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Volume I: (Re)Imaginations
PART 1 Law
1 Enter: from landscape to lawscape
1.1 A walk in the commons
1.2 Landscape/lawscape
1.3 Atmosphere
2 Rhizomatic jurisprudence: terra firma and terra incognita
2.1 Deleuze and Guattari
2.2 Resolving the opposites: … and law
2.3 Lawscape: … in law

PART 2 Art
3 Artwork: from object to hyperobject
3.1 Rhizome 1: viscous
3.2 Rhizome 2: nonlocal
3.3 Rhizome 3: temporal undulation
3.4 Rhizome 4: phasing
3.5 Rhizome 5: interobjectivity
4 Case studies: the contested spaces
4.1 Bruno Schulz and lost art
4.2 Wikimedia Commons and art in public spaces
4.3 Richard Prince and art on Instagram
Intermezzo

Volume II: (Re)Constructions
PART 3 Commons
5 Commons: being(s)-in-common
5.1 Property
5.2 Space
5.3 Commons
6 Intellectual property law: commons and schizophrenic capitalism
6.1 The global aspect: TRIPS
6.2 Schizophrenia: intellectual property v. capitalism
6.3 Embodiment: content v. container

PART 4 Legal Commons
7 Ownership: possessed
7.1 The Deleuzian forms of possession
7.2 The res issues
7.3 Possession and commons
8 Exit: atmosphere
8.1 Visualising the lawscape: cultural commons as an e-scape
8.2 Cultural commons in times of crisis: an ecology
8.3 Not one but several ecologies: on an apocalyptic note

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Law, art and the commons 이용현황 표 - 등록번호, 청구기호, 권별정보, 자료실, 이용여부로 구성 되어있습니다.
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0002369701 LM 344.097 -A18-1 서울관 법률정보센터(206호) 북큐레이션
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The concept of the cultural commons has become increasingly important for legal studies. Within this field, however, it is a contested concept: at once presented as a sphere for creativity, democratic access and freedom of speech, but one that denies property rights and misappropriates the public domain. In this book, Merima Bruncevic takes up the cultural commons not merely as an abstract notion, but in its connection to physical spaces such as museums and libraries. A legal cultural commons can, she argues, be envisioned as a lawscape that can quite literally be entered and engaged with. Focusing largely on art in the context of the copyright regime, but also addressing a number of cultural heritage issues, the book draws on the work of Deleuze and Guattari in order to examine the realm of the commons as a potential space for overcoming the dichotomy between the owner and the consumer of culture. Challenging this dichotomy, it is the productive and creative potential of law itself that is elicited through the book’s approach to the commons as the empirical basis for a new legal framework, which is able to accommodate a multitude of interests and values.



Focusing largely on art in the context of the copyright regime, but also addressing a number of cultural heritage issues, it is the productive and creative potential of law itself that is elicited through the book’s approach to the commons as the empirical basis for a new legal framework, which is able to accommodate a multitude of interests.



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