Darren Hudson Hick
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9780226460109
- eISBN:
- 9780226460383
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226460383.001.0001
- Subject:
- Philosophy, Aesthetics
Artistic License aims at analyzing the right of copyright, given its essential underlying principles in the law, and its relation to contemporary artistic practice. As several legal theorists argue, ...
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Artistic License aims at analyzing the right of copyright, given its essential underlying principles in the law, and its relation to contemporary artistic practice. As several legal theorists argue, though the role of copying in artistic practice has evolved, copyright law has failed to keep step, producing an imbalance that puts the law at odds with the domain it is meant to protect. Centrally, Hick works to reconcile growing practices of artistic appropriation and related attitudes about artistic "taking" with developed views of artists’ rights, both legal and moral. Hick examines the philosophical challenges presented by the role of intellectual property in the art world and vice versa. Using real-life examples of artists who have incorporated copyrighted works into their art, he explores issues of artistic creation and the nature of infringement through aesthetic analysis and legal and critical theory. Ultimately, Artistic License provides a critical and systematic analysis of the key philosophical issues that underlie copyright policy, rethinking the relationship between artist, artwork, and the law.Less
Artistic License aims at analyzing the right of copyright, given its essential underlying principles in the law, and its relation to contemporary artistic practice. As several legal theorists argue, though the role of copying in artistic practice has evolved, copyright law has failed to keep step, producing an imbalance that puts the law at odds with the domain it is meant to protect. Centrally, Hick works to reconcile growing practices of artistic appropriation and related attitudes about artistic "taking" with developed views of artists’ rights, both legal and moral. Hick examines the philosophical challenges presented by the role of intellectual property in the art world and vice versa. Using real-life examples of artists who have incorporated copyrighted works into their art, he explores issues of artistic creation and the nature of infringement through aesthetic analysis and legal and critical theory. Ultimately, Artistic License provides a critical and systematic analysis of the key philosophical issues that underlie copyright policy, rethinking the relationship between artist, artwork, and the law.
Darren Hudson Hick
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9780226460109
- eISBN:
- 9780226460383
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226460383.003.0003
- Subject:
- Philosophy, Aesthetics
This chapter focuses on the interrelation between art ontology, artistic practice, and the law—three domains, I argue, that can truly only be separated in the abstract. While copying is an artistic ...
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This chapter focuses on the interrelation between art ontology, artistic practice, and the law—three domains, I argue, that can truly only be separated in the abstract. While copying is an artistic practice and an ontological topic, copyright is both a legal and moral one; and though the role of copying in artistic practice has evolved, many argue, copyright has failed to keep step, producing an imbalance that puts the law at odds with the domain it is meant to protect. Case studies include the copyright on Rodin’s bronzes, Biz Markie’s sampling in his song, “Alone Again,” and Cory Arcangel’s Clouds.Less
This chapter focuses on the interrelation between art ontology, artistic practice, and the law—three domains, I argue, that can truly only be separated in the abstract. While copying is an artistic practice and an ontological topic, copyright is both a legal and moral one; and though the role of copying in artistic practice has evolved, many argue, copyright has failed to keep step, producing an imbalance that puts the law at odds with the domain it is meant to protect. Case studies include the copyright on Rodin’s bronzes, Biz Markie’s sampling in his song, “Alone Again,” and Cory Arcangel’s Clouds.
Anne Ring Petersen
- Published in print:
- 2018
- Published Online:
- May 2018
- ISBN:
- 9781526121905
- eISBN:
- 9781526132352
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526121905.003.0004
- Subject:
- Art, Art History
Chapter 3 addresses an issue directly related to the institutional transformation of the art world explored in Chapter 2, namely how globalisation and migration have also changed the role and work of ...
