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It has been some time since I have posted but a few weeks weeks back I took some photographs at Tempest Dance Studios, Gilesgate, Durham.

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Gillian, the studios inspirational teacher is retiring in a few weeks time before handing the studios on. These photographs are a documentation of the Studio space between classes.

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The studios are based at the Vane Tempest Community Center Gilesgate. Which started life as a cavalry army barracks.

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Tempest Dance studios are spread over 2 levels, downstairs which is the larger of the 2 spaces and upstairs a smaller and more intimate space used mostly for small pole dancing classes.

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The studios are constantly busy and Durham University’s Aerial Arts society are based there.

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I ‘d like to thank Gillian for allowing me access to document the studios in this way.

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A couple of weeks ago I ordered Paper Stages, a book available through Live Art Development Agency and you can read more about it here on the Paper Stages website:http://paperstages.co.uk/

The book is described as not a book, but ‘a festival’ of performance pieces.

The stipulation when buying a copy of the book is that you should donate or volunteer one hour of time to pay for it and the team encourage the donation to be either creative or community based.

My donation of time resulted in ‘Ghost’, a free, small paper based work which is based around one of the 120 photographs I took at Empty Shop HQ a few months ago in which there appears to be a figure of a man in the center of the photograph looking into the room.

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‘Ghost’  examines the duality between analogue and digital in our lives today, between rational and instinct.

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This photo came back from the developing lab a few weeks ago. I had 3 or 4 images similar to this and can’t work out what has caused the effect.

I took the photo using TLR Haking’s Halina 120 film camera and it was only one roll of film in the batch that I sent to be developed that was affected like this.

This week I’m posting  a poll hoping that somebody might have  some answers about what’s caused the problem. Thanks!

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On Thursday 22nd March at 8pm The Tate Modern broadcast a live performance of Jerome Bel’s ‘Shirtology’ which marked the launch of BMW Tate Live: Performance Room.

It was an event that was billed as being interactive which asked viewers to send in messages via Tweeting or Facebook.

Jerome Bel’s performance was followed by a live discussion session in which he took part answering questions sent in by the audience.

Jerome Bel discussed the notion of Western theatre values and that these values were being challenged by the internet and sites such as YouTube.

An area that was brought in to focus for me was that of ownership and copyright.

Who owns a piece which is broadcast in this way once it enters a viewer’s home?

I took a series of screen grabs through out the performance’s broadcast and have made a very simple video using them; how is an artist going to retain rights to a piece or does a broadcast piece become in effect open source material? What if it becomes a viral video?

So for me the broadcast of this performance piece has raised these questions:

  • What exactly is owned and who owns it?
  • What rights does this ownership give?
  • Does interactive, something Bel stressed about the piece equal freedom of speech?
  • Does freedom of speech equal freedom intellectual copyright?
  • What is the difference for me as part of my creative practice to go to a theatre view a piece and then re create that or sample or refer to that work in a piece I choose to make.
  • Is there a fundamental difference using screen grabs (broadcast material) to create a video of the piece which I intend to raise questions?

Both the performance and the discussion that followed were great.

Click here to view a video of Shirtology performed in 2010 on the Julia Stoschek Collections website.

The next Tate Modern broadcast is on April 22nd.