Abstract
Visuals and images challenge law’s positivistic faith: they are ambiguous and threatening to law’s stability precisely because they cannot be corralled into a safe territory – unless they are read literally. Because they are always open to interpretation, law will rein them into a reading that suits and that does not transgress, for instance, sanctioned narratives or accounts of national identities. A ‘juridical-aesthetic state of exception’ enables the courts, as sovereign, to create and constitute the aesthetic mode in which visuals and images are read, allowing them to radically create and recreate the image or visual to achieve a desired aesthetic or political reading. By being ‘rule-exempt’, the courts create the law of the visual as they go along, saturating them with meanings as they choose, deploying interpretations and readings of images as it suits. Their purported indifference is made in deference to art, but as I suggest, the very act of disengagement is ascriptive, through the intervention of the judicial eye. In its place, I suggest the deployment of a Panofskian iconological schema in order to give law some tools to assist with the reading of images beyond the literal and formal. It is precisely for the reasons that Panofsky is criticised by art historians that I see a value in the use of this hermeneutic in the legal context through its creation of a ‘synthetic intuition’. Iconology not only demonstrates that empiricist and literal readings of images and visuals are misleading and partial, but its schema offers a certainty and methodological rigour enabling ‘the vibe’ of art, culture and images to move from being a mere feeling to something which can be ascertained through a method, providing a sense of certainty while curtailing unbounded interpretations that abound in the juridical-aesthetic state of exception.
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Notes
- 1.
- 2.
Griffiths’ book is entitled Hunters and Collectors: the antiquarian imagination in Australia. Griffiths notes: ‘To European eyes, Australia had relic forms of nature and a primitive people. It was a land of living fossils, a continental museum where the past was made present in nature, a ‘palaeontological penal colony’ (Griffiths 1996, 9). One of the areas of law which will be explored in this chapter is Australia’s Protection of Movable Cultural Heritage Act 1986 (Cth), which protects these kinds of cultural objects.
- 3.
To most Australian ears, this could not possibly be an Australian song in the literal sense, though it was embraced by an Australian art-punk subculture who adored this band and its raw sound and reliance on extraordinary visual images created by the filmmaker Richard Lowenstein in their early film clips.
- 4.
Forster was a founding member of another iconic Australian band, The Go-Betweens, whose song ‘Cattle and Cane’ is a classic that drips with the torpor of a blindingly hot, humid Queensland summer.
- 5.
The actual first line of the Baudelaire poem is ‘Souvent, pour s’amuser, les hommes d’équipage’.
- 6.
Seymour refers to a Swedish press conference in 1988 where local journalists made this connection, which the band sought to disabuse.
- 7.
‘Hunnas’ is the phonetic rendering of the first part of the band’s name. The ‘t’ consonant is often lost in the working class ‘broad Australian’ accent where it meets another softer consonant, so that ‘hunter’ sounds like ‘hunna’ and ‘winter’ like ‘winna’. Not all Australians have this accent, but the phonetic spelling of the first part of the name became a nickname for the band. The contraction of the name to its first word only is typical of Australian speech in general, where contractions will be used whenever they can – so ‘sunglasses’ become ‘sunnies’, ‘journalists’ become ‘journos’ and ‘hunters and collectors’ become ‘hunters’ or ‘hunnas’.
- 8.
The song has been confused with the gentle 1960s American Christmas song, Noël Regney and Gloria Shayne Baker, Do You Hear What I Hear?, which includes the phrase ‘do you see what I see’ throughout.
- 9.
- 10.
New Zealand and Australia are near neighbours, fierce sporting rivals, share a common bond through the loss of its troops in World War I along with the Anzac memorial and are parties to a Closer Economic Relationship Treaty, but are not the same culturally, politically or socially. Ask a New Zealander to say ‘six’, and Australian ears hear ‘sex’ or ‘sucks’; ask an Australian to say ‘six’, and New Zealand ears will hear ‘seeeks’.
- 11.
The idea that Australian creative outputs can only be truly Australian if they ‘look’ or ‘sound’ Australian is not confined to the courts. When an Australian music writer, Craig Mathieson, suggested in 2009 that there was such a thing as an ‘Australian sound’, the author of a letter to the editor in Sydney’s major daily newspaper bristled, claiming that only lyrics about Australian culture, history or politics would qualify, or singers with certain accents, but there could certainly not be an Australian sound. The author of the letter approached the question of ‘sound’ as the courts do, by extracting out those things that are ‘typical’ and can be known with certainty (Conomy 2009).
- 12.
Project Blue Sky v Australian Broadcasting Authority (1998) 194 CLR 255.
- 13.
The reading of Australian content by the High Court will be considered later in this chapter.