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Chapter 3 addresses an issue directly related to the institutional transformation of the art world explored in Chapter 2, namely how globalisation and migration have also changed the role and work of artists by providing many artists with new conditions of possibility for developing cross-cultural artistic practices. The chapter unpacks the issue of artists on the move today and seeks to answer the questions that the title implies: Have artists in demand on the global exhibition circuit become a kind of migrant workers in the international labour market of the global art world? If so, what kind of migrants are they? And what kind of artists? The careers and positions of selected artists from India – Bharti Kher, Rina Banerjee, Ravinder Reddy and Anish Kapoor – are used as examples to substantiate the chapter’s proposition that internationally renowned artists have in fact become a kind of migrant workers. Moreover, this change of conditions delivers a further blow to the myth of the artist as a detached creator, because it invites a more profound exploration of how the artist’s role has been reconfigured as that of a translator, mediator and bridge-builder between people and cultures.Less
Chapter 3 addresses an issue directly related to the institutional transformation of the art world explored in Chapter 2, namely how globalisation and migration have also changed the role and work of artists by providing many artists with new conditions of possibility for developing cross-cultural artistic practices. The chapter unpacks the issue of artists on the move today and seeks to answer the questions that the title implies: Have artists in demand on the global exhibition circuit become a kind of migrant workers in the international labour market of the global art world? If so, what kind of migrants are they? And what kind of artists? The careers and positions of selected artists from India – Bharti Kher, Rina Banerjee, Ravinder Reddy and Anish Kapoor – are used as examples to substantiate the chapter’s proposition that internationally renowned artists have in fact become a kind of migrant workers. Moreover, this change of conditions delivers a further blow to the myth of the artist as a detached creator, because it invites a more profound exploration of how the artist’s role has been reconfigured as that of a translator, mediator and bridge-builder between people and cultures.
Nadia Ali and Mattia Guidetti
- Published in print:
- 2018
- Published Online:
- December 2017
- ISBN:
- 9780190498931
- eISBN:
- 9780190498955
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190498931.003.0007
- Subject:
- Classical Studies, Archaeology: Non-Classical
The traditional focus on early Islamic art has often obscured the specific contexts of the production of particular artworks. The famous wall paintings at the bath and audience hall of Qusayr ʿAmra ...
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The traditional focus on early Islamic art has often obscured the specific contexts of the production of particular artworks. The famous wall paintings at the bath and audience hall of Qusayr ʿAmra and the floor mosaics at Khirbat al-Mafjar provide an opportunity for reconsidering how early Islam responded to encounters with visual and intellectual cultures of Late Antiquity. This essay attempts to explain the making of Umayyad iconography from the craftsmen’s perspectives. By placing the emphasis on the craftsmen and their practices as a repository of techniques, traditions, and cultural memory, we will explore issues of transmission, continuity, and discontinuity in art, through the lens of this segment of society. Ultimately, the goal is to move beyond the interpretation of early Islamic image as a closed symbol, thereby shifting the focus from iconography and style to a practice-centered discourse developed according to the makers’ visual economy.Less
The traditional focus on early Islamic art has often obscured the specific contexts of the production of particular artworks. The famous wall paintings at the bath and audience hall of Qusayr ʿAmra and the floor mosaics at Khirbat al-Mafjar provide an opportunity for reconsidering how early Islam responded to encounters with visual and intellectual cultures of Late Antiquity. This essay attempts to explain the making of Umayyad iconography from the craftsmen’s perspectives. By placing the emphasis on the craftsmen and their practices as a repository of techniques, traditions, and cultural memory, we will explore issues of transmission, continuity, and discontinuity in art, through the lens of this segment of society. Ultimately, the goal is to move beyond the interpretation of early Islamic image as a closed symbol, thereby shifting the focus from iconography and style to a practice-centered discourse developed according to the makers’ visual economy.
Roger D. Abrahams
- Published in print:
- 2011
- Published Online:
- March 2014
- ISBN:
- 9781617031069
- eISBN:
- 9781617031076
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781617031069.003.0011
- Subject:
- Society and Culture, Cultural Studies
This chapter points out that creolization is derived from an artful layering of meanings and styles from various cultures. It explains that creolizing does not contain just any cultural combination ...
