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@archiveremix
I recently published an blog post entitled Copyright, free culture and art on hte OpenGLAM website http://openglam.org/2016/05/09/copyright-free-culture-and-art/
The post gives an overview of my approach to working with open source software and free culture, with a particular focus my solo exhibition, Permission Taken, which tackles these issues.
The exhibition itself runs until 30th May at the Bramall Music Building at University of Birmingham.
Enjoy!
Permission Taken
Our latest Campus Curiosity article focused on a cathode ray oscilloscope from The Collection of Historic Physics Instruments. This object was chosen because it features in Permission Taken: an exhibition by Antonio Roberts. In this blog, Antonio describes the origins and concepts of the exhibition.
Permission Taken by Antonio Roberts
Image Credit: Greg Milner Photography
Keep reading
archiveremix dot com
I'm happy to announce the launch of archiveremix.com. The site presents a small selection of artefacts from the archives from the University of Birmingham's Research and Cultural Collections with the intention of them being starting points for new remixes.
There has been much movement towards encouraging galleries, libraries, archives and museums to open up their archives for use by the public. Quite often this is hampered by a variety of factors including cost, copryright and just having the resources to manage such a task. One approach to this, which served as a big inspiration for this project, came from Oliver Laric. In 2012 he started a project to make 3D scans of sculptural works from the Usher Gallery and The Collection in Lincoln. The resulting remix works that were made from these scans came in various forms including 3D models, videos, gifs.
Taking inspiration from this I set about making use of the archives from University of Birmingham in a creative way. Over the last year I have been releasing remix works on the Archive Remix tumblr site and at the Permission Taken exhibition at Birmingham Open Media. Although they, in some cases, lack narrative, in making these remixes I wanted to show the opportunities to be had from allowing artists to remix works. Of course, this is not a new practice at all with artists doing this in collages, in music and every other creative practice.
The selection made available obviously only represents a small amount of what is available. This was a conscious decision as I did not want to overwhelm artists with too much of a collection.
A number of remixes have already been made by artists that I invited to participate in the Remix Party on 20th January.
[caption id="attachment_8552" align="alignnone" width="500"] Remix of Portrait of Lord Hannay by Victor Arce[/caption] [caption id="attachment_8553" align="alignnone" width="500"] Remix of Janiform zoomorphic helmet mask by Morehshin Allahyari[/caption] [caption id="attachment_8555" align="alignnone" width="500"] Remix of Cathode Ray Oscilloscope by Carla Gannis[/caption]
The party featured remixes by Dan Hett, Lorna Mills, Ashley James Brown, Shawné Michaelain Holloway, Michaël Borras A.K.A. Systaime, Benjamin Berg, Michael Lightborne, Morehshin Allahyari, Daniel Salisbury, Carla Gannis, Faith Holland, Nick Briz, Daniel Temkin, Adam Ferriss, Víctor Arce, Chema Padilla, Kate Spence, Jessica Evans, Emily Haasch. The approaches to working with this archive were very varied indeed. It featured still images, animated gifs, remixes based on compression, videos, and in the case of Nick Briz, an interactive website!
It is my hope that the archiveremix.com site, my exhibition(s) and the work made by the artists joins the case being put forth by websites such as OpenGLAM and encourages more institutions to free their archives.
Remix this
If you feel inspired by any of the works please download them and make a remix of your own! These can then be uploaded back onto the website.
This project couldn't have been made possible without the support of the University of Birmingham's Research and Cultural Collections and the amazing web design skills of Sebastian Lenton (you should hire him).
Over time new works from the archives of Research and Cultural Collections will be added, so check back often!
Archive Remix is is a continuation of the work developed during my residency at the University of Birmingham. The video and print pieces are made of of 3D scans of items from the archives of the University of Birmingham's Research and Cultural Collections together with heavily distorted and glitched logos of corporate brands.
Archive Remix is is a continuation of the work developed during my residency at the University of Birmingham. The video and print pieces are made of of 3D scans of items from the archives of the University of Birmingham's Research and Cultural Collections together with heavily distorted and glitched logos of corporate brands.
Archive Remix is is a continuation of the work developed during my residency at the University of Birmingham. The video and print pieces are made of of 3D scans of items from the archives of the University of Birmingham's Research and Cultural Collections together with heavily distorted and glitched logos of corporate brands.
Archive Remix is is a continuation of the work developed during my residency at the University of Birmingham. The video and print pieces are made of of 3D scans of items from the archives of the University of Birmingham's Research and Cultural Collections together with heavily distorted and glitched logos of corporate brands.
Archive Remix is is a continuation of the work developed during my residency at the University of Birmingham. The video and print pieces are made of of 3D scans of items from the archives of the University of Birmingham's Research and Cultural Collections together with heavily distorted and glitched logos of corporate brands.
Archive Remix is is a continuation of the work developed during my residency at the University of Birmingham. The video and print pieces are made of of 3D scans of items from the archives of the University of Birmingham's Research and Cultural Collections together with heavily distorted and glitched logos of corporate brands.
Archive Remix is is a continuation of the work developed during my residency at the University of Birmingham. The video and print pieces are made of of 3D scans of items from the archives of the University of Birmingham's Research and Cultural Collections together with heavily distorted and glitched logos of corporate brands.
Archive Remix is is a continuation of the work developed during my residency at the University of Birmingham. The video and print pieces are made of of 3D scans of items from the archives of the University of Birmingham's Research and Cultural Collections together with heavily distorted and glitched logos of corporate brands.
Archive Remix prints
The Archive Remix print pieces are a continuation of the remix pictures that I have been making as part of my residency at the University of Birmingham's Research and Cultural Collections. The content that I have been making for that has focused on what can be lost when restrictive copyright is enforced. In keeping more with the themes of this exhibition the Archive Remix print pieces focus on the effect of corporate branding on imagery.
