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Digital Ethics / Chapter 6 Immersive Artistic Forms – What They Are and How to Identify Them
Digital Ethics / Chapter 6 Immersive Artistic Forms – What They Are and How to Identify Them
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1–8
Titelei/Inhaltsverzeichnis
1–8
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11–46
Part 1 From Drawings to Deep Fakes – Some Introductory Remarks
11–46
11–36
Chapter 1 Images, Technology, Ethics and Law – An Intricate Relationship
Thomas Dreier, Tiziana Andina
Thomas Dreier, Tiziana Andina
11–36
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I. Digital Ethics – The Issue of Images: An Introduction
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1. Defining the issue
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a) What is to be understood by digital image ethics?
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b) Changes brought about by digital and networking technologies
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2. Issues of digital image ethics
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a) Practical level
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b) Semantical level
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3. Method and aim of the book
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a) Questions to be asked
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b) Consequential ethics
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4. Law and ethics
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II. The Contributions of This Book
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1. Transalpine considerations
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2. The parts of this book
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3. The contributions in detail
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a) The ethical framework
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b) Images, art and society
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c) Binary encoding and artificial intelligence: The dissolution of the visual object
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d) Technology, ethics and legal norms
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e) Ethics and fundamental rights
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References
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37–46
Chapter 2 From Goethe’s Italian Journey to Transalpine Online Navigation – Narrative Changes and Transnational Stereotypes
Werner Gephart
Werner Gephart
37–46
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I. Preface
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II. “Travelling” as a Medium of Communication and Discovery
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III. Letters, Circulars, and Broadcast Chains
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IV. How We Participate in Foreign Life
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V. The Power of the “Image”
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VI. Conclusion
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References
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49–78
Part 2 Ethical Foundations
49–78
49–74
Chapter 3 Digital Image Ethics – How it Could be Pursued and What It Might Have to Say
Reinold Schmücker
Reinold Schmücker
49–74
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I. Introduction
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II. Digital Ethics Today: A Snapshot
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III. Ethics: Challenged by Both a Problem of Justification and a Problem of Application
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1. The problem of justification
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2. The problem of application
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IV. The Possibility of Applied Ethics
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1. The need for applied ethics
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2. Applied ethics is different from everyday moral judging
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3. The “seat in life” of applied ethics
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V. The Task of Digital Image Ethics
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VI. What Digital Image Ethics Might Have to Say: Three Examples
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1. The Principle of Unconditionally Permissible Use of all Vocabulary of a Visual Language
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2. The Principle of the Legitimacy of Taking Photographs in Museums
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3. The Principle of Prohibiting Deception by Manipulated Photographs
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References
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75–78
Chapter 4 Form and Norm in Pictures
Enrico Terrone
Enrico Terrone
75–78
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References
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81–184
Part 3 Images, Art and Society
81–184
81–100
Chapter 5 Who Cares About Privacy? – The Documedia Surplus Value
Maurizio Ferraris
Maurizio Ferraris
81–100
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I. Prologue: The Virus and the Web
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II. Privacy, Post-Truth, and Documedia Surplus Value
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III. From the Superstructure to the Structure
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1. Quantity: big data
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2. Quality: rich data
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3. Relation: secret data
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4. Modality: real data
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5. The unfair exchange
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IV. Epilogue: Objections and Answers
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References
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101–126
Chapter 6 Immersive Artistic Forms – What They Are and How to Identify Them
Davide Dal Sasso
Davide Dal Sasso
101–126
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I. Introduction
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II. Technology
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1. Knowledge
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a) Planning
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b) Processing
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2. Practices
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a) Dispositions
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b) Reality
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III. Metaphysics
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1. Structures
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a) Forms
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b) Hybridizations
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2. Immersivity
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a) Interaction
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b) Identification Criteria
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IV. Conclusion
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References
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127–136
Chapter 7 From Works to Living Means of Communication – The Digital Image and the ‘Iconic Turn’
Wolfgang Ullrich
Wolfgang Ullrich
127–136
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I. The Democratization of the Image Tools
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II. From Analogue Images to Forms of Orality
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III. Aby Warburg’s “Pathosformeln”
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IV. Selfies and Emojis
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V. The Vivification of the Images: Memes
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VI. The Application of Social Media Tools to Classical Artworks
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VII. ...and The Future? – Consequences for Authorship and Copyright
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References
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137–158
Chapter 8 Fairness Aspects of Techniques of Referencing Cultures
Eva-Maria Bauer
Eva-Maria Bauer
137–158
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I. Referencing as a Cultural Phenomenon
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II. The Importance of Referencing Cultures
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1. Historical use of referencing and appropriation
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2. Appropriation art
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3. Referencing as a medium of communication
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III. Under German Copyright Law
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1. Consent pursuant to § 23 (1) sentence 2 UrhG
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2. Citation according to § 51 UrhG
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3. Caricature or parody according to § 51a UrhG
