Relevant bibliographies by topics / Limits of artistic freedom

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Limits of artistic freedom'

Author: Grafiati
Published: 24 April 2022

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Journal articles on the topic "Limits of artistic freedom"

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Ciulkin-Sarnocińska, Katarzyna. "Zakres swobody wypowiedzi artystycznej w świetle prawa karnego." Studia Prawnoustrojowe, no. 44 (January 6, 2020): 21–31. http://dx.doi.org/10.31648/sp.4893.

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The author raises the question of the scope of freedom of artistic creationin the light of Polish criminal law. Artistic creation has always been an important area of human activity. It is associated directly or indirectly withother aspects of life, including religion, culture and politics. Its progress andtransformation is accompanied by constant controversy about the limits ofits freedom involving debates based on the grounds of philosophy, ethics,aesthetics and the law. Despite the signifcant place of art in human life, theguarantee freedom of artistic creation is one of the youngest and least examined rights. The analysis contains three groups of issues. The frst topic isdevoted to the scope of the freedom of artistic creation. The analysis wassubjected to provisions conferring freedom, but also showing the limits of therange of action of the artist. The second part of the paper covers offenceswhich they can usually prevent, i.e. the offence of defamation of religion andthe offence of the public presentation of pornographic content. The third partaddresses the issue of the limits of artistic freedom presented on the basis ofhigh-profle examples of Polish lawsuits.
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Yi, Sangdon. "Artistic Freedom of Painting Production and Criminal Legal Limits of Painting Transactions." KOREAN CRIMINOLOGICAL REVIEW 31, no. 3 (September 30, 2020): 1–36. http://dx.doi.org/10.36889/kcr.2020.09.30.3.1.

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Konovalova, Olga. "Art project to Kiev hills " Fictitious Gallery Expedition " as a unique declaration of freedom of artistic practice." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 2 (July 24, 2015): 467. http://dx.doi.org/10.17770/sie2014vol2.641.

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This article is dedicated to analysis of the Kiev artists' art project "Fiction Gallery Expedition" ("FGE"). The purpose of the article is to reveal the essence of understanding the artistic creativity freedom by summarizing the results of art review and by studying existence of objects in society. Relevance of the study is in presentation of poorly studied phenomenon of Kiev artistic sphere of the end of XX and beginning of the ХХI century. Study of the question of creativity freedom will reveal the distinction between bias of the contemporary artist and occasional manifestations of freedom, teetering on the edge of legality. The concept of "artistic freedom" in art has almost always been regulated by certain conditions, starting with the exhibition space and ending with social, moral and ethical laws. In this study, the author finds no limits of creativity determined by the courage, deep intuition of the artistic nature, rational and audacious embodiment of design into the unique landscape of Kiev.
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Bratuś, Diana. "Правовые пределы свободы творчества." Studia Iuridica 70 (November 8, 2017): 75–85. http://dx.doi.org/10.5604/01.3001.0010.5642.

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The author based on the fundamental ideas freedom of opinion and expression, prohibition of censorship, etc. analyses the natural and legal content of the principle of artistic freedom in copyright law and the limits of this freedom. The author builds a position to address specific theoretical and applied problems, compares the mechanisms of protection of moral rights in terms of public and civil law.
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Karaca, Banu. "Images delegitimized and discouraged: Explicitly political art and the arbitrariness of the unspeakable." New Perspectives on Turkey 45 (2011): 155–83. http://dx.doi.org/10.1017/s0896634600001345.

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AbstractWhile the increasing interest in contemporary art from Turkey has centered on explicitly political works, discussions on the limitations of the freedom of expression have likewise come under the spotlight, not least with regard to Turkey's EU candidacy. In contrast to the attempts of complete suppression marking the 1980 coup d'état and its aftermath, current censorship mechanisms aim to delegitimize and discourage artistic expressions (and their circulation) that can be construed as threatening the territorial integrity and sovereignty of the Turkish state, and to turn their producers into targets. This article investigates selected images produced in the contemporary art world between 2005 and 2008, which were taken to transcend the limits of what constitutes tolerable depictions of Turkey's socio-political realities. It examines current modalities of censorship in the visual arts and the different actors involved in silencing efforts. The cases show that within these fields of delimitation there are considerable contingencies: The domain of the unspeakable remains unclearly mapped. I argue that it is because, not despite, this arbitrariness that delegitimizing interventions are successful, in that they (a) create incentives for self-censorship, and (b) produce defenses of artistic freedom that, by highlighting the autonomy of art, to some extent consolidate a conceptual separation of art from politics.
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Bogdan, Stanca Maria. "Romanian National Opera of Cluj-Napoca – a Century of Existence beyond the Limits of the Times." Theatrical Colloquia 10, no. 2 (December 1, 2020): 70–84. http://dx.doi.org/10.2478/tco-2020-0021.