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This chapter points out that creolization is derived from an artful layering of meanings and styles from various cultures. It explains that creolizing does not contain just any cultural combination of existential states. It adds that concepts made from creolizations develop their own stability, which can be recognized, learned, imitated, and elaborated. Creole creations carry the traces of artistic practices of people who have learned to draw on them in any possible combination that worked.Less
This chapter points out that creolization is derived from an artful layering of meanings and styles from various cultures. It explains that creolizing does not contain just any cultural combination of existential states. It adds that concepts made from creolizations develop their own stability, which can be recognized, learned, imitated, and elaborated. Creole creations carry the traces of artistic practices of people who have learned to draw on them in any possible combination that worked.
James Meese
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9780262037440
- eISBN:
- 9780262344517
- Item type:
- book
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262037440.001.0001
- Subject:
- Society and Culture, Technology and Society
How should we think about authorship, use and piracy in an era of media convergence? How does the growing focus on amateur creativity impact on existing legal and cultural understandings of around ...
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How should we think about authorship, use and piracy in an era of media convergence? How does the growing focus on amateur creativity impact on existing legal and cultural understandings of around creation? And why are the author, user and pirate so prominent in debates around copyright law? Authors, Users, Pirates: Copyright Law and Subjectivity presents a new way of thinking about these three central subjects of copyright. It outlines a relational approach to subjectivity, charting connections between the author, user and pirate through a series of historical and contemporary case studies, moving from early regulatory debates around radio spectrum and nineteenth century cases on book abridgments to the controversial reuse of Instagram photos and the emergence of multi-channel networks on YouTube. The book draws on legal scholarship, cultural theory and media studies research to provide a new way of thinking about subjectivity and copyright. It also offers insights into a range of critical issues that sit at the intersection of copyright law and digital media including online copyright infringement, amateur media production and the potential futures of creative industries.Less
How should we think about authorship, use and piracy in an era of media convergence? How does the growing focus on amateur creativity impact on existing legal and cultural understandings of around creation? And why are the author, user and pirate so prominent in debates around copyright law? Authors, Users, Pirates: Copyright Law and Subjectivity presents a new way of thinking about these three central subjects of copyright. It outlines a relational approach to subjectivity, charting connections between the author, user and pirate through a series of historical and contemporary case studies, moving from early regulatory debates around radio spectrum and nineteenth century cases on book abridgments to the controversial reuse of Instagram photos and the emergence of multi-channel networks on YouTube. The book draws on legal scholarship, cultural theory and media studies research to provide a new way of thinking about subjectivity and copyright. It also offers insights into a range of critical issues that sit at the intersection of copyright law and digital media including online copyright infringement, amateur media production and the potential futures of creative industries.
Darren Hudson Hick
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9780226460109
- eISBN:
- 9780226460383
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226460383.003.0005
- Subject:
- Philosophy, Aesthetics
This chapter focuses on one of the fundamental notions central to copyright—authorship—which has been the subject of prolonged skepticism in a number of arenas. In this chapter, I outline my theory ...
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This chapter focuses on one of the fundamental notions central to copyright—authorship—which has been the subject of prolonged skepticism in a number of arenas. In this chapter, I outline my theory of authorship, that the author of a work is one who has and exercises the power of selecting and arranging elements as constitutive of that work—what we might broadly call the creative or authorial act. Along the way, I work to dispel arguments suggesting that there are no authors, or, alternatively, that effectively anyone having anything to do with a work is thereby an author of that work (two positions with surprisingly robust pedigrees). Case studies include Seth Grahame-Smith’s Pride and Prejudice and Zombies, Charles Dickens’s The Mystery of Edwin Drood, Sherrie Levine’s appropriation art, and the films Left Behind and Superman II.Less
This chapter focuses on one of the fundamental notions central to copyright—authorship—which has been the subject of prolonged skepticism in a number of arenas. In this chapter, I outline my theory of authorship, that the author of a work is one who has and exercises the power of selecting and arranging elements as constitutive of that work—what we might broadly call the creative or authorial act. Along the way, I work to dispel arguments suggesting that there are no authors, or, alternatively, that effectively anyone having anything to do with a work is thereby an author of that work (two positions with surprisingly robust pedigrees). Case studies include Seth Grahame-Smith’s Pride and Prejudice and Zombies, Charles Dickens’s The Mystery of Edwin Drood, Sherrie Levine’s appropriation art, and the films Left Behind and Superman II.
