It highlights the need for a more inclusive approach to copyright and the removal of closed categorisation to ensure UK copyright adequately accommodates the evolving diversity of artistic practice, particularly those that involve non-visual engagement. (Happy to email a PDF copy)

DACS believes govt should not adopt an extended text & data mining exception, but instead support the UK’s strong copyright framework by encouraging collective and transactional copyright licensing, which benefit both rightsholders and AI developers.

Before each talk began, presenters briefly described their physical appearance so blind attendees, or those with reduced vision, could mentally visualise each presenter. I would encourage organisers of upcoming events/conferences to consider implementing a similar inclusive practice!

Particularly enjoyed the second room in her exhibition where we gingerly placed our hands through the opening of a metal box to explore a non-visual work inside via touch.
An example of a tactile artwork which may really test the boundaries of the definition of an artistic work under UK copyright.

Sienna uses Irish seaweed in the creation of her works which of course I absolutely loved- sustainable and Irish!

3) Not strictly a sensory work, but I was delighted to be given a private tour of Gerry’s Pompeii by Sasha Galitzine. We thought about ways to make this wonderful environment a tactile experience as well as a visual one. www.gerryspompeii.com

2) Participants were invited to feel and describe Sienna Murdoch’s tactile jelly works without looking at them. Our verbal descriptions were captured to help Sienna create a glossary of touch- something which may be useful for describing sensory works within legal proceedings in the future.

1) Anthony McCall at Tate Modern. Incredibly mesmerising light installations which change form with audience interaction. The smoke patterns are almost in a continual state of change.