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as a property right. 301 Changing its character in this respect will not to deprive it of a life in the market place; and this is important because it is this life that will allow the real authors of protected works to make a living off them without the present compromising effects on the social

In: Western Dualism and the Regulation of Cultural Production

representation, where the idea of a divinity appearing on stage and revealing itself through the bodies of those who venerate it publicly gives way to the idea of a divinity who is evoked through the capacity for representation of actors—actors who do not bring the divinity to life through their bodies but

In: What is Art?

perspective of the singular artwork and jurisprudential case. Such a way of approaching normativity is familiar to the Western tradition of thought since the emergence of the first exemplary narratives, among which the life of Christ constitutes a paradigm of reference. Jesus Christ embodies a normativity

In: Between Ordinary and Extraordinary

this point of view, nothing is more ordinary and yet more paradigmatic than a smartphone: indeed, it has outlined a new form of life, which we are living today in the documedia revolution, in the boom of documents and messages that characterize the digital age. Today, commodities are treated as

In: From Fountain to Moleskine

’s critique of pictures to an understanding of images as not just inanimate objects, but independent subjects with a life of their own, viewers have remained suspicious of images. This holds even true after the “iconic”, “pictorial” or “visualistic” turn. 1 The reason for this continuing scepticism seems to

In: Law and Images

that the courts have approached what was felt to be a need of a community to see recognized its right to freedom and to live a dignified life. The tragedy – the term is, indeed, pertinent – lies in the impossibility for the law to contain all the infinite possibilities of the living experience, on

In: A Theory of Law and Literature

deserve a philosophical interpretation because “they are today an art which goes deep into human nature” and that “the most interesting TV series are capable of creating significant philosophical discourses which help us to better understand the world we have been living in as well as forms of our

In: Law and TV Series

Rhetorique Unvail’d (London: Cotes, 1657) at 4. 28 Goodrich adorning and color” of speech.63 The figure illuminates, lights up and brings to life, which is to say embodies and enacts the topic and argument. What is most significant is that the figure is an outward form, a mode of dress, of ap- pearance

In: Imago Decidendi

independently AI -generated outputs . An increasing production of AI -generated artefacts is flanked by a growing literature centered on the need to provide legal protection to those oeuvres . And here we have the conundrum: copyright law is about motivating authors to create, while providing protection to

In: Contemporary Artificial Art and the Law

Introduction: I Fought the Law, and the Law Swanned In May 1979, the English punk band The Clash released their EP The Cost of Living . The recording included among its tracks the cover of Sonny Curtis’s “I Fought the Law.” The song tells the story of a young criminal who goes to jail after

In: A Philosophy Guide to Street Art and the Law