Neal White and John Beck
- Published in print:
- 2016
- Published Online:
- January 2018
- ISBN:
- 9781474409483
- eISBN:
- 9781474426954
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474409483.003.0014
- Subject:
- Philosophy, Aesthetics
One of the major consequences of the Cold War and the commingling of scientific and military interests by world powers was the increasingly secretive nature of scientific research. From the Manhattan ...
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One of the major consequences of the Cold War and the commingling of scientific and military interests by world powers was the increasingly secretive nature of scientific research. From the Manhattan Project onwards, the free exchange implicit in the collective enterprise of scientific knowledge production became regulated and increasingly clandestine. Neal White's artistic research is explicitly engaged in interrogating both the investigative procedures of science as method and the ways in which these procedures can be turned toward an investigation of secrecy itself. In their discussion, Beck and White explore the ideas and practices that inform White's conception of art as a mode of experimental research. Central to this project is what White calls 'overt research,' whereby the spaces of techno-scientific and military-industrial enterprise are explored through the documentation of physical sites and material evidence. In the exhibition Dark Places (Hansard Gallery, Southampton, 2009), White and others explored the ways in which such places are both embedded and imaginatively narrated as part of a contemporary UK landscape. White’s projects are discussed in relation to issues shaped by Cold War research: secrecy, surveillance, accountability, participation, and the power relations implicit in knowledge production.Less
One of the major consequences of the Cold War and the commingling of scientific and military interests by world powers was the increasingly secretive nature of scientific research. From the Manhattan Project onwards, the free exchange implicit in the collective enterprise of scientific knowledge production became regulated and increasingly clandestine. Neal White's artistic research is explicitly engaged in interrogating both the investigative procedures of science as method and the ways in which these procedures can be turned toward an investigation of secrecy itself. In their discussion, Beck and White explore the ideas and practices that inform White's conception of art as a mode of experimental research. Central to this project is what White calls 'overt research,' whereby the spaces of techno-scientific and military-industrial enterprise are explored through the documentation of physical sites and material evidence. In the exhibition Dark Places (Hansard Gallery, Southampton, 2009), White and others explored the ways in which such places are both embedded and imaginatively narrated as part of a contemporary UK landscape. White’s projects are discussed in relation to issues shaped by Cold War research: secrecy, surveillance, accountability, participation, and the power relations implicit in knowledge production.
John Rink, Helena Gaunt, and Aaron Williamon (eds)
- Published in print:
- 2017
- Published Online:
- December 2017
- ISBN:
- 9780199346677
- eISBN:
- 9780199346707
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199346677.001.0001
- Subject:
- Music, Psychology of Music
Musicians are continually ‘in the making’, tapping into their own creative resources while deriving inspiration from teachers, friends, family members and listeners. Amateur and professional ...
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Musicians are continually ‘in the making’, tapping into their own creative resources while deriving inspiration from teachers, friends, family members and listeners. Amateur and professional performers alike tend not to follow fixed routes in developing a creative voice; instead, their artistic journeys are personal, often without foreseeable goals. The imperative to assess and reassess one’s musical knowledge, understanding and aspirations is nevertheless a central feature of life as a performer. Musicians in the Making explores the creative development of musicians in both formal and informal learning contexts. It promotes a novel view of creativity, emphasizing its location within creative processes rather than understanding it as an innate quality. It argues that such processes may be learned and refined, and furthermore that collaboration and interaction within group contexts carry significant potential to inform and catalyze creative experiences and outcomes. The book also traces and models the ways in which creative processes evolve over time. Performers, music teachers and researchers will find the rich body of material assembled here engaging and enlightening. The book’s three parts focus in turn on ‘Creative learning in context’, ‘Creative processes’ and ‘Creative dialogue and reflection’. In addition to sixteen extended chapters written by leading experts in the field, the volume includes ten ‘Insights’ by internationally prominent performers, performance teachers and others.Less
Musicians are continually ‘in the making’, tapping into their own creative resources while deriving inspiration from teachers, friends, family members and listeners. Amateur and professional performers alike tend not to follow fixed routes in developing a creative voice; instead, their artistic journeys are personal, often without foreseeable goals. The imperative to assess and reassess one’s musical knowledge, understanding and aspirations is nevertheless a central feature of life as a performer. Musicians in the Making explores the creative development of musicians in both formal and informal learning contexts. It promotes a novel view of creativity, emphasizing its location within creative processes rather than understanding it as an innate quality. It argues that such processes may be learned and refined, and furthermore that collaboration and interaction within group contexts carry significant potential to inform and catalyze creative experiences and outcomes. The book also traces and models the ways in which creative processes evolve over time. Performers, music teachers and researchers will find the rich body of material assembled here engaging and enlightening. The book’s three parts focus in turn on ‘Creative learning in context’, ‘Creative processes’ and ‘Creative dialogue and reflection’. In addition to sixteen extended chapters written by leading experts in the field, the volume includes ten ‘Insights’ by internationally prominent performers, performance teachers and others.