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AbstractOn September 18, 2019, the Romanian National Opera of Cluj- Napoca celebrated its 100th anniversary and on May 25, 2020, it also celebrated a century from its inaugural performance. The birth of a cultural institution represents in itself the first overcoming of a limit: the limit of perpetuity. The concept of limit arose with the awareness of the finite essence of human nature in relation to its need for evolution and, concurrently, with the craving for freedom, exemplary being a desirable consequence of challenging the limit. In this context, humans discovered and endowed art concurrently with the purpose and gift of sublimating them, of guide them in their effort to explore, understand, affirm and overcome their condition. From the multitude of artistic expressions, opera appears to be, perhaps, the most complex genre. From this perspective, the Romanian National Opera of Cluj-Napoca not only has the virtue of being the first institution of this kind in the country, but also of fully observing its artistic status, of triumphantly overcoming all the challenges it, at a historical scale, through the mists of time. Now that the institution has celebrated its centennial, this is no longer a mere trial, but a confirmation. Through its accomplishments, the Cluj Opera has all arguments to be confident in its ability to persevere in going beyond the most recurrent of limits: the future.
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Doyon-Bernard, S. J. "From Twining to Triple Cloth: Experimentation and Innovation in Ancient Peruvian Weaving (ca. 5000-400 B.C.)." American Antiquity 55, no. 1 (January 1990): 68–87. http://dx.doi.org/10.2307/281493.

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A chronological sequence for the introduction of the major categories of loom weaves in the Initial period and Early Horizon of prehistoric Peru reveals a process of experimentation that begins with primarily suprastructural and discontinuous decoration and culminates with the achievement of designs that are wedded materially to the weave. Three major innovations allowed for this dramatic advance: (1) the use of multiple heddles, which is found surprisingly early in the sequence; (2) the recognition of the full potential of the “cross” to vary the selection of the warps from the fixed order in the heddles, and (3) the related application of the complementary principle, in which one colored yarn is substituted for its partner in a contrasting hue. Through the elaboration of these truly revolutionary discoveries, the last limits to artistic freedom were removed and weaving technology rapidly advanced to include the full repertoire of loom-weave classes known in the Andes.
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Ovchinina, Irina A. "“This… is written for pundits” (Alexander Ostrovsky’s play “It's Not All Shrovetide for the Cat”)." Vestnik of Kostroma State University 26, no. 4 (January 28, 2021): 83–88. http://dx.doi.org/10.34216/1998-0817-2020-26-4-83-88.

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The article considers some specific artistic features of Alexander Ostrovsky’s play “It's Not All Shrovetide for the Cat”. Special attention is paid to the character of the conflict and to the peculiarities of the drama action development. In this connection some new things in the poetics and the system of personages are underlined, and this refutes the existing critical opinion that Alexander Ostrovsky repeats himself in his themes and images, that the play manifests the recline of the playwright’s talent. First and foremost, the article pays attention to the fact how the play reflects the Russian mode of life, morals and manners after the Serfdom Abolition reform when freedom of thought is displayed by common uneducated people who are striving for their human happiness. Comic situations in the scenes from Moscow life “It's Not All Shrovetide for the Cat” as well as in other Alexander Ostrovsky’s plays go with uneasy, dramatic in their essence moments and the combination is absolutely organic. The article points to the play’s pronounced theatricality and also to the role of those personages who do not appear on the stage directly but act in the situations which happen beyond the stage limits.
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LOYOLA RÍOS, NÉSTOR DANIEL. "EL HUMOR EN LOS TIEMPOS DE CÓLERA: UNA REFLEXIÓN SOBRE LA LIBERTAD DE EXPRESIÓN EN EL ÁMBITO ARTÍSTICO." YachaQ Revista de Derecho, no. 10 (December 30, 2019): 95–108. http://dx.doi.org/10.51343/yq.vi10.384.