- 14.
Section 114 of the Broadcasting Act 1942 (Cth) required the use of the services of Australians as far as possible in the production and presentation of programs, subsequently mandated in the mid-1060s as a quantitative requirement that 45% of commercial television content be Australian content. During the 1970s and 1980s, a more qualitative approach was taken, requiring amounts of Australian drama, variety programs, information programming and so on. A transmission percentage or point system operated.
- 15.
The Broadcasting Act 1942 (Cth) was repealed in 1992 and replaced with the Broadcasting Services Act 1992 (Cth). Old s 114 was replaced with s 122 (2) (b), which required the regulator to make standards for commercial television, ‘in relation to the Australian content of programs’. It also had to conform to s 160 (d), requiring it to act in a manner consistent with Australia’s obligations under any convention to which Australia was a party or any agreement between Australia and a foreign country.
- 16.
Project Blue Sky Inc and ORS v Australian Broadcasting Authority S219/1996 [1997] HCATrans 135 (11 April 1997) http://www.austlii.edu.au/cgi-bin/sinodisp/au/other/HCATrans/1997/135.html
- 17.
A little explanation is needed however. Two of Australia’s states are ‘rugby’ states – Queensland and New South Wales. It is noted that the Chief Justice was from Queensland, while Mr Ellicott QC was from Victoria, where Australian rules football (AFL) holds sway, and its inhabitants on the whole have a lesser familiarity with the nuances of rugby.
- 18.
The annual series of rugby matches between Australia and New Zealand – some matches are played in each country.
- 19.
New Zealand’s largest city.
- 20.
A New Zealand film director who also works in Australia.
- 21.
Project Blue Sky Inc and ORS v Australian Broadcasting Authority S41/1997 [1997] HCATrans 302 (29 September 1997) http://www.austlii.edu.au/cgi-bin/sinodisp/au/other/HCATrans/1997/302.html
- 22.
The former are Australian representative players who at the time were commentators, and the latter is a renowned Australian rugby commentator.
- 23.
Project Blue Sky v Australian Broadcasting Authority (1998) 194 CLR 255 [88].
- 24.
Project Blue Sky v Australian Broadcasting Authority (1998) 194 CLR 255 [88].
- 25.
Project Blue Sky v Australian Broadcasting Authority (1998) 194 CLR 255 [22].
- 26.
Project Blue Sky v Australian Broadcasting Authority (1998) 194 CLR 255 [26].
- 27.
Project Blue Sky v Australian Broadcasting Authority (1998) 194 CLR 255 [22].
- 28.
Having been in New Zealand once during the Cup and having watched the broadcast of the match, I know just how different the vibe was – the images emphasised the accent and demeanour of the commentators and the proliferation of black (the New Zealand team is the All Blacks).
- 29.
Supplemented by the Protection of Movable Cultural Heritage Regulations 1987 in
Australia is a party to the Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property, 17 November 1970, Paris, and this legislative schema has been created in order to meet the requirements of this convention.
- 30.
Reviews are carried out on the facts, by judges, other lawyers and sometimes laypeople with particular expertise, who sit on the administrative tribunal responsible for reviewing government decisions.
- 31.
Re Truswell and Minister for Communications and the Arts (1996) 42 ALD 275.
- 32.
Re Truswell and Minister for Communications and the Arts (1996) 42 ALD 275, 296.
- 33.
Protection of Movable Cultural Heritage Act 1986 (Cth) s 8; s 7 (1) lists categories of objects:
(a) Objects recovered from
(i) The soil or inland waters of Australia
(ii) The coastal sea of Australia or the waters above the continental shelf of Australia
(iii) The seabed or subsoil beneath the sea or waters referred to in subparagraph (ii)
(b) Objects relating to members of the Aboriginal race of Australia and descendants of the indigenous inhabitants of the Torres Strait Islands
(c) Objects of ethnographic art or ethnography
(d) Military objects
(e) Objects of decorative art
(f) Objects of fine art
(g) Objects of scientific or technological interest
(h) Books, records, documents or photographs, graphic, film or television material or sound recordings
(j) Any other prescribed categories (there is no (i))
- 34.
Protection of Movable Cultural Heritage Act 1986 (Cth) s 7 (1).
- 35.
The Protection of Movable Cultural Heritage Bill 1985 (Cth) Explanatory Memorandum, Clause 8: National Cultural Heritage Control List indicated that
The List will be based on the categories given in clause 7 and will set out for each category those criteria which will be used to determine whether or not an object falling within that category may be judged to be of such importance that its loss would significantly diminish the cultural heritage of Australia.
