Do look now : re-imagining and re-purposing audiovisual creative practice

The appropriation and elaborate re-working of mediated images and sound stand in a fluid relationship with established notions such as creativity, originality and artistic freedom. The evocative, recontextualised montage works of the eminent video artists Christian Marclay (The Clock) and Tracey Moffatt (Other; Love) may be viewed critically in the light of several theorists’ work, such as Walter Benjamin’s ideas on the crisis of reproduction and reactivation. The ironic pastiche, Do Look Now, a recent video installation work, is presented here as a similar dialogical intervention, representing a subversive deconstruction and critique of filmic codes and conventions, as well as being a new work crafted out of old film clips. (The films quoted in the work are listed here in an Appendix). These practical provocations are framed within a renewed, ‘queering’ investigation of creative works. Such an exploration is, arguably, both illuminating and liberating for particular practitioners and researchers engaged with the unpredictable intersections of creative meaning-making in a heavily legalised, mediated and digitised world.

La protection de l'animal en droit constitutionnel

L'étude porte sur une norme juridique déterminée, identifiée par sa valeur ­ constitutionnelle ­ et par son objet ­ qui est de protéger l'animal pour lui-même. La recherche a été conduite sans délimitation a priori du champ des pays étudiés. Il n'y a pas eu à proprement parler de choix des pays puisque tous ont été intégrés à la présente étude, sans critère d'exclusion ou de discrimination (tel que le niveau de développement ou le type de système juridique dont ils relèvent). Les Constitutions actuellement en vigueur de tous les Etats unitaires ou fédéraux ont été passées au crible de l'analyse. En revanche, les Constitutions des entités fédérées n'ont pas fait l'objet d'une analyse systématique mais seulement d'une étude sélective. L'objectif de la recherche était de réaliser une étude générale en apportant des réponses aux interrogations suivantes : quelles sont les normes constitutionnelles de protection de l'animal ? Pourquoi et comment ont-elles été adoptées ? Quelle est leur portée dans les ordres juridiques concernés ? De cette recherche ressortent principalement trois enseignements. Premièrement, le phénomène de la consécration de normes constitutionnelles de protection de l'animal est récent et en plein développement. Deuxièmement, ces normes présentent des formulations différentes et procèdent de deux considérations distinctes : le respect de l'animal en Inde, la prise en compte de sa sensibilité dans les autres pays (essentiellement les pays occidentaux). Troisièmement, ces normes revêtent le plus souvent la nature d'objectif constitutionnel, ce qui leur permet de justifier au nom du respect, du bien-être ou de la protection de l'animal les limitations apportées aux droits constitutionnels, notamment la liberté du commerce, la liberté artistique et la liberté de la recherche.

Liberdade de expressão artística: concepções filosóficas, fundamentalidade constitucional e política da pluralidade

The right to artistic expression, freedom granted in the western democratic constitutionalism, is a fundamental right that cyclically, compared to other cohesive rights of expression, has been forgotten and put in an irrelevant juridical-dogmatic position. The first reason for this behaviour that disesteems artistic freedom is the valorisation of rationalism and scientificism in the modern society, subordinating academic researches to utilitarianism, relegating the purpose of feelings and spirituality on men s elocution, therefore, we investigate, guided by philosophy, the attribution of art on human formation, due to its capacity in harmonising reason and emotion. After that, we affirm the fundamental right to artistic expression s autonomy in the 1988 valid constitutional order, after a comparative explanation of freedom in the Fundamental Laws of United States, Portugal, Spain and Germany; and the construction historic-constitutional of the same right in the Brazilian Constitutions. In this desiderate, the theoric mark chosen is the Liberal Theory of the fundamental rights, guiding the exam through jusfundamental dimensions: juridical-subjective and juridical-objective. Whilst the first, classical function of resistance, delimitates the protection area of the artistic expression right from its specific content, titularity and its constitutional and subconstitutional limits, the other one establishes it as cultural good of the Social Order, defining to the State its rendering duties of protection, formation and cultural promotion. We do not admit artistic communication, granted without legal reserve, to be transposed of restrictions that belong to other fundamental rights and, when its exercise collides with another fundamental right or juridical-constitutional good, the justification to a possible state intervention that tangentiates its protection area goes, necessarily, through the perquisition of the artist s animus, the used method, the many viable interpretations and, at last, the correct application of the proportionality criteria. The cultural public politics analysis, nevertheless, observes the pluralism principle of democratic substratum, developer of the cultural dialogue and opposed to patterns determined by the mass cultural industry. All powers are attached, on the scope of its typical attributions, to materialise public politics that have the cultural artistic good as its aim, due to the constant rule contained in §1, art. 5º of the Federal Constitution. However, the access and the incentive laws to culture must be constantly supervised by the constitutional parameter of fundamental right to equality