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4. Pastiche according to § 51a UrhG
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a) A broad understanding of pastiche in the Explanatory Memorandum to the German Act implementing the DSM-Directive
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b) A narrow understanding of pastiche
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c) Pastiche does not achieve a systemic change
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V. Concluding Remarks
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References
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159–170
Chapter 9 Towards a New Ethic: Building Transgenerationality – Digital Images to Orient the Future
Tiziana Andina
Tiziana Andina
159–170
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I. Digital Images
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II. The Transgenerational Bond
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III. Transgenerational Actions
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IV. Transgenerational Images
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References
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171–184
Chapter 10 Iconoclasm and Iconoclash – The Digital Restoration of the Movement-Image
Cosetta Saba
Cosetta Saba
171–184
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I. Iconoclasm as a Means of Innovation and Reappraisal
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II. Iconoclasm and Iconoclash
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III. Digital Preservation and Restoration
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IV. Provisional Conclusion
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References
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187–270
Part 4 Binary Encoding, Artificial Intelligence and the Dissolution of the Visual Object
187–270
187–206
Chapter 11 Semioethics of the Visual Fake
Massimo Leone
Massimo Leone
187–206
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I. The Intimate Nature of the Visual Fake
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II. The Visual Fake, Technology, and Evolution
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III. Conventionality and Motivation in the Technology of the Visual Fake
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IV. The Third Way of Semiotics
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V. Semiotics as Discipline of the Fake
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VI. The Background of Reflection: Advances and Lacunae
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VII. The Tasks Ahead for a Semioethics of the Visual Fake
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VIII. Conclusions: On Fakes and Viruses
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References
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207–228
Chapter 12 From Copy & Paste to Deep Fakes – Digital Collaging and Image Manipulation
Olivia Hägle
Olivia Hägle
207–228
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I. Introduction
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II. From Copy & Paste to Deep Fakes – The Origins of Image Manipulation
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1. A brief history of image manipulation
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a) Starting point: art forgery
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b) Making history with fake photographs
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c) “Face swap” as preliminary stage
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2. The Technology behind: deep fake algorithms
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a) Deep learning
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b) Autoencoder
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c) Generative adversarial network
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3. The power of images: why images are more than simple information media
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III. Deceptions Through Image Manipulation in the Information Age
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1. State of the art: what AI is already capable of
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2. Deep learning technology and its consequences
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a) Consequences for the individual as a social being
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b) Potentially affected rights
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c) Indirect consequences: disinformation
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3. Regulating the consequences: possible solutions for this problem
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a) Legal mechanisms
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b) Technical solutions
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c) Social measures
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d) Combination
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IV. Conclusion
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References
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229–238
Chapter 13 The Multi-Layered Information in a Digital Image
Benjamin Raue
Benjamin Raue
229–238
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I. Semantic Information
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II. Syntactic Information
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III. Structural Information
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IV. Context of Creation
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V. Conclusion
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References:
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239–252
Chapter 14 Portrait or Personal Data – The Rivalry of Image and Data Protection Legislation
Lorenz Müller-Tamm
Lorenz Müller-Tamm
239–252
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I. Introduction
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II. The Collision of Regulatory Regimes in German Law
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1. The codification of the right to one’s own image in the KUG: an overview
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2. Images in the scope of European data protection law
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III. The Relationship Between the GDPR and the KUG
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1. Opening clauses in the GDPR
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2. The KUG and the opening clauses of the GDPR
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a) Journalistic and artistic purposes
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b) Other purposes
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c) Opening clauses and already existing laws
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3. The (legal) discrepancy between capturing images and their publication
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IV. Concluding Remarks: The Future of Image Protection Law
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References
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253–270
Chapter 15 Human Authorship and Art Created by Artificial Intelligence – Where Do We Stand?
Gianmaria Ajani
Gianmaria Ajani
253–270
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I. Introductory Note
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II. A New Agenda for Copyright Laws
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III. AI-Generated Art and Creativity
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IV. AI-Made Art and the Law
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V. AI-Made Art and the Art World
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VI. Concluding Remarks
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References
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273–354
Part 5 Technology, Ethics and Legal Norms
273–354
273–296
Chapter 16 A Face in the Cloud? – Identifying Moral Issues and Constraints in Cloud-Based Image Storage
Wybo Houkes
Wybo Houkes
273–296
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I. Digitization in Economic Transactions
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II. ‘Servitization’ and Cloud-Based Image Storage
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III. Seeking Moral and Practical Continuity
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IV. Moral Constraints on Cloud-Based Image Storage
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1. Accumulating
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2. Accessing
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3. Curating
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4. Deleting
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V. Conclusions
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References
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297–322
Chapter 17 The Deontic Power of the Internet – Access Controls and the Obsolescence of Legal Norms
Thomas Dreier
Thomas Dreier
297–322
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I. What It’s All About and what Consequences Does it Entail?
