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This anthology focuses on the ethical issues surrounding
information control in the broadest sense. Anglo-American
institutions of intellectual property protect and restrict access
to vast amounts of information. Ideas and expressions captured in
music, movies, paintings, processes of manufacture, human genetic
information, and the like are protected domestically and globally.
The ethical issues and tensions surrounding free speech and
information control intersect in at least two important respects.
First, the commons of thought and expression is threatened by
institutions of copyright, patent, and trade secret. While
institutions of intellectual property may be necessary for
innovation and social progress they may also be detrimental when
used by the privileged and economically advantaged to control
information access, consumption, and expression. Second, free
speech concerns have been allowed to trump privacy interests in all
but the most egregious of cases. At the same time, our ability to
control access to information about ourselves--what some call
"informational privacy"--is rapidly diminishing. Data mining and
digital profiling are opening up what most would consider private
domains for public consumption and manipulation. Post-9/11, issues
of national security have run headlong into individual rights to
privacy and free speech concerns. While constitutional guarantees
against unwarranted searches and seizures have been relaxed, access
to vast amounts of information held by government agencies,
libraries, and other information storehouses has been restricted in
the name of national security.
Insane Acquaintances explores a range of exhibitions, organisations
and institutions that mediated and promoted modernism in Britain.
In a series of case studies on subjects ranging from the first
Postimpressionist exhibition in London in 1910, the teaching of
modernist art in schools, the decoration and design of the
modernist home, the International Surrealist exhibition in London
in 1936 and the Festival of Britain in 1951, Insane Acquaintances
charts some of the ways in which modernism not only sought to
improve the quality of art but also the quality of art's reception
in Britain. It also provides an institutional history of some of
the groups and organisations that fostered modernist art in Britain
during that period.
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