday 12th October, 6–8pm
Preview/Performance: T-woc DJ set
No booking required
Thursday 17th October, 2pm
Lecture: National College of Art & Design (NCAD)
Theft, Property and Culture, a series of informal presentations by experts working in the fields of art, digital media and law in Ireland.
No booking required
Saturday 19th October, 2–5pm
Workshop: Paul O'Neill, Glitch Art
Booking is essential (15 places maximum), fee 15 euro
All participants must have their own laptop (Mac or PC), and a selection of jpeg formatted images
This workshop will focus on critical moments in the history and development of new media art and technology. By providing an overview of some of the key movements within this field, this workshop will give participants the opportunity to familiarize themselves with theories, debates and trends surrounding new media discourse with particular attention to appropriation and remix culture, open source software, copyright control and file-sharing.
The second part of the workshop will engage with new media art on a practical level. Participants will be shown some of the key techniques used for the production of Glitch Art. By the end of the workshop, participants will be able to produce their own glitch pieces using only their laptops and open source software.
Paul O’Neill is a digital artist based in Dublin, Ireland. His interests and research include data and file appropriation through information communication technologies as a form of ‘remix culture’ and the distribution of power, knowledge and influence within digital networks. This discourse is reflected in his academic background, a graduate of Dublin City University with a BA International Relations, he followed this with a MSc Multimedia also from Dublin City University and has just recently completed an MA Art in the Digital World in the National College of Art and Design.
Friday 25th October, doors 8pm
Performance: Deviant with special guests
“M7 (Part II)" - Minimalist Composition for 5 or 6 Turntables.
No booking required, entry fee 8 euro.
The centrepiece of the performance is "M7 (part II)", based around minimalist concepts, particularly the phasing techniques of Reich and the meditative aspects of Terry Riley's work. The performance will utilise between 4 and 6 turntablists and will feature several brand new compositions derived from these minimalist methodologies and aesthetics. The performers include some of Ireland's most renowned skratch musicians: Mikey Fingers; Tweek; mynameisjOhn and Dejackulate.
Saturday 25th October, 3–5.30pm
Lecture and Demonstration: Skratch Music – Composition by Juxtaposition by Deviant
Free, booking essential
This lecture will offer a brief history of turntablism and skratch music performance, from block parties in the Bronx in the late 70s to the present day, through the explosion of turntablism and battle culture in the late 90s, to contemporary skratch music practices. It will provide an overview of compositional approaches to skratch music and to composing live performances for turntablist ensembles. The lecture will be followed by an informal session where audience members are invited to interact with the performers and will be invited to try some of the techniques for themselves.
Deviant & Naive Ted makes music from fondling records. He is a founder member of the Community Skratch collective, a member of turntable groups Granduers of Delusion and Vince Mack Mahon/Mongrul and is also one half of alt-rap duo Flying Buttresses.
"Though undoubtedly an important release for Irish hip-hop, the uniqueness in style on here makes pretty damn certain there shan’t be much in the way of imitators. Nothing out there sounds like the Flying Buttresses and in a time when rap oriented hip-hop is becoming more and more narrowly defined, such straying from the norm should get the praise it deserves." (State.ie)