The Discovery and History of the Dalgaranga Meteorite Crater, Western Australia

The Dalgaranga meteorite crater, 100 km northeast of Yalgoo, Western Australia, was one of the first impact structures identified in Australia, the smallest isolated crater found in Australia, and the only confirmed crater in the world associated with a mesosiderite projectile. 17 years passed before the Dalgaranga meteorites were described in the scientific literature and nearly 40 years passed before a survey of the structure was published. The reasons for the time-gap were never explained and a number of factual errors about the discovery and early history remain uncorrected in the scientific literature. Using historical and archival documents, and discussions with people involved in Dalgaranga research, the reasons for this time gap are explained by a series of minor misidentifications and coincidences. The age of the crater has yet to be determined, but using published data, we estimate the projectile mass to be 500-1000 kg.Comment: Australian Journal of Earth Sciences, accepte

Towards a fuller, more nuanced narrative of Chalcolithic and Early Bronze Age Britain 2500-1500 BC

This contribution considers some of the many recent advances in our understanding of Chalcolithic and Bronze Age Britain and uses these to highlight the weak points in our current state of knowledge. Focusing mainly on the period 2500–1500 BC, it concentrates on issues of chronology, human movement, the role of metal and monuments as 'drivers' of action, and the potential offered by current studies of artefact manufacture, use and depositio

Digital Vigilantism as Weaponisation of Visibility

This paper considers an emerging practice whereby citizen’s use of ubiquitous and domesticated technologies enable a parallel form of criminal justice. Here, weaponised visibility supersedes police intervention as an appropriate response. Digital vigilantism is a user-led violation of privacy that not only transcends online/offline distinctions but also complicates relations of visibility and control between police and the public. This paper develops a theoretically nuanced and empirically grounded understanding of digital vigilantism in order to advance a research agenda in this area of study. In addition to literature on vigilantism and citizen-led violence, this paper draws from key works in surveillance (Haggerty and Ericsson, British Journal of Sociology, 51, 605–622, 2000) as well as visibility studies (Brighenti 2007; Goldsmith, British Journal of Criminology, 50(5), 914–934, 2010) in order to situate how digital media affordances and cultures inform both the moral and organisational dimensions of digital vigilantism. Digital vigilantism is a process where citizens are collectively offended by other citizen activity, and coordinate retaliation on mobile devices and social platforms. The offending acts range from mild breaches of social protocol to terrorist acts and participation in riots. The vigilantism includes, but is not limited to a ‘naming and shaming’ type of visibility, where the target’s home address, work details and other highly sensitive details are published on a public site (‘doxing’), followed by online as well as embodied harassment. The visibility produced through digital vigilantism is unwanted (the target is typically not soliciting publicity), intense (content like text, photos and videos can circulate to millions of users within a few days) and enduring (the vigilantism campaign may be top search item linked to the target, and even become a cultural reference). Such campaigns also further a merging of digital and physical spaces through the reproduction of localised and nationalist identities (through ‘us/them’ distinctions) on global digital platforms as an impetus for privacy violations and breaches of fundamental rights

Rematerializing the Immaterial: A Comparative Study of Vancouver's Conceptual Art and Writing

Rematerializing the Immaterial: A Comparative Study of Vancouver’s Conceptual Art and Writing examines the contemporary situation of the Vancouver art world and addresses the twin schools of conceptualism in the city, the Vancouver School of photoconceptualism and the Kootenay School of Writing (KSW). The dissertation, which explores conceptual art’s impact on Vancouver’s cultural reputation broadly, brings visual art into conversation with conceptual writing and examines how specific definitions and ideas of and relating to conceptual art have shaped the discourse of conceptualism in Vancouver. As the title suggests, many of the ideas central to conceptual art and conceptualism implicate questions of materiality – particularly as American curator and art critic Lucy Lippard’s notion of “dematerialization” is concerned – and whether conceptualism is a material or intellectual enterprise. Drawing on the research and theorization of scholars such as Lippard, Leah Modigliani, Peter Osborne, Jeff Derksen, Jason Wiens, Scott Watson, Alexander Alberro, Kenneth Goldsmith, Caroline Bergvall, and Adrian Piper, I argue that Vancouver conceptualism is both materially and critically, intellectually engaged with the social, cultural, political, and economic histories and realities of Vancouver. Examining the creative and critical work of such artists and writers as Derksen, Stan Douglas, Fred Wah, Jeff Wall, and Lisa Robertson, I observe how, as a kind of critical- and often para-linguistic assemblage, these forces form a discernable poetics of Vancouver, incorporating art histories, criticism, formal conventions, ideas of and engagement with the archive, and impactful events in the city’s historical unfolding to shape the way Vancouver conceptualism circulates locally and internationally. By means of a reconsideration of Vancouver’s art world, including key artworks, poems, archives, and events, I seek to demonstrate how conceptualist photography and writing are complex and varied practices that engage at once with theory, art history, and social and cultural histories in the city

