Module LAW2102 for 2020/1
- Overview
- Aims and Learning Outcomes
- Module Content
- Indicative Reading List
- Assessment
Undergraduate Module Descriptor
LAW2102: Art and Law
This module descriptor refers to the 2020/1 academic year.
Module Aims
- The key aim of the module is to provide you with the opportunity to explore the rich relationship between various areas of law through art, thereby deepening your understanding of the intersections of law in general and especially its impact on cultural and social development.
- The module also aims to provide you with interdisciplinary learning opportunities that will generate rich and stimulating engagements both with the material and peers.
- With a portion of the assessment based on a creative work, the module aims to develop and strengthen your appreciation of how the law filters and facilitates cultural production. The essay component of the assessment criteria aims to enhance critical thinking and creative argumentation skills.
- Throughout the module, you will be challenged to nurture creative and analytical capacities that are particularly valued by employers.
| On successfully completing the programme you will be able to: | |
|---|---|
| Module-Specific Skills | 1. Demonstrate detailed knowledge and understanding of the relationship between law and cultural production 2. Demonstrate a critical knowledge and understanding of main areas of law and visual arts scholarship, using a wide range of appropriate concepts, interpretative techniques and terminology 3. Think critically and creatively through the production of an artistic output based on the application and critical analysis of relevant law and its practical application |
| Discipline-Specific Skills | 4. Exercise critical thinking and judgment concerning the assumptions and aspirations of law 5. Explain relevant information from primary and secondary legal sources using appropriate interpretative techniques 6. Engage with legal materials as a critical and creative reader |
| Personal and Key Skills | 7. Identify, retrieve, and use a range of resources with minimum guidance 8. Manage time independently and efficiently in preparing for learning activities, to be proactive in developing your own learning, and to work independently within a limited time frame to complete a specified task |
Module Content
Syllabus Plan
While the module’s precise content will vary from year to year, it is envisaged that the syllabus will cover some or all of the following topics:
- Introduction to Art and Law
- Access to and Reuse of the Public Domain
- Art and Decolonisation
- Art and the Internet
- Art and Appropriation
- Graffiti and the Law
- Performance Art and Law
- Intangible Cultural Heritage
- Indigenous Artifacts and Cultural Content
Learning and Teaching
This table provides an overview of how your hours of study for this module are allocated:
| Scheduled Learning and Teaching Activities | Guided independent study | Placement / study abroad |
|---|---|---|
| 37 | 113 | 0 |
...and this table provides a more detailed breakdown of the hours allocated to various study activities:
| Category | Hours of study time | Description |
|---|---|---|
| Scheduled Learning and Teaching Activities | 16.5 | 11 x 1.5 hour Lectures |
| Scheduled Learning and Teaching Activities | 15 | 5 x 3 hour Seminars |
| Scheduled Learning and Teaching activities | 5.5 | Film/on-site field trip activities |
| Guided independent study | 55 | 5 hours of reading before each lecture |
| Guided independent study | 30 | Seminar preparation |
| Guided independent study | 5 | Formative preparation |
| Guided independent study | 23 | Consolidation of learning |
Online Resources
This module has online resources available via ELE (the Exeter Learning Environment).
Podcasts:
- Hyperallergic / Art Movements, ‘The Relationship Between Art and Law Since the 1960s with Joan Kee’ (2019)
- Hyperallergic / Art Movements, ‘Talking Digital Colonialism with Moreshin Allahyari’ (2019)
- NYU Engelberg Center for Innovation Policy, ‘Why Art Does Not Need Copyright with Amy Adler’ (2008)
- This American Life, ‘We are in the Future: Past Imperfect with Azie Dungey’ (2017)
- Museopunks, ‘Decolonization and its Discontents with Sumaya Kassim and Nathan Mudyi Sentence’ (2019)
Videos:
- will.i.am, ‘Smile Mona Lisa’ (2016)
- The Carters, ‘APESHIT’ (2018)
- American Alliance of Museums, ‘Keynote Speakers: Donoval Livingston and Frank Waln’ (2018)
Other Learning Resources
Exhibitions and Artworks:
- Al-Badri N and Nelles N, The Other Nefertiti (2019)
- Roberts A, No Copyright Infringement Intended (2017)
- Mundy O, I Know Where Your Cat Lives (2014)
- Walker K, Fons Americanus (2019)
- Galanin N, Shadow on the Land, an excavation and bush burial (2020)
How this Module is Assessed
In the tables below, you will see reference to 'ILO's. An ILO is an Intended Learning Outcome - see Aims and Learning Outcomes for details of the ILOs for this module.