Hoyt Long
- Published in print:
- 2011
- Published Online:
- June 2013
- ISBN:
- 9780804776868
- eISBN:
- 9780804778886
- Item type:
- book
- Publisher:
- Stanford University Press
- DOI:
- 10.11126/stanford/9780804776868.001.0001
- Subject:
- Literature, World Literature
The history of literary and artistic production in modern Japan has typically centered on the literature and art of Tokyo, yet cultural activity in the country's regional cities and rural towns was ...
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The history of literary and artistic production in modern Japan has typically centered on the literature and art of Tokyo, yet cultural activity in the country's regional cities and rural towns was no less vibrant. This book recovers pieces of this neglected history through the figure of Miyazawa Kenji (1896–1933). While alive, he remained a mostly unknown and unread provincial author whose experiments with narrative fiction, amateur theater, and farmer's art reveal an intense determination to reimagine and remake his native place, in the northeast of Japan, meaningful. Today, Miyazawa is one of the most recognized figures in Japan's modern literary canon. The story of his radical posthumous rise presents an opportunity to examine the larger history of how writing and other forms of artistic practice have intersected with place-based identity and the uneven geography of cultural production. This book-length study of Miyazawa centers on Miyazawa's life and writing to recreate a sense of what it was to write about and remake place from a spatially marginal position in the cultural field.Less
The history of literary and artistic production in modern Japan has typically centered on the literature and art of Tokyo, yet cultural activity in the country's regional cities and rural towns was no less vibrant. This book recovers pieces of this neglected history through the figure of Miyazawa Kenji (1896–1933). While alive, he remained a mostly unknown and unread provincial author whose experiments with narrative fiction, amateur theater, and farmer's art reveal an intense determination to reimagine and remake his native place, in the northeast of Japan, meaningful. Today, Miyazawa is one of the most recognized figures in Japan's modern literary canon. The story of his radical posthumous rise presents an opportunity to examine the larger history of how writing and other forms of artistic practice have intersected with place-based identity and the uneven geography of cultural production. This book-length study of Miyazawa centers on Miyazawa's life and writing to recreate a sense of what it was to write about and remake place from a spatially marginal position in the cultural field.
Johanna Drucker
- Published in print:
- 2009
- Published Online:
- February 2013
- ISBN:
- 9780226165073
- eISBN:
- 9780226165097
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226165097.003.0011
- Subject:
- Literature, Film, Media, and Cultural Studies
This chapter suggests that discussion of new media should be considered in its relation to aesthetics. This would bring digital art into dialogue with other artistic practices that are part of a ...
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This chapter suggests that discussion of new media should be considered in its relation to aesthetics. This would bring digital art into dialogue with other artistic practices that are part of a contemporary landscape of imaginative and creative work and would put the fate of aesthetics in an era of new media under consideration. This chapter also criticizes the notion of the so-called hybrid aesthetics and generative aesthetics as problematic and proposes a speculative aesthetics that is grounded in the language of computational method.Less
This chapter suggests that discussion of new media should be considered in its relation to aesthetics. This would bring digital art into dialogue with other artistic practices that are part of a contemporary landscape of imaginative and creative work and would put the fate of aesthetics in an era of new media under consideration. This chapter also criticizes the notion of the so-called hybrid aesthetics and generative aesthetics as problematic and proposes a speculative aesthetics that is grounded in the language of computational method.
