Concerts, Performances and Talks
Nov 21–24, 2019
Music is rarely bought anymore; it’s rented as a service. In platform capitalism, obsolete licensing models meet streaming algorithms and an uncertain legal situation. This negatively impacts both music users and artists. After last year’s theme days 100 Years of Copyright traced the development of intellectual property rights in music, Right the Right at HKW investigates future scenarios and alternatives to copyright and the infrastructures based on it.
The festival will open musically with the legendary multi-instrumentalist Hermeto Pascoal. Several years ago he decided to renounce royalties for the use of his compositions. With the Chaos Ballet, Sina Kamala Kaufmann’s short story devises a matriarchal utopia of nurture and care. (Thu, Nov 21, starting at 7pm)
Algorithms by programmer Scott Carver develop “new” versions of scores by musician Dan Bodan, which will be premiered at HKW by the Kammerensemble Neue Musik. In the late 1960s, composer John Oswald developed the technique of micro-sampling and invented the genre of “Plunderphonics.” Combine “rave” and “algorithm” and you’ve got Algorave – a new club night standard that Alexandra Cárdenas and Antonio Roberts bring live to HKW. (Fri, Nov 22, starting at 8pm)
Following the 2017 album Visitantes Nordestinos, copyright skeptics Mitch & Mitch and copyright fan Kassin create an exclusive program for Right the Right. The star producer from Beijing’s new underground scene Howie Lee plays the sound of the Sino-futuristic present together with the virtual reality game designer Teom Chen. (Sat, Nov 23, starting at 9pm)
The festival will end with commissioned performance works dealing with audio ID technologies. Collaboration and open source have been approaches used by the collective Chicks on Speed around Melissa E. Logan and Alex Murray-Leslie since the 1990s. At HKW they’ll use music recognition technology to create new works. Jasmine Guffond remixes “False Positives” by the recognition software Content ID and challenges the system live. (Sun, Nov 24, starting at 7pm)
In talks and panels, artists, media researchers and legal scholars examine alternative concepts and new infrastructures for music, copyright and access in a globalized world. Holly Herndon & Mat Dryhurst present their research project Interdependent Music on models for equal pay and collective management in the electronic club scene. Legal scholar Ruth Okediji talks about post-colonial power relations in globalized copyright, community-based protection models and the public domain. Niva Elkin-Koren and Rasmus Fleischer deal with the music streaming business and the rights of users in platform capitalism. Carlotta de Ninni presents the potentials blockchain technologies offer for musicians. The artists’ organization Constant explores the question of how copyleft licenses can be reinvented from feminist, post-colonial and collective perspectives. (Nov 22-24, free admission)
Jan St. Werner (Mouse on Mars) manipulates music by The National and dissolves the categories of band and album. His installation is based on wave field synthesis; the position of listeners becomes part of the composition. (Nov 21–27)
Curated by Detlef Diederichsen
Part of The New Alphabet (2019-2021), supported by the Federal Government Commissioner for Culture and the Media due to a ruling of the German Bundestag. Haus der Kulturen der Welt is supported by the Federal Government Commissioner for Culture and the Media as well as by the Federal Foreign Office.
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