Formative Assessment
A formative assessment is designed to give you feedback on your understanding of the module content but it will not count towards your mark for the module.
| Form of assessment | Size of the assessment (eg length / duration) | ILOs assessed | Feedback method |
|---|---|---|---|
| Prototype of creative work and summary of reflective commentary in preparation of the summative creative assessment | Image + 250-500 words | 1-8 | Written comments or oral feedback |
Summative Assessment
A summative assessment counts towards your mark for the module. The table below tells you what percentage of your mark will come from which type of assessment.
| Coursework | Written exams | Practical exams |
|---|---|---|
| 90 | 0 | 10 |
...and this table provides further details on the summative assessments for this module.
| Form of assessment | % of credit | Size of the assessment (eg length / duration) | ILOs assessed | Feedback method |
|---|---|---|---|---|
| Participation | 10 | Must participate in 80% of assigned activities (safety net applies can only improve the overall mark) | 1-6 | Written comments or oral feedback (throughout the course) |
| Creative work of two elements: (1) a creative work; and (2) reflective commentary on the work | 45 | e.g., appropriation of an artwork or reuse of online content and a 1,000-word reflective commentary examining the work and its argument(s) | 1-8 | Written comments or oral feedback |
| Report | 45 | 2,000-word report reflecting on research and interventions into the construction and development of knowledge via Wikipedia | 1-8 | Written comments; oral feedback available on request |
Re-assessment
Re-assessment takes place when the summative assessment has not been completed by the original deadline, and the student has been allowed to refer or defer it to a later date (this only happens following certain criteria and is always subject to exam board approval). For obvious reasons, re-assessments cannot be the same as the original assessment and so these alternatives are set. In cases where the form of assessment is the same, the content will nevertheless be different.
| Original form of assessment | Form of re-assessment | ILOs re-assessed | Timescale for re-assessment |
|---|---|---|---|
| Participation | See note below | 1-6 | NA |
| Creative work of two elements: (1) a creative work; and (2) reflective commentary on the work | e.g., appropriation of an artwork or reuse of online content and a 1,000-word reflective commentary examining the work and its argument(s) | 1-8 | August/September reassessment period |
| Report | 2,000-word individual report reflecting on research and interventions into the construction and development of knowledge via Wikipedia | 1-8 | August/September reassessment period |
Re-assessment notes
Participation mark will not be reassessed. This mark will be carried through from the term.
Indicative Reading List
This reading list is indicative - i.e. it provides an idea of texts that may be useful to you on this module, but it is not considered to be a confirmed or compulsory reading list for this module.
Basic reading:
- Bielstein S, Permissions: A Survival Guide, Blunt Talk about Art as Intellectual Property (2006)
- Op den Kamp C and Hunter S, A History of Intellectual Property in 50 Objects (2019)
- Reilly M, Curatorial Activism (2018)
- Risam R, New Digital Worlds: Postcolonial Digital Humanities in Theory, Prais, and Pedagogy (2019)
- Sarr F and Savoy B, ‘The Restitution of African Cultural Heritage, Toward a New Relational Ethics’ (2018)
- Schubert K and McClean D, Dear Images: Art, Copyright and Cultrue (1999)
- Sharpe C, In the Wake (2016)
- Stokes S, Art and Copyright (2012)
- Wallace A and Deazley R, Display At Your Own Risk: An experimental exhibition of digital cultural heritage (2016)