Ivy L. McClelland
- Published in print:
- 1991
- Published Online:
- June 2013
- ISBN:
- 9780853230977
- eISBN:
- 9781846317323
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/UPO9781846317323
- Subject:
- History, European Modern History
This book examines several aspects of Spain's polemical Age of Reason, in particular the uncertain shifts in scientific ideas, the developing confusion of philosophical attitudes, the controversial ...
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This book examines several aspects of Spain's polemical Age of Reason, in particular the uncertain shifts in scientific ideas, the developing confusion of philosophical attitudes, the controversial movements in literary theories, the popular reactions to artistic practices, and the disturbed and disturbing variations in traditional beliefs and social attitudes. It takes as its model what it refers to as the middle-way enlightened man or ‘ilustrado’, who accepted much of the teachings of the new science and rationalist thinking, but remained skeptical of their accuracy and efficacy in addressing issues of fundamental importance.Less
This book examines several aspects of Spain's polemical Age of Reason, in particular the uncertain shifts in scientific ideas, the developing confusion of philosophical attitudes, the controversial movements in literary theories, the popular reactions to artistic practices, and the disturbed and disturbing variations in traditional beliefs and social attitudes. It takes as its model what it refers to as the middle-way enlightened man or ‘ilustrado’, who accepted much of the teachings of the new science and rationalist thinking, but remained skeptical of their accuracy and efficacy in addressing issues of fundamental importance.
Ele Carpenter
- Published in print:
- 2016
- Published Online:
- January 2018
- ISBN:
- 9781474409483
- eISBN:
- 9781474426954
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474409483.003.0007
- Subject:
- Philosophy, Aesthetics
Drawing on Mackenzie & Spinardi’s research into the potential un-invention of nuclear weapons through the loss of tacit knowledge, this chapter explores a range of artistic responses to the 2011 ...
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Drawing on Mackenzie & Spinardi’s research into the potential un-invention of nuclear weapons through the loss of tacit knowledge, this chapter explores a range of artistic responses to the 2011 Fukushima Dai-ichi Nuclear Power Plant disaster. Mackenzie & Spinardi’s work on nuclear weapons design, testing and computing, allows us to think about a new mode of nuclear aesthetics, providing conceptual frameworks relevant to contemporary art practice and discourse such as: the contested nature of sameness in the repetition of objects; the importance of the slowness of tacit knowledge; of the human eye, making and learning with others; the limits of code; and the erosion of nuclear belief systems. Recent artistic practices in Japan and internationally, explore counterfactual possibilities across time; where aspects of nuclear culture are made visible or possible in a world where apocalyptic scenarios are streamed live. The responsibility for nuclear materials is shifting from state weapons production to the privatized nuclear energy industry, and into the public realm of nuclear accidents and public consultation on long-term waste disposal. Artists are concerned with how the networks are interrupted, looped, mapped, slowed down for reflection on how things are made, how stories are told, and how knowledge is consolidated.Less
Drawing on Mackenzie & Spinardi’s research into the potential un-invention of nuclear weapons through the loss of tacit knowledge, this chapter explores a range of artistic responses to the 2011 Fukushima Dai-ichi Nuclear Power Plant disaster. Mackenzie & Spinardi’s work on nuclear weapons design, testing and computing, allows us to think about a new mode of nuclear aesthetics, providing conceptual frameworks relevant to contemporary art practice and discourse such as: the contested nature of sameness in the repetition of objects; the importance of the slowness of tacit knowledge; of the human eye, making and learning with others; the limits of code; and the erosion of nuclear belief systems. Recent artistic practices in Japan and internationally, explore counterfactual possibilities across time; where aspects of nuclear culture are made visible or possible in a world where apocalyptic scenarios are streamed live. The responsibility for nuclear materials is shifting from state weapons production to the privatized nuclear energy industry, and into the public realm of nuclear accidents and public consultation on long-term waste disposal. Artists are concerned with how the networks are interrupted, looped, mapped, slowed down for reflection on how things are made, how stories are told, and how knowledge is consolidated.