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El autor desarrolla el contenido del derecho a la libertad de expresión en su modalidad artística y señala que su ejercicio entraña a su vez el reconocimiento de un derecho implícito a la irreverencia. También, sostiene que el arte, como herramienta de comunicación social, debe ser entendido en el marco de un Estado constitucional cultural que garantiza la autorrealización del ser humano y el fortalecimiento de su capacidad crítica y reflexiva mediante el acceso a la cultura, la ciencia y las artes. Finalmente, se proponen casos emblemáticos a nivel comparado que evidencian los límites a este derecho, así como los criterios y métodos para resolver las colisiones con otros derechos fundamentales. The author develops the content of the right to freedom of expression in its artistic form and points out that its exercise also entails the recognition of an implicit right to irreverence. He also maintains that art, as a tool of social communication, must be understood within the framework of a constitutional cultural state that guarantees the self-realization of the human being and the strengthening of its critical and reflective capacity through access to culture,science and the arts. Finally, emblematic cases are proposed at a compared level that show the limits to this right, as well as the criteria and methods to resolve the collisions whit other fundamental rights.
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Rigg, Patricia D. "Legal “Repristination” inThe Ring and the Book." Browning Institute Studies 18 (1990): 113–30. http://dx.doi.org/10.1017/s0092472500002893.

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For browning, the central issue inThe Ring and the Bookis perception of the finite limits of the human capacity for recognizing truth. For the critical reader, the central issue is perhaps better expressed as Browning'sawarenessof his own capacity for re-creating or “repristinating” the past. Critics have labelled Browning's work as either relativistic or ironic, often using these terms as the poles of a continuum upon which the accuracy of Browning's perceptions might be measured. For example, Robert Langbaum sees relativism as the basis of the poem's associational coherence: “The organized facts are ‘one fact the more.’ The principle of organization is inseparable from the facts because without it the facts would not be knowable. To know anything we must imagine it” (15). W. David Shaw understands irony and relativism to be mutually exclusive (239). He argues that Browning structures his poem by the dialectical irony which arises out of the movement of Guido's guilt and the corresponding movement of Pompilia's innocence. I suggest that relativism and irony come together once one recognizes the close relationship between historicity and fantasy and the rather serious implications this relationship has for the kind of truth Browning suggests his poem specifies. That is, the act of artistic creativity allows the poet to express with freedom intuitive insights into the world of unlimited possibility, or infinity, and indeed, it is for an ever closer approach to the infinite that he or she strives artistically.
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Dissertations / Theses on the topic "Limits of artistic freedom"

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Papin, Paul Patrick. "The ethics of mediocrity : conceit and the limits of distributive justice in the modern mediocre-artist narrative." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/3782.

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The modern principle of freedom of subjectivity sets a moral standard which radically departs from Aristotle’s doctrine of the mean: modern moral agents, exemplified by the rising middle class, are granted the right to develop extreme dispositions towards goods like honour and wealth. Given that Aristotle considers such goods divisible in the sense that when one person gets more another gets less―the basic definition of distributive injustice―it isn’t surprising that modern philosophers like Kant have trouble reconciling this right with duty to others. Failing to resolve this dilemma satisfactorily in ethical terms, Kant and others turn to aesthetics, but Kant, at least, takes no account there of moral agents’ interest in the actual existence of goods. In this respect, the alternative to the Kantian aesthetic response I document in my dissertation is more Stoic than modern. This response, the modern mediocre-artist narrative, features a mediocre artist who fails to achieve the new standard of distributive justice and a genius who ostensibly succeeds. Though other critics discuss the ethical dimension of mediocre-artist narratives, they don’t consider the possibility that the mediocre artist’s failure might be due to the ethical dilemma just described. They therefore tend to uphold uncritically the narratives’ negative judgments of mediocrity, ascribing the latter’s failure to egotism. By contrast, I examine the genius’ artistic efforts for evidence of a similar failure. Ultimately, I demonstrate that the genius does indeed fail, albeit less spectacularly, arguing on this basis that egotistical characterizations of mediocrity are unjust. But the mediocre aren’t the only victims: in “concealing” genius’ failure, mediocre-artist narratives ignore unmet claims on its fruits. Finally, I invoke Derrida’s notion of the “lesser violence” to outline a new genre that recognizes the unattainability of the modern standard of justice. I call this genre morally progressive, rejecting Jürgen Habermas’ view that freedom of subjectivity has hit a dead end, and that we must backtrack to a philosophical turning indicated but not taken by Hegel, namely, the path of intersubjective freedom.
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Bergdahl, Becky. "Yo ban? Rape rap and limits of free speech in India : An argument analysis of the debate about banning the artist Honey Singh." Thesis, Uppsala universitet, Teologiska institutionen, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-200874.