The Protection of Movable Cultural Heritage Bill 1985 (Cth) Explanatory Memorandum, Clause 10: Grant of Permits provided that
When considering the application, the expert examiner, the Committee and the Minister shall all take into account, amongst other things, the reasons listed in clause 7 which are relevant to the object the subject of the application and whether or not for those reasons as elaborated in the categories and criteria prescribed in the Control List the object is of such importance that its loss will significantly diminish the cultural heritage of Australia.
- 36.
Re Truswell and Minister for Communications and the Arts (1996) 42 ALD 275, 295.
- 37.
Re Truswell and Minister for Communications and the Arts (1996) 42 ALD 275, 295.
- 38.
Re Truswell and Minister for Communications and the Arts (1996) 42 ALD 275, 294.
- 39.
Re Truswell and Minister for Communications and the Arts (1996) 42 ALD 275, 295.
- 40.
Re Truswell and Minister for Communications and the Arts (1996) 42 ALD 275, 295–296.
- 41.
Re Truswell and Minister for Communications and the Arts (1996) 42 ALD 275, 296.
- 42.
Re Truswell and Minister for Communications and the Arts (1996) 42 ALD 275, 296–297.
- 43.
Re Truswell and Minister for Communications and the Arts (1996) 42 ALD 275, 296–297.
- 44.
Re Truswell and Minister for Communications and the Arts (1996) 42 ALD 275, 297–298.
- 45.
Re Truswell and Minister for Communications and the Arts (1996) 42 ALD 275, 298.
- 46.
Archibald was interested in art, and he served as a Trustee of the Art Gallery of New South Wales. In 1900, he commissioned a portrait of the poet Henry Lawson and was so pleased with it that he left money in his will for the prize. Art Gallery of New South Wales Archibald. Prize.09, History: Who was JF Archibald? http://www.thearchibaldprize.com.au/history/jf_archibald
- 47.
Clause 10 (a) of Archibald’s will provides for the award of
‘an annual prize to be styled ‘The Archibald Prize’ for the best portrait preferentially of some man or woman distinguished in Art Letters Science or Politics painted by any Artist resident in Australasia during the twelve months preceding the date fixed by the Trustees for sending in the Pictures the Trustees to have the right to exhibit such winning Picture in the said Gallery for a space of not more than two months from the date so fixed. If during any such twelve months no competing picture shall in the opinion of the trustees be painted worthy of being awarded a prize then such income shall be accumulated and invested as hereinafter authorised with liberty to the trustees at any part of such period to purchase by such accumulations or part thereof any portrait that may have won any prize so given such exhibited or purchased prize to bear a label endorsed ‘The Archibald Prize’. (Extracted in Johansen v Art Gallery of NSW Trust [2006] NSWSC 577 [4])
- 48.
- 49.
Attorney-General v Trustees of National Art Gallery of NSW (1944) 62 WN (NSW) 212
- 50.
Joshua Smith’s parents wanted to buy the painting, but Dobell refused to sell it to them as he thought they may destroy it, selling it to Hayward instead. Eagle Joshua Smith himself won the prize the following year: Joshua Smith http://en.wikipedia.org/wiki/Joshua_Smith_(artist)
- 51.
In a coda that seems almost impossible to credit, in 1958 the picture was burnt in a fire at the home of its owner. In 1969, it was poorly restored and was effectively disowned by Dobell. Images of the restored painting and its state after the fire can be seen at Archibald Controversy Painting http://www.artquotes.net/masters/william-dobell/portrait-of-an-artist.htm
- 52.
Attorney-General v Trustees of National Art Gallery of NSW (1944) 62 WN (NSW) 212, 214.
- 53.
Attorney-General v Trustees of National Art Gallery of NSW (1944) 62 WN (NSW) 212, 214.
- 54.
Attorney-General v Trustees of National Art Gallery of NSW (1944) 62 WN (NSW) 212, 215.
- 55.
Attorney-General v Trustees of National Art Gallery of NSW (1944) 62 WN (NSW) 212, 215.
- 56.
Attorney-General v Trustees of National Art Gallery of NSW (1944) 62 WN (NSW) 212, 215.
- 57.
The image may be seen at Australian Government Culture Portal: The Archibald Prize and Australia’s premier art awards http://www.cultureandrecreation.gov.au/articles/archibald/
- 58.
- 59.
- 60.
- 61.
- 62.
- 63.
- 64.
- 65.
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Leiboff, M. (2014). Do You See What I See? Iconic Art and Culture and the Judicial Eye in Australian Law. In: Wagner, A., Sherwin, R. (eds) Law, Culture and Visual Studies. Springer, Dordrecht. https://doi.org/10.1007/978-90-481-9322-6_17
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