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II. Voluntary Application of Technical Measures Restricting Legal Freedoms Supported by Anti-Circumvention Legislation
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1. From public goods to technical protection measures
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2. Technical protection measures and copyright exceptions and limitations
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a) Legislative solutions
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b) Reactions of the courts
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c) Additional issues described in legal literature
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3. Some thoughts for discussion
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a) Is there really a problem?
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b) Advantages of technological restrictions
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III. Mandatory Decision-Making Power by Private Parties
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1. Case scenarios
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2. Structural issues
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3. Ethical considerations
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IV. Concluding Remarks
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References
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323–334
Chapter 18 Algorithmic Censorship of Online Visual Content – Ethical, Political, and Economic Rationales
Eberhard Ortland
Eberhard Ortland
323–334
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I. Introduction
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II. Censorship
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III. Reasons for Censorship
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IV. Algorithmic Judgment and the Pragmatics of Pictorial Speech Acts
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References
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335–354
Chapter 19 The Issue of the Image of Algorithms
Lisa Käde
Lisa Käde
335–354
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I. The Need for Regulating Algorithms
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1. Fear of algorithms and technology
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2. Improvements through regulation
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3. Present impact of algorithms
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II. Some Remarks Concerning Terminology
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1. Regulation
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2. Algorithm
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3. Regulating algorithms
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III. Examples of Existing Approaches to Regulation
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1. Initiating regulation through algorithm type-specific guidelines
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2. Regulating with respect to the domain of application
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a) EU General Data Protection Regulation (GDPR)
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b) Ranking: regulation in a B2B context
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c) Automated administrative acts in Germany
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3. Summary
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IV. Improving the Image of Algorithms Outside of Legal Regulation
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1. Algo.Rules
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2. Google model cards
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V. What Comes Next?
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References
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357–416
Part 6 Ethics and Fundamental Rights
357–416
357–386
Chapter 20 The Constitutional Protection of Images
Johannes Eichenhofer
Johannes Eichenhofer
357–386
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I. Preliminaries
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1. What “images” are we talking about?
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2. Depictions, illustrations, data, information, metaphors, imaginations: the multiformity of the concept of image
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3. Wording in the following: “inner” and “outer” images, “self-images” and “foreign images”
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II. Points of Reference
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1. State organization law
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a) State symbols
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b) “Guiding images” of the state or individual state organs
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c) Dealing with “outer” images beyond states symbols and guiding principles (“image regimes”)
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2. Fundamental rights
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3. Prospect on the further argumentation
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III. Case Study: Soraya vs. Caroline – A Legal Comparison Between Italy, Germany and Europe
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1. Soraya before the Italian courts
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2. Caroline before the German courts
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3. Caroline before the European Court of Human Rights (ECtHR)
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4. Comparison between the three decisions
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IV. Soraya and Caroline 2.0: The Impact of Digitalization
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1. Impact on “outer” images
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2. Impact on “inner” images
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3. Impact on the relationship between the “inner” and “outer image”
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V. In the End: Constitutional Requirements for the Dissemination of Digital Images
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References
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387–416
Chapter 21 Contemporary Art on Trial – The Fundamental Right to Free Artistic Expression and the Regulation of the Use of Images by Copyright Law
Christophe Geiger
Christophe Geiger
387–416
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I. Copyright, Appropriation Art and Artistic Freedom
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1. Appropriation art’s discontents with copyright
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2. The traditional approach: narrow interpretation of exceptions and internal control by fundamental rights
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II. External Control in the Light of Freedom of Artistic Expression
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1. Fundamental Rights and the CJEU
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2. Fundamental Rights and the ECtHR
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3. Other national jurisdictions
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III. Resistance to Change and the Internalization of a (Limited) Flexibility by Way of Fundamental Rights
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1. Resistance to change: the improper use of the proportionality test by the judiciary in copyright cases
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2. CJEU: Internalization of a (limited) room to manoeuvre using fundamental rights
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IV. Proposal of a European Style “Fair Use” Grounded in Freedom of Expression
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V. The U.S. “Fair Use” Exception
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VI. A proposal for a European “Fair Use” Test
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VII. Conclusion
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References
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417–426
About the authors
417–426
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Digital Ethics , page 101 - 126
Chapter 6 Immersive Artistic Forms – What They Are and How to Identify Them
Autoren
Davide Dal Sasso
DOI
doi.org/10.5771/9783748934011-101
ISBN print: 978-3-8487-8841-5
ISBN online: 978-3-7489-3401-1
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