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This thesis consists of an argument analysis of three columns published in the Indian newspaper The Indian Express in the aftermath of the gangrape and murder of a young woman in Delhi in December 2012, and the following debate about glorification of rape in Indian popular culture. One of the columnists is arguing in favour of including gender as a category in the Indian law on hate speech, thereby banning an artist called Honey Singh and his lyrics about rape. The two other columnists are arguing against new restrictions on free speech in India. The analysis of the columns shows that there are several relevant arguments for and against including gender in the Indian hate speech legislation. The argumentation against a new law is similar to argumentation found in Western liberal theory, and the argumentation in favour of a new law is similar to argumentation found in Western radical feminist and critical race theory. However, both strands of philosophy are contested by postcolonial theorists, arguing that no Western theory is applicable in a non-Western context, such as India. Indian postcolonial feminists argue in favour of a third approach to sexist speech in India; a counter-speech approach. Counter-speech theorists agree with liberals about the importance of freedom of speech, and with feminists about the harm in hate speech. According to counter-speech theory, hate speech shall thus not be outlawed, but the state shall try to counter the harmful effects of hate speech, for example by strengthening groups targeted by hate speech so that they can speak back to hatemongers. The conclusion of this thesis is that a counter-speech approach is the most sustainable regarding freedom of speech and gender in India. Such an approach does not only appeal to Indian postcolonial theorists, it is also a middle way in-between a liberal and a radical feminist approach. In the conclusion, the relevance of hate speech legislation as a whole is also questioned. Laws such as in India, that protect only racial and religious groups from being targeted by hate speech while categories such as gender, sexual orientation and disability are not included, can be deemed discriminatory. An abolishment of hate speech prohibitions and an adoption of a counter-speech approach to all forms of hate speech is discussed.
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Abanazir, Suat Cem. "Freedom of expression and its limits in sport." Doctoral thesis, Universitat Pompeu Fabra, 2019. http://hdl.handle.net/10803/667926.

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As a social and economic force, sport is an integral part of globalised society. Sport is organised and followed globally. Therefore, the organisation of sport at the hands of sport governing bodies and the use of the idea of politics-free sport bring about specific concerns for freedom of expression, in that, these bodies tend to restrict expressions that are deemed political. This work aims to provide a coherent framework for a defence of freedom of expression in the context of sport. Pursuing that goal, it analyses the particularities of the sport industry as well as the philosophical foundations for freedom of expression. This work argues that a defence of freedom of expression in a globalised sport industry can be made on moral grounds. It also argues that the idea of politics-free sport and the restrictions for everyone involved are the reflections of the interdependence of the market, the state and the sport industry.
Deporte, como una fuerza social y económica es una parte integral de la sociedad globalizada. El deporte está organizado y seguido globalmente. Por este motivo, la organización del deporte por las organizaciones gubernamentales del deporte y el uso de la idea del ‘deporte sin política’, causan preocupaciones específicas relacionadas con la libertad de expresión; en tanto en cuanto estas organizaciones tienen una tendencia de restringir las frases que las asumen políticas. Esta investigación tiene un objetivo de constituir una marca consistente sobre la libertad de expresión en el contexto de deportes. La investigación analiza los soportes filosóficos de libertad de expresión con las particularidades específicas de la industria deportiva cuando intenta a obtener este objetivo. En la investigación se está defendiendo que la libertad de expresión se podrá basar sobre los fundamentos morales ante la industria deportiva globalizada. La investigación también propone que la idea de ‘deporte sin política’ y las restricciones aplicadas para todas las personas son las reflexiones de la interdependencia del mercado, estado y deporte.
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Jamieson, Beth Kiyoko. "Real choices : feminism, freedom, and the limits of law /." University Park, Pa. : Pennsylvania State Univ. Press, 2001. http://www.gbv.de/dms/sub-hamburg/341812889.pdf.

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Geiser, Madeline Allott. "The Limits of Law in the American Reproductive Freedom Movement." Ohio University Honors Tutorial College / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1587700422115124.

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Case, Erik S. "State Level Causes of Terrorism: Limits on Political Expression." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc12092/.