The Institutional Framework around Successful Art Forms in Communist Czechoslovakia

Mr. Michl posed the question of how the institutional framework that the former communist regime set up around art production contributed to the success of Czech applied arts. In his theoretical review of the question he discussed the reasons for the lack of success of socialist industrial design as opposed to what he terms pre-industrial arts (such as art glass), and also for the current lack of interest into art institutions of the past regime. His findings in the second, historical section of his work were based largely on interviews with artists and other insiders, as an initial attempt to use questionnaires was unsuccessful. His original assumption that the institutional framework was imposed on artists against their will in fact proved mistaken, as it turned out to have been proposed by the artists themselves. The basic blueprint for communist art institutions was the Memorandum document published on behalf of Czechoslovak visual artists in March 1947, i.e. before the communist coup of February 1948. Thus, while the communist state provided a beneficial institutional framework for artists' work, it was the artists themselves who designed this framework. Mr. Michl concludes that the text of the memorandum appealed to the general left-wing and anti-market sentiments of the immediate post-war period and by this and by later working through the administrative channels of the new state, the artists succeeded in gaining all of their demands over the next 15 years. The one exception was artistic freedom, although this they came to enjoy, if only by default and for a short time, during the ideological thaw of the 1960s. Mr. Michl also examined the art-related legislative framework in detail and looked at the main features of key art institutions in the field, such as the Czech Fund for Visual Arts and the 1960s art export enterprise Art Centrum, which opened the doors into foreign markets for artists.

Marinetti y el modelo de artista moderno

El objetivo de este artículo es analizar la figura del artista a comienzos del siglo XX a través de los textos y las ideas del poeta italiano Filippo Tommaso Marinetti. Partiendo sus teorías de las bases del decadentismo, Marinetti genera un modelo de artista en el que ejercen gran influencia conceptos como el genio y la libertad artística, muy asociados al Romanticismo, pero al que añade nuevos elementos de gran relevancia para la coyuntura política y social de su época. Entre estos, estarían aquellos que vincularon al artista futurista con la política de su tiempo, con el fascismo y con los modos de comunicación con el cada vez más importante público de grandes masas. Obsesionado con la idea de progreso, Marinetti aspira a crear un nuevo artista capaz de generar un nuevo mundo que introdujera definitivamente a Italia en la modernidad.

The 2000 BFA Graduating Class: Department of Visual Arts

Sir Wilfred Grenfell Colleges Fine Arts Division offers two BFA programs: visual arts and theatre. They are the only BFA degree programs available in the province. The bachoelor of Fine arts(Visual Arts)program is a professional program designed to educate and train students in the history, theory and practice of the visual arts. The curriculum has been devised to produce well-rounded generalists with solid grounding in all aspects of visual arts. The Curriculum illustrates the philosophy that artistic freedom and creative expression require technical skill, intellectual awareness and personal vision, acquired through a disciplined application of effort and critical understanding of artistic issues, past and present. Academic electives are tended to provide a broad exposure to the liberal arts.

