Komos and Nomos: Paper at University of Dundee, 15 November 2017

Some notable GJRA-related events are happening soon. If you want to advertise anything related to Graphic Justice, please get in touch!

See the below shameless plug for Thomas Giddens' paper, Komos and Nomos (Comics, Law and Disorder), to be given at the University of Dundee on 15th November 2017.
The Scottish Centre for Comic Studies and the Centre for Critical and Creative Cultures are delighted to welcome Dr Thomas Giddens (Senior Lecturer in Law at St Mary’s, London and founder of the Graphic Research Alliance) to discuss, ‘Komos and Nomos’ (Comics, Law, and Disorder). Dr Giddens’ lecture will take place on Wednesday, 15th November 2017, 4-6pm in Dalhousie 3G02, LT1. To accompany this exciting event we have created a short comic with Dr Giddens that will be given away on the day. Earlier in the day we will also be running a comics workshop around the theme of Law and Disorder. The workshop will take place in the Dundee Comics Creative Space, 2-3pm, and is open to all (adults only). Please see below for further information on Dr Giddens’ work:

“Thom's work focuses on the intersections and interactions between comics and legal theory. Comics, graphic novels, and manga represent a rich, varied and sophisticated cultural medium. Comics have had a huge impact of many aspects of popular culture, from cinema and books, to television and the internet. They deal with many themes important to law and justice, from criminal justice and morality in superhero narratives, to explorations of all walks of human life in the wide variety of comics beyond this dominant mainstream. The intersection of comics with law and justice is an under-researched field, and Thom’s work aims to promote and develop this rich and important cultural crossover. His ground-breaking edited collection, Graphic Justice: Intersections of Comics and Law, was published by Routledge in 2015.

Thom’s currently major project deepens the concern with comics and legal theory, taking a specifically philosophical and aesthetic turn. Building on previously published work around the aesthetics and metaphysics of the comics form, and its significance for law and legal theory, Thom is expanding and developing the core of his PhD thesis into a monograph that examines the boundaries of the rational and textual nature of legal knowledge. This work will explore the problems of legal knowledge-making through critical engagement with a variety of comics and philosophical sources, demonstrating the profound critical value of the comics medium for legal studies.

'Graphic Justice: Law, Comics, and Related Visual Media' stream at the Socio-Legal Studies Association 2018

Great news - for the third year running, we will be convening a stream at the SLSA conference. This year it is in the wonderful city of Bristol from 26-28 March 2018. Further details here:  https://www.slsa2018.com/graphic-justice. Here is the call:

This stream invites submissions exploring the intersections of law and justice with comics, graphic fiction, and related visual media.

Critical interest in the comics medium has exploded in recent decades, and is steadily growing within the legal academy. Indeed, comics and graphic fiction—and their related visual emanations, including film, video games, and wider ‘geek culture’—are of huge and on-going significance to law, justice, and legal studies.

On a socio-cultural level, comics are historically embroiled in debates of free speech whilst today they inspire countless pop culture adaptations—from television to cinema to video games, as well as performance activities such as cosplay—and can be seen to reflect and shape popular visions of justice, morality, politics, and law. On the level of content, from mainstream superhero narratives tackling overt issues of justice, governance and authority, to countless themes related to morality, justice, and humanity in stories within and far beyond the mainstream, comics are rich with legal material. On the level of form, the comics medium’s unique and restless blending of different media and types of representation (text, image, visuality, aesthetics, inter alia) radically opens up discourse beyond the confines of the word, enabling greater critical engagement amidst our increasingly visual age. On the level of production, comics are a complex art-form, with multiple creators working in individual, group, commercial, and industrial contexts, raising questions of ownership and exploitation—issues exacerbated by comics’ transmedia proliferation.

In short, comics and their related visual media bring rich cultural, practical, and aesthetic contexts and mediations to long-standing and emerging legal problems and settings. Broad questions framing this ‘graphic justice’ intersection might include:

• ​What are the relationships between comics and related visual media, and law—culturally, socially, formally, theoretically, jurisprudentially...?
• How can we use comics and related visual media in law—in practice, education, theory, research...?
• Can we consider comics as objects of legal regulation in their own right—raising issues of definition, ownership, consumption, value...?