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Expanding on prior research into the state level causes of terrorism, I argue that state repression and limited state capacity reduces opportunities for non-violent political expression and increases the utility of terrorism. I also argue that economic freedom can is a form of political expression that can dissipate political grievances. While previous authors analyzed some of these variables separately using data on transnational attacks, I created a complete model incorporating the three categories of variables and tested my hypotheses using data that includes both domestic and transnational attacks. I use regression analysis for hypothesis testing and find support for the three primary contentions of this thesis and conclude that limits on political expression increase the likelihood nations will experienced increased levels of terrorism.
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Warner, Charles David. "Opinions of Administrators, Faculty, and Students Regarding Academic Freedom and Student Artistic Expression." Diss., Virginia Tech, 1999. http://hdl.handle.net/10919/27553.

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The primary purpose of this study was to compare the opinions of community college administrators, art faculty members, and art students concerning institutional options and policy alternatives for the exhibition of controversial student art work in the community colleges of Maryland. The research questions addressed the concept of academic freedom, the principle of institutional neutrality, and the context of the presentation. Three community colleges were selected for the study. Data were collected in two stages. Information gathered in the first stage of this project was used to collect data during the second stage. In phase one the researcher went to the three schools and conducted individual interviews to determine the perceived facts surrounding a controversial art incident. The researcher recorded what the participants thought were the issues that contributed to the controversy, what principles they thought were employed in the solution, and reactions to how it was handled. The researcher prepared a brief and objective case study of each incident. Phase two of this project involved the researcher taking the case studies back to the three sites for group interviews. There were three group interviews conducted at each of the three community colleges. One group was made up of two administrators, another group included two or three arts faculty members, and the third group involved four or more art students. Each group was asked to respond to questions stemming from the research areas of academic freedom, institutional neutrality, and context of the presentation. Each group was asked to comment regarding the issues, the administrative response, and concerns in the three case studies. Each group was asked to chose a policy from a list of three options for covering controversial student art exhibits. The results show different opinions exist between administrators, art faculty, and art students concerning academic freedom, institutional neutrality, and the exhibition of controversial student art. It is important to note however, the opinions do not divide precisely along administrator, faculty, and student classification lines. Most of the participants selected the policy which provided for group discussion during any controversy over student art. There is a need for educational institutions to become proactive in this area.
Ed. D.
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Case, Erik S. Sahliyeh Emile F. "State level causes of terrorism limits on political expression /." [Denton, Tex.] : University of North Texas, 2009. http://digital.library.unt.edu/ark:/67531/metadc12092.

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Ertene, Merve. "Reconsidering The Kantian Concept Of Genius Through The Questions Of Nature, Freedom And Creativity." Master's thesis, METU, 2012. http://etd.lib.metu.edu.tr/upload/12615050/index.pdf.

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In this thesis, the role and the significance of the Kantian theory of art and concept of genius in Kant&rsquo
s system is examined. In this examination, it is aimed to answer the question of the meaning of being human in Kant&rsquo
s system through art and artist. To this end, Kant&rsquo
s consideration of art from the spectator&rsquo
s standpoint and ignorance of artist&rsquo
s perspective are criticized. In conformity with this criticism, throughout the thesis, depending on Kant&rsquo
s conceptualization of the genius, the artist&rsquo
s perspective and artistic experience are tried to be exhibited. In order to understand and interpret the artist&rsquo
s perspective, the meaning of the concepts of nature and freedom that arise along with the concept of genius is clarified. By considering the effects of the freedom and the natural necessity on genius, it is asserted that since the necessity of the naturally endowed talent of genius and the freedom of the productive act of genius cause to the one and the same act, the creative activity of genius refers to the unity of all the dualities in the Kantian system and hence to the completeness of the system. As a result of this claim, art, which arises from the dual nature of human, becomes the way to unite this duality.
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Lowe, James Joseph Greaves. "Freedom of artistic expression under Article 10 of the European Convention on Human Rights." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/23442.

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Under the auspices of Article 10 of the European Convention on Human Rights the right to freedom of expression is said to be held by everyone and to include the freedom to hold opinions and to receive and impart information and ideas without interference by public authority, subject to the limitation clauses outlined in Article 10(2). Whilst the text of Article 10 therefore makes no explicit reference to specifically artistic expression, the European Court of Human Rights has, in its interpretation of ‘information and ideas’, nevertheless accepted that artistic expression does indeed fall within the ambit of Article 10’s protection of freedom of expression. However, despite the Court recognising artistic expression as a form of expression within the framework of Article 10, conclusions reached in the early case law concerning the issue of controversial artworks would appear to suggest the judicial creation of an implicit hierarchy of expression under which artistic expression is seen to enjoy a relatively low level of protection. Given the non-differentiated articulation of the right to freedom of expression enounced in the text of Article 10, the creation of such a hierarchy of expression is therefore a cause for doctrinal concern. In seeking to assess this misnomer the thesis’ analysis of the treatment of artistic expression under Article 10 of the European Convention on Human Rights may be distilled in to two component parts. Firstly, a theoretical basis will be established from which artistic expression may be located within the context of the discourse pertaining to freedom of expression more generally. Having confirmed that, whilst of a distinctive, sui generis nature, artistic expression may indeed constitute ‘expression’ for the purposes of freedom of expression doctrine the second part of the thesis will examine the particular question of artistic expression’s treatment under Article 10 of the European Convention on Human Rights.
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Books on the topic "Limits of artistic freedom"

