Eileen Simpson and Ben White: Open Music Archive
- Submitting institution
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Manchester Metropolitan University
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 258012
- Type
- M - Exhibition
- Venue(s)
- Castlefield Gallery, Manchester, United Kingdom
- Open access status
- Out of scope for open access requirements
- Month of first exhibition
- June
- Year of first exhibition
- 2019
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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1
- Research group(s)
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B - Art & Performance
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- Five artworks by the researchers come together for the first time in an exhibition showcasing the performative potential of the Open Music Archive. The exhibition proposed that the voice, both contemporary and archival, connects five audio-visual works, threading together fragments to reveal a series of interconnected trajectories. In the works in the exhibition, we encounter voices conjured from the past that emanate from separate artworks, which act as nodes in a larger network and trace across spatial and temporal distances. The survey offers new insights into the methods, processes and effects of simultaneously building an open source archive and responding to its contents with individual projects that open out the future of the commons. It exhibits a partial mapping and playback of recorded music, negotiated through the lens of copyright, stretching back one hundred years and at the same time, projecting decades into the future. Uniquely, each of the works in the exhibition were assembled from out-of-copyright materials, made collaboratively with others, and released under a copyleft share-alike license (https://creativecommons.org/licenses/by/4.0/). The survey enabled the comparison of several collaborative multi-part projects in the context of an exhibition concentrating on audio-visual outputs in the medium of artists’ film and newly convened around the phenomenon of the voice. The format enabled some works which only previously existed digitally and online in the archive, to be experienced physically, in relation to other works. The works in the exhibition are situated in a lineage of artworks that use archival film or music as source. However, the assembled projects uniquely focus on an analysis of the authorship, ownership and distribution of both the source materials and, via social/relational/collaborative practice, simultaneously generate new resources that enrich the public domain. Additionally, elements of each of the works were made available for takeaway from the exhibition.
- Author contribution statement
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- Non-English
- No
- English abstract
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