The crossover between law, comics, and related media is an expansive and open one. The examples above are merely indicative of possible issues and questions; the graphic justice stream welcomes submissions for papers that traverse any potential intersection between law and comics or related visual media—all broadly defined.

Information about previous conferences, including the programmes from the Lancaster and Newcastle conferences - which include the titles of our previous streams - is available on the SLSA website here: https://www.slsa.ac.uk/index.php/past-conferences.

For further discussion and please contact Thomas Giddens, Angus Nurse, or David Yuratich, whose emails can be found here: https://www.slsa2018.com/graphic-justice

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GJRA Abstracts: Lucy Finchett-Maddock, The Art/Law Network

Our final post before the GJRA Discussions next week is the abstract by Lucy Finchett-Maddock (Art/Law Network, University of Sussex). It's a great introduction to the 'Art/Law Network', website here: http://www.artlawnetwork.org.

Following the theme of this conference, I would like to discuss the increasing convergence of art and law, in both legal research and pedagogy, as well as within the thematics of artists and their work, resulting in the setting up of the ‘Art/Law Network’.

There have been an increasing number of collections and events engaging art directly with the theme of law, such as the 'Art and Law' exhibition and workshop at the Copperfield Gallery in London (June, 2015) showing the legal conceptual work of the Carey Young amongst others; the brilliant ‘'White Paper' (The Law)’ art, squatting and legislative convergence of artist Adelita Husni-Bey (May, 2015), as well as the use of art in resistance movements and the more recent TateExchange ‘Who are We Project’ (2017) focusing specifically on migration, borders, politics and law, to name but a few.

Artists hold a unique place within culture where they can transmit and transmute the political, their art providing a space of advocacy and learning, orchestrating a performative meeting point for the happening of law and politics. Likewise, lawyers occupy a similarly unique position within culture and society, where their work is not confined to wealthy city commerce but are the original privy for advice, counsel, rights protection, advocacy – they are the voice for the subaltern.  

Art/Law, will be discussed as an emerging legal methodology and pedagogy, striating theory and practice.  It is argued as a form of legal pedagogy that invites art into law in a critical art-led law practice where a culture of empathy for the Other can be fostered by critically demonstrating the divisive and often violent role of law in forces of social exclusion. 

GJRA Discussions 2017: Jill Marshall's Legal Ideas Factory

Today’s preview of the papers to be given at the GJRA Discussions next week comes from Professor Jill Marshall, who will be discussing her fantastic ‘Legal Ideas Factory’: see the website at http://www.legalideasfactory.com. Here's her abstract:

Using the tag line Law, Life, Global Action, I have set up a new venture called the Legal Ideas Factory. It is a website containing legal information which each month will focus on a specific area of law with blogs, comics, animation and other videos. There are virtual events such as the Book Club and the Film Club where books and films will be reviewed. One of the sections will analyse legal issues through comic or graphic depiction. The aim of the website is to enable law to be seen and done differently, to probe its potential through alternative methodology to text. In particular, this method is used to enable us to face up to violence and harm, oppression and injustice, so we can aim to deal with it, investigate and do something about it. This chimes with the Graphic Justice call for papers description of ‘the value or use of popular, visual, and ‘geek’ media in understanding law, justice, and related questions.’ 

GJRA Abstracts: Atalay, Shannon, Swogger, 'The Journey To Complete The Work: Comics, storytelling and the law in the implementation of the Native American Graves Protection and Repatriation Act’

At this point I am running out of new ways to say that we are continuing to post abstracts for our upcoming conference at St Mary’s University, Twickenham, 4-5 July 2017 – register here! – but we plod on regardless.

One of the great things about the GJRA is its diversity. Already this week we’ve posted abstracts about copyright education, gender violence, and justice more broadly. Today’s paper shows further possibilities of graphic justice, where the act of storytelling becomes tied into the implementation of the law and the pursuit of cultural justice.

Here is the abstract for ‘The Journey To Complete The Work: Comics, storytelling and the law in the implementation of the Native American Graves Protection and Repatriation Act’, by Sonya Atalay (University of Massachusetts, Amherst), Jen Shannon (University of Colorado) and John G Swogger.

The Native American Graves Protection and Repatriation Act (NAGPRA - Pub. L. 