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The limits of artistic freedom: Criticism of art in Italy from 1500 to 1800. Leiden: Primavera Pers, 2008.

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Kiberd, Declan. Multiculturalism and artistic freedom. Cork: University College Cork, Department of Sociology, 1992.

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Trebilcock, Michael J. The limits of freedom of contract. [Toronto, Ont.]: Faculty of Law, University of Toronto, 1989.

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Trebilcock, Michael J. The limits of freedom of contract. [Toronto, Ont.]: Faculty of Law, University of Toronto, 1988.

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Trebilcock, Michael J. The limits of freedom of contract. [Toronto, Ont.]: Faculty of Law, University of Toronto, 1991.

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The limits of freedom of contract. Cambridge, Mass: Harvard University Press, 1993.

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Sadurski, Wojciech. Freedom of Speech and Its Limits. Dordrecht: Springer Netherlands, 1999. http://dx.doi.org/10.1007/978-94-010-9342-2.

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Freedom of speech and its limits. Dordrecht: Kluwer Academic Publishers, 1999.

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Tillmans, Wolfgang. Freedom from the known. Gottingen: Steidl, 2006.

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P.S. 1 Contemporary Art Center., ed. Freedom from the known. Gottingen: Steidl, 2006.

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Book chapters on the topic "Limits of artistic freedom"

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Ury, Tanya. "Artistic Freedom." In Shifting Corporealities in Contemporary Performance, 323–25. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-78343-7_19.

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"Destroying Krishna Imagery. What are the Limits of Academic and Artistic Freedom?" In Taking Offense, 201–44. Wilhelm Fink Verlag, 2018. http://dx.doi.org/10.30965/9783846763452_010.

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Christian, Bumke, and Voßkuhle Andreas. "6 Art. 5 GG: Freedom of Communication and Art." In German Constitutional Law. Oxford University Press, 2019. http://dx.doi.org/10.1093/law/9780198808091.003.0006.

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This chapter discusses Art. 5 of the Grundgesetz (GG), which guarantees freedom of communication, art and science. It first considers the jurisprudence of the Federal Constitutional Court concerning the scope of protection for freedom of opinion, focussing on the importance of such freedom in a democratic community, consequences flowing from the importance of freedom of opinion, and limits on the protective scope of freedom of opinion. The chapter then examines the scope of protection for freedom of information, freedom of the press and freedom of broadcast before analysing the limits on the reservation of the fundamental rights protected in Art. 5 GG, with emphasis on the problematic nature of limits imposed by general laws, the doctrine of reciprocity and the principle of proportionality, and the balancing of interests between freedom of opinion and a protected legal interest. Finally, the chapter describes the scope of protection for artistic freedom.
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Erdos, David. "The Development of European Human Rights and Freedom of Expression Law." In European Data Protection Regulation, Journalism, and Traditional Publishers, 19–34. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198841982.003.0002.

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This chapter explores the legal protection of freedom of expression across Europe and situates this within the broader development of protections for civil and political rights. It argues that such protections have deep philosophical and jurisprudential roots within the European tradition and were further formalized including through the European Convention on Human Rights (ECHR) after the Second World War. Nevertheless, it was not until the 1970s that legal enforcement of these protections became widespread. The chapter considers the extensive ECHR jurisprudence that has since developed, including its special protection of ʻpublic interestʼ and, to a lesser extent, artistic expression. It considers the claim that this case law privileges the Press, arguing instead that it accords respect for the vocational task of a range of professional actors including both academics and audio-visual media. It also elucidates the much more limited but deepening jurisprudence of the Court of Justice of the EU (CJEU). Finally, the chapter considers the extent to which European States have felt it necessary to codify the rights and limits of core instances of freedom of expression such as journalism. Great divergence on this issue are apparent. Such codification is common (but increasingly contested) in the audio-visual media sector throughout Europe and in a much wider area in several civil law jurisdictions. On the other hand, extensive legal codification has been seen as inappropriate in many other contexts, with preference being given instead to the elucidation of detailed norms through ʻsoftʼ guidance and self-regulation.
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"Artistic Freedom and Academic Freedom." In Freedom and Tenure in the Academy, 177–94. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822396802-005.

