Thinking about Intellectual Property in Artistic Research and Practice | facilitated discussion
A 45-minute facilitated discussion session by philosopher Katharina Neges and performer Roxanne Dykstra, to explore ideas of ownership in art and the interpretive element that underlies all artistic activity. Discussion will be based on the following text: As everyone else, performers crucially depend on their predecessors in many ways. Their ideas, techniques and inspirations are a culmination of this plethora of influences. Therefore it can be argued that as soon as an interpreter offers her own voice to the world, this contribution already becomes part of the „collective“. How, then, does the concept of 'creative property' fit in? The fact that performers are artists who pursue an artistic, creative activity (without an equivalent in a merely mechanical activity) is, at least in the professional academic environment, hardly controversial. Nevertheless, the question arises as to whether the non-existent (legal and financial) protection of the performers' own creative output does not tacitly undermine this image of the fully-fledged artist. Do performing artists have any protection of style or interpretive ideas?An example to discuss here is 19th-cenutry example is Heinrich Wilhelm Ersnt's flagrant interference of Paganini by copying his music, technique, and style. Can a clear distinction be made between composition, transcription and interpretation? If not, how should we deal with inequality in terms of legal and financial protection of the creative, artistic part of each activity? A useful example here is that due to new EU internet laws where posts may be taken down immediately they 'pirate' music, a guitar player had his post prohibited because it used one chord that a song-writer claimed was their creative property. If we take a look at the classical humanities, isn't the interpretation of other (classical) texts one of the most frequent activities in this field as well? In academia, an interpretation that is essentially based on other interpretations must not under any circumstances take place without mentioning the authorship of the previous interpretations used. How should this relationship be imagined in Artistic Research?
Katharina Neges, philosopher
Roxanne Dykstra, performer