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ChaplinI saw Charlie Chaplin’s The Gold Rush on Monday 3rd January 2011.

The Philharmonia Orchestra conducted by Carl Davis played a live accompaniment to Chaplin's silent classic in a special performance at the Royal Festival Hall.

Featuring Chaplin in his quintessential Little Tramp role, the film was described by The New York Times upon its 1925 release as

‘a comedy with streaks of poetry, pathos, and tenderness, [...] the outstanding gem of all Chaplin’s pictures’.

In Britain, the coalition governments destruction of public funding for university education, and the decimation of financial support for arts and their institutions, has indeed induced pain in the arts.

This is how members of parliament were protected while they voted to triple tuition fees.

With other leading academics, artists, curators and writers I contributed to a symposium coorganised by Lanchester Gallery Projects and the Herbert Art Gallery in Coventry.  What is to be Done? explored events at Coventry School of Art and Design 1968-72 and the wider counter culture context of the 70s. It examined radical regional art education and its legacy, particularly in relation to contemporary experimental institutional and pedagogical practice. The event coincides with a retrospective of the work of David Rushton, founder editor of Coventry-based Analytical Art in the 1960s and Art & Language member from 1972 to 1975.

I talked about the work I do as part of Critical Practice, and especially the Parade project.

ArnolfiniI contribute to Critical Practice and following Parade we have been invited to participate in El Ranchito. We went to Madrid to begin to research the context for the invitation. El Ranchito is a cultural experiment launched at the Matadero in the city of Madrid.

 El Ranchito aims to achieve the following objectives:

more soon.......Timeline Intermediae

On Friday I'll contribute as part of Critical Practice to an informal discussion on the relations between Money/Space/Art as part of This Is Not A Gateway 2010.

"There is conflict blossoming at the heart of culture, a conflict convened around the property rights that subsist in materials stored in public archives"

Screen Tests

 

I participated in The Future of Art, Archives and Special Collections a collaborative event organised by Tate's Library & Archive and Chelsea College of Art & Design. 

In the archive, and surrounded by relevant materials we had a really vibrant discussion around future access to art and art archives, futures embedded in the past, and more general issues of access and redistribution of knowledge. My contribution was informed by working with Intermediae on the Procesos de Archivo project, in making Museum Futures and Screen Tests.

Open Music ArchiveWow! I went to see an amazing performance created by Eileen Simpson and Ben White of the Open Music Archive. I worked with Ben and Eileen on Screen Tests.

Anyway, they invited the extraordinary 22 piece women's choir Gaggle to reinterpret The Brilliant and the Dark, a 1969 cantata for 1,000 women's voices and to perform it live at The Women's Library.

In addition, the vocalist Ellen Southern created a new copyleft remix score, which was also performed live.

The Open Music Archive is a collaborative project to source, digitise, and redistribute out of copyright music. For The Brilliant and the Dark Ben and Eileen remixed the music and lyrics of the original composition, colaborated with musiicians and performers and produced a new music video. Filmed on location in The Women's Library the video re-animates the original 1969 performance of the cantata at the Royal Albert Hall.

All creative work is born into copyright; every image, text or sound is automatically designated as the property of its apparent author. Copyright is founded on the right of exclusion, and even material deposited in Public Archives is considered a property, access to which is subject to the generosity of archivists and keepers. Effectively copyright restricts the creative re-use of public resources. Ben and Eillen's projects explore theses tensions.

Through negotiation, reinterpretation and the restaging of the first performance, including some of the 1960's costumes  - documented by photographs held in the Library’s archive - Ben and Eileen have created anew The Brilliant and the Dark.

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