Ochrona czci człowieka a satyra i karykatura jako element wolności sztuki – rozważania na gruncie polskiego i niemieckiego prawa karnego

Cześć człowieka jako dobro szczególnie często naruszane bez wątpienia zasługuje na ochronę w świetle prawa karnego. Z drugiej strony, każdemu człowiekowi przysługuje wolność swobody wypowiedzi, w tym artystycznej, która może się przejawić w formie satyry i karykatury. Rodzi się zatem pytanie, gdzie należałoby postawić granicę, ażeby wolność ta mogła być realizowana bez uszczerbku dla czci człowieka. W niemieckim kodeksie karnym tę kwestię reguluje § 193 StGB, który stanowi o ,,zachowaniu uprawnionych interesów”. Przepis ten jest swoistym rodzajem kontratypu, który pozwala przy spełnieniu szeregu warunków, na nieponiesienie odpowiedzialności karnej przez osobę która wygłasza wypowiedzi, mogące naruszyć cześć człowieka. Do warunków tych doktryna niemiecka zalicza także działanie w ramach wolności artystycznej.

How is a fruit tree like you? Using artistic metaphors to explore and develop emotional competence in children

Counselling children often requires the use of supplementary strategies in order to interest and engage the child in the therapeutic process. One such strategy is the Metaphorical Fruit Tree (MFT); an art metaphor suited to exploring and developing self-concept. Quantitative and qualitative data was used to explore the relationships between children’s ability to use metaphor, age, gender, and level of emotional competence (N = 58). Quantitative and qualitative analyses revealed a significant negative relationship between self-reported emotional competence and ability to use the MFT. It is proposed that children rely on different processes to understand self and as children’s ability to cognitively report on their emotional capabilities via the Emotional Competence Questionnaire (ECQ) increases, their ability to report creatively on those capabilities via the MFT is undermined. It is suggested that the MFT may be used, via creative processes and as an alternative to cognitive processes, to increase understanding and awareness of intrapersonal and interpersonal concepts of self in the child during counselling.

Reciprocity : where art meets the community : action research in response to artistic encounters and relationships

This practice-led research project examines some of the factors and issues facing artists working in the public domain who wish to engage with the community as audience. Using the methodology of action research, the three major creative projects in this study use art as a socio-political tool with the aim of providing an effective vehicle for broadening awareness, understanding forms of social protest and increasing tolerance for diversity. The three projects: Floodline November 7, 2004, Look in, Look out, and The Urban Terrorist Project, dealt with issues of marginalisation of communities, audiences and graffiti artists respectively. The artist/researcher is outlined as both creator and collaborator in the work. Processes included ephemeral elements, such as temporary installation and performance, as well as interactive elements that encouraged direct audience involvement as part of the work. In addition to the roles of creator and collaborator, both of which included audience as well as artist, the presence of an outside entity was evident. Whether local, legal authorities or prevailing attitudes, outside entities had an unavoidable impact on the processes and outcomes of the work. Each project elicited a range of responses from their respective audiences; however, the overarching concept of reciprocity was seen to be the crucial factor in conception, artistic methods and outcomes.

Freedom of information implications of information sharing networks for critical infrastructure protection

Protection of “critical infrastructure” has become a major issue for govern- ments worldwide. Yet in Australia, as in many other countries, including the United States, an estimated 90% of critical infrastructure is privately owned or operated commercially – in other words, critical infrastructure protection is not the exclusive domain of government. As a result, information sharing between government and the private sector has become a vitally important component of effective risk management. However, establishing effective arrangements of this kind between the public and private sector needs to take account of existing regimes of access and public disclosure which relate to government-held documents; in particular, that which is established by freedom of information (FOI) legislation. This article examines the extent to which the current Commonwealth FOI regime is likely to act as an impediment to the private sector operators of critical infrastructure participat- ing in government-operated information sharing arrangements. By examining developments in other jurisdictions, principally the United States, the article considers whether amendments to the current Australian FOI regime are necessary to ensure effective participation, consistent with the underlying object and purpose of FOI.