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O’Neil, Robert M. "Artistic Freedom and Academic Freedom." In Freedom and Tenure in the Academy, 177–93. Duke University Press, 1993. http://dx.doi.org/10.1215/9780822396802-005.

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O’Neil, Robert M. "ARTISTIC FREEDOM AND ACADEMIC FREEDOM." In Freedom and Tenure in the Academy, 177–94. Duke University Press, 1993. http://dx.doi.org/10.2307/j.ctv1134d4v.7.

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Regev, Ronny. "Directing." In Working in Hollywood, 76–107. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469636504.003.0004.

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The third chapter explains how directors came to be associated with film authorship. Filmmakers were indeed accorded a level of autonomy and responsibility that was unique in industry terms. This autonomy, however, was limited to the shooting portion of the production process. In other words, directors, even so-called auteurs like George Cukor or William Wyler, had no say over scriptwriting or the editing of the picture. Furthermore, directorial autonomy, the chapter argues, was the product of economic expediency rather than of respect for artistic freedom. In fact, in order to maintain a studio career, directors had to prove they were worthy of this autonomy. They had to demonstrate their conformity and commitment to the studio’s material concerns.
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Maheshwari, Malvika. "From a Murder to Deaths in the Morcha." In Art Attacks, 91–147. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199488841.003.0004.

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This chapter explores the responses to two questions. The first asks how criminalized politics and its associated violence came to administer the limits of artistic expression in the country, and in doing so, hampered or reformed the systemic order of constitutional politics. The second explores what implications this had for the sustenance of democratic processes (given that regulation of freedom of speech and expression is an aspect that is apparently fundamental to the regulatory role of a democratic state). The idea is not to conclude whether criminalized politics and its ensuing violence are themselves democratic or not. Instead, what we can understand from these questions is the extent to which criminalization and violence gradually acquired salience in the narrative and functioning of India’s liberal democracy, no longer inviting punishment or being regarded as anomalies or as impediments to governance. Based on two case studies, the chapter examines two different aspects of the politico-criminal nexus: one of patronage, which pertains to the opportunism of violent actions undertaken by cadres of criminals and local strongmen as pawns in the game of power politics; and the other of partnership that relates to the subversive ritualism of para-statal organizations like the mafia, on whom the state relies, but with whom it also competes for domination.
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Rui, Huang. "We Want Artistic Freedom." In Stars 79–80, translated by Celine Ho, 26–29. The Chinese University of Hong Kong Press, 2020. http://dx.doi.org/10.2307/j.ctvzpv76v.4.

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Conference papers on the topic "Limits of artistic freedom"

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Madden, Christopher P., and Matthew R. Stein. "A Robotic Device for Three-Dimensional Manipulation Over the Internet." In ASME 2004 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2004. http://dx.doi.org/10.1115/detc2004-57215.

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The PumaPaint site has been allowing users to create paintings remotely over the Internet since 1998. Although this site allows for some artistic creativity, the task is inherently two-dimensional and lacks any real manipulation capability by the remote user. On a similar theme but with much higher complexity, we are creating a robotic device that will allow true, three-dimensional manipulation by the remote user with an added capacity for force control and kinesthetic feedback. The robotic device will be a roughly anthropomorphic pair of limited degree-of-freedom mechanical hands arranged in mutual opposition. We are designing these hands by building parametric models using AutoDesk Inventor® and then fabricating the components in our sparsely equipped machine shop. This paper will preset the design concept and details of the modeling process, plus how this process is informed by our fabrication capacity. The paper will also present the partially completed robotic device and discuss remaining obstacles to completion.
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Barasheva, Elena V., Alexey S. Stepanenko, Elena L. Vlasova, and Irina I. Zedgenizova. "Realization of Citizens' Constitutional Rights to Freedom of Expression and Artistic Freedom." In Proceedings of the International Conference "Topical Problems of Philology and Didactics: Interdisciplinary Approach in Humanities and Social Sciences" (TPHD 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/tphd-18.2019.10.

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Lavrukhina, Irina. "Transformation Of Limits Of Freedom: From Philosophical To Sociopolitical Knowledge." In SCTCMG 2019 - Social and Cultural Transformations in the Context of Modern Globalism. Cognitive-Crcs, 2019. http://dx.doi.org/10.15405/epsbs.2019.12.04.258.