Duplicate, Decolonize, Destroy: Current Topics in Art and Cultural Heritage Law

The opening panel discussed the upcoming case before the United States Supreme Court, Andy Warhol Foundation for the Visual Arts, Inc. v. Goldsmith. Panelists included Amelia K. Brankov, Founder, Brankov PLLC and Chair of the New York City Bar Association Art Law Committee; Joel L. Hecker, Principal Attorney, Law Offices of Joel L. Hecker; and Philippa S. Loengard, Director of the Kernochan Center for Law, Media & the Arts and Lecturer-in-Law at Columbia Law School. The case is compelling because the Court rarely hears copyright cases, especially those addressing the affirmative defense of fair use. Moderated by Christopher J. Robinson, Of Counsel, Rottenberg Lipman Rich, P.C., the panel discussed the case, the fair use issues it raises, and their respective hopes and fears for the outcome. Out of Context: Reframing and Repatriating Objects in Museum and Public Spaces explored the decolonization of cultural institutions and attempts to re-contextualize historical objects with fraught lineage through a contemporary lens. Topics included the recent movement in a longstanding debate on the return of Benin bronzes to Nigeria, the role of customs law enforcement in regulating the importation of historical artifacts into the United States, and the Nepal Heritage Campaign’s grassroots efforts to return a sacred statue to its original shrine in Kathmandu. Moderated by Steven R. Schindler, Founding Partner, Schindler Cohen & Hochman LLP, this panel included panelists Rudyard W. Ceres, Partner, Freeborn and Peters LLP; Nicholas M. O’Donnell, Partner, Sullivan and Worcester LLP; and Erin L. Thompson, Professor of Art Crime, John Jay College (CUNY). In her Keynote, Irena Tarsis, Founder and Managing Director of the Center for Art Law, discussed the destruction and protection of cultural heritage throughout the armed conflict unfolding in Ukraine. Moderated by Leila Amineddoleh, Founding Partner, Amineddoleh & Associates LLC, and Adjunct Professor of Law at Fordham, the panel Erased: Protecting Cultural Heritage in Times of Armed Conflict discussed various contexts in which war and hostility have threatened cultural heritage. The panelists included Yelena Ambartsumian, Founder, Origen; Jennifer Kreder, Of Counsel, Rottenberg Lipman Rich P.C.; and Michael McCollough, Partner, Pearlstein & McCullough LLP. The panel discussed the history of the destruction of cultural property and looting from the Nazi-Era to the present day, the legal tools available to victims, and the responsibilities and rights of collectors

Fall 2023 Supplement to Brauneis & Schechter, Copyright: A Contemporary Approach

This Fall 2023 Supplement is the product of our effort to capture important developments in copyright law since the publication of the second edition of Copyright: A Contemporary Approach. It includes three Supreme Court decisions as principal cases: the fair use cases of Google LLC v. Oracle America, Inc. (p. 23) and Andy Warhol Foundation v. Goldsmith (p. 41) and the 2020 decision about copyright protection for state statutes, Georgia v. Public.Resources.Org (p. 74).. (Because there are now so many Supreme Court fair use cases to cover, this supplement also includes a note on Harper & Row, Publishers v. Nation Enterprises (pp. 13-14), as an option to replace its treatment as a principal case in the second edition of the casebook. The supplement also includes notes on many other cases, and a few new features that we thought would enhance study of U.S. copyright law. It includes new material on copyright and artificial intelligence, both on the issue of AI authorship, (see the new notes on page 7-9), and the issue of infringement and fair use in training generative AI models (see the new feature on p. 21). Because the Copyright Claims Board (“CCB”) opened up its doors for business in June 2022, we have included a new section at the end of Chapter 6 on the CASE Act and CCB proceedings (p. 67). We have also completely revised Chapter 12.E., on digital audio transmission rights, and Chapter 12.F., on rights in pre-1972 sound recordings. The new Chapter 12.E. in this supplement, “Digital Streaming of Music After the Musical Works Modernization Act” (p. 101), now consists of a general introduction to copyright and the streaming of music, covering both rights in sound recordings and rights in musical works, and all of the relevant exclusive rights

Copyright: A Contemporary Approach

This Fall 2022 Supplement is the product of our effort to capture important developments in copyright law since the publication of the second edition of Copyright: A Contemporary Approach. It includes three new principal cases. The first two are Supreme Court decisions: the 2021 fair use decision in Google LLC v. Oracle America, Inc. (p. 18), and the 2020 decision about copyright protection for state statutes in Georgia v. Public.Resources.Org (p. 58).. The third is an excerpt from the Second Circuit’s fair use decision in Andy Warhol Foundation v. Goldsmith (p.37), a decision that the Supreme Court has decided to review, with oral argument scheduled for October 12, 2022. The portion of this opinion on “transformativeness” is likely making a one-time appearance in the supplement, to be replaced by the Supreme Court decision when it is issued, but we thought some folks would like to teach the Goldsmith case in the fall as the Supreme Court is considering it.The supplement also includes notes on many other cases, and a few new features that we thought would enhance study of U.S. copyright law. Because the Copyright Claims Board (“CCB”) opened up its doors for business this June, we have included a new section at the end of Chapter 6 on the CASE Act and CCB proceedings (p. 50). We have also completely revised Chapter 12.E., on digital audio transmission rights, and Chapter 12.F., on rights in pre-1972 sound recordings. The new Chapter 12.E. in this supplement, “Digital Streaming of Music After the Musical Works Modernization Act” (p. 84), now consists of a general introduction to copyright and the streaming of music, covering both rights in sound recordings and rights in musical works, and all of the relevant exclusive rights