The most central imagery consists of 3D scans of artefacts from the archives of Research and Cultural Collections. These then become obscured amongst the visual barrage of slightly distorted corporate branding, something which might not seem so visible at first.
Copy Bomb
The Copy Bombs are my way of contributing to the free culture movemnt by encouraging the public to share images, audio, text and video in an unhindered way.
The Copy Bombs are, at their heart, PirateBox installations.
PirateBox creates offline wireless networks designed for anonymous file sharing, chatting, message boarding, and media streaming. You can think of it as your very own portable offline Internet in a box!
When users join the PirateBox wireless network and open a web browser, they are automatically redirected to the PirateBox welcome page. Users can anonymously chat, post images or comments on the bulletin board, watch or listen to streaming media, or upload and download files inside their web browser.
By building these sculptures (well, I employed Matthew James Moore to make them) I aim to give more of a physical presence to the wifi network. It serves as an object to signal that media can be shared freely within the vicinity. Due to being powered by battery (which can last nearly three days) these can be located anywhere.
In practical terms to use the Copy Bomb only a browser is needed, which can be on a mobile or desktop OS. A user needs to join the CopyBomb Alpha/Beta/Gamma network and then point their browser to http://copybomb.lan. They will be redirected to the sharing site, which is a PirateBox with the theme/CSS changed.
Once there they can browse the current contents or upload their own. I have hand picked content from the following online open archives:
Amherst College Digital Collections
The British Library
Wellcome Images
York Museums Trust
In addition to this there is content from the University of Birmingham's Research and Cultural Collections and my own archive of previous artworks.
The content from the public archives was chosen based on how easy it could be to remix and modify it. So, many of the items can easily be isolated from their backgrounds and used in other projects.
Dead Copyright
Perhaps the most immediately visible piece in my exhibition is the Dead Copyright vinyl wall installation.
Inspiration for this piece came from the Copyright Atrophy project I undertook in 2013. I began to consider how objects, logos and images can be abstracted into basic geometric shapes that eventually become noise. Are they still recognisable when presented in their most simplified form? This is combined with the projection of the glitched logos from the Copyright Atrophy project to create forms that might seem almost recognisible but disappear shortly afterwards.
Archive Remix videos
The Archive Remix video pieces are a continuation of the remix gifs that I have been making as part of my residency at the University of Birmingham’s Research and Cultural Collections. The content that I have been making for that has focused on what can be lost when restrictive copyright is enforced. In keeping more with the themes of this exhibition the Archive Remix video pieces focus on the effect of corporate branding on imagery.
The most central imagery consists of 3D scans of artefacts from the archives of Research and Cultural Collections. These then become obscured amongst the visual barrage of slightly distorted corporate branding, something which might not seem so visible at first.
Copyleft Workshop
On 26th November from 18:00 - 21:00 I'll be holding the second event as part of my solo exhibition, Permission Taken, at Birmingham Open Media.
In this workshop I'll introduce concepts behind the exhibition and my knowledge of copyright gained through undertaking a CopyrightX course.
This session encourages artists to think critically about how Copyleft concepts could be applied to their own practice.
Places are free but limited, to reserve places please get in contact.
Permission Taken opening
Permission Taken launched at Birmingham Open Media on 23rd October and it couldn't have been better!
You may have noticed my internet presence has been somewhat quiet over the last few months. This can all be attributed to the many hours it took to prepare for this, my first solo exhibition. Prior to this I had done many performances, contributed videos, gifs and still images to group shows, and curated shows featuring the work of other artists. Being given the large gallery space of BOM was therefore quite a challenge and a new experience.
In developing work for this exhibition I wanted to present work that best represented the direction my work is taking. Aesthetically this will still include lots of screens and projections, and will still incorporate the (mis)use of technology and glitch art. However, there will be more of a focus on the free culture and the open source movement.
These issues have always been present within my work, just not at the forefront. For example, it's no secret that I only use open source software and have done since around 2008. I also release my work under Creative Commons licences in the hope that people will reuse my work somehow. Through this exhibition I aim to encourage others to do the same in their own practices.
I know that this can be a difficult message to convey through visual artwork alone. There will be a few upcoming events that will invite the public to further look into these issues, explore new approaches to ownership and authorship, and learn about how creativity is restricted by outdated laws and practices. Information about those will be published very soon, but in the meantime keep an eye on my events page and the BOM website.
Thanks
This exhibition wouldn't have been possible without the help of loads of people. In particular I want to thank:
Karen Newman - After being a curator at FACT and Open Eye Gallery she came to Birmingham to open up BOM and support artists interested in art, science, and technology. She immediately offered me a slot in the BOM programme for my solo show and has been extremely patient and supportive over the last year.
Clare Mullett/Research and Cultural Collections - This exhibition is happening as part of my residency at the University of Birmingham. I was really honoured to be accepted onto the residency programme, especially considering the technical aspect of my proposal. The exhibition will culminate with a showcase of this and other work in 2016 at the University of Birmingham. More information on that in time.
Arts Council England - Their support shows to me that there is a place for science, technology and digital art within the wider art community.
Pete Ashton, Lucy Hutchinson, Sebastian Lenton, Marianne Mulvey, Kerry Grace Leslie, Leon Trimble and Matthew James Moore. Each helped me in their own special way, be it helping with the Arts Council application form, installing the show, building the Copy Bombs or just being generally supportive.
And last, but by no means least, I'd like to thank everyone that came out on the opening night and has been to the exhibition since. I was really touched by all of the support from my family, friends and the art community.
The exhibition continues at Birmingham Open Media until 23rd January. It then will happen again in March 2016 but more on that later ;-)