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Shabrina, Nike. "Moving Beyond Borders: Artistic Freedom and the Threat of Persecution by Faith-Based Organizations." In Proceedings of the 2nd International Conference on Strategic and Global Studies (ICSGS 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icsgs-18.2019.7.

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Tom, Nathan M. "Revisiting Theoretical Limits for One-Degree-of-Freedom Wave Energy Converters." In ASME 2020 14th International Conference on Energy Sustainability. American Society of Mechanical Engineers, 2020. http://dx.doi.org/10.1115/es2020-1640.

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Abstract This work revisits the theoretical limits of one-degree-of-freedom wave energy converters. This paper considers the floating sphere used in the Ocean Energy Systems Task 10 Wave Energy Converter modeling and verification effort for analysis. Analytical equations are derived to determine bounds on the motion amplitude, time-averaged power, and power-take-off (PTO) force. A unique result was found that shows the time-averaged power absorbed by a wave energy converter can be defined solely by the inertial properties and radiation hydrodynamic coefficients. In addition, a unique expression for the PTO force amplitude was derived that has provided upper and lower bounds when resistive control is used to maximize power generation. For complex conjugate control, this same expression can only provide a lower bound, as there is theoretically no upper bound. These bounds are used to compare the performance of a floating sphere if it were to extract energy using surge or heave motion. The analysis shows that because of the differences in hydrodynamic coefficients of each oscillating mode, there will be different frequency ranges that provide better power capture efficiency. The influence of a motion constraint on power absorption while also utilizing a nonideal power take-off is examined and found to reduce the losses associated with bidirectional energy flow. The expression to calculate the time-averaged power with a nonideal PTO is modified by the mechanical-to-electrical efficiency and the ratio of the PTO spring and damping coefficients. The PTO spring and damping coefficients were separated in the expression, which allows for limits to be set on the possible values of PTO coefficients to ensure a net flow of power to the grid.
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Hanlen, Leif W., and Thushara D. Abhayapala. "Space-Time-Frequency Degrees of Freedom: Fundamental Limits for Spatial Information." In 2007 IEEE International Symposium on Information Theory. IEEE, 2007. http://dx.doi.org/10.1109/isit.2007.4557104.

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Franceschetti, Massimo, Marco D. Migliore, and Paolo Minero. "The degrees of freedom of wireless networks: information-theoretic and physical limits." In 2008 46th Annual Allerton Conference on Communication, Control, and Computing. IEEE, 2008. http://dx.doi.org/10.1109/allerton.2008.4797750.

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Miller, L. M., Hyunchul Kim, and J. Rosen. "Redundancy and joint limits of a seven degree of freedom upper limb exoskeleton." In 2011 33rd Annual International Conference of the IEEE Engineering in Medicine and Biology Society. IEEE, 2011. http://dx.doi.org/10.1109/iembs.2011.6092011.

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Fuady, Muhammad Ikram Nur, Tri Suhendra Arbani, Nurfaika Ishak, Muhammad Yaasiin Raya, and Ade Darmawan Basri. "The Fundamental Rights to Freedom of Expression and Its Limits in the Indonesian Constitution." In Proceedings of the 2nd Borobudur International Symposium on Humanities and Social Sciences, BIS-HSS 2020, 18 November 2020, Magelang, Central Java, Indonesia. EAI, 2021. http://dx.doi.org/10.4108/eai.18-11-2020.2311669.

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Yeh, Har-Jou, and Karim A. Abdel-Malek. "Workspace of a Gimbal With Joint Limits." In ASME 1996 Design Engineering Technical Conferences and Computers in Engineering Conference. American Society of Mechanical Engineers, 1996. http://dx.doi.org/10.1115/96-detc/mech-1218.

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Abstract An analytical formulation for determining the workspace of a point on a body suspended in a Gimbal mechanism is presented. Although the gimbal mechanism comprises three degrees of freedom, the resulting workspace is a region on a spherical surface. The constraint function of the underlying mechanism is studied for singularities using a row-rank deficiency condition of its constraint Jacobian. Singular curves on the resultant spherical surface are determined by a similar analytical criterion imposed on the system’s subjacobian, to compute a set of two joint singularities. These singular curves define regions on the spherical surface that may or may not be accessible. A perturbation technique is then used to identify singular curve segments that are boundary to the workspace region. The methodology is illustrated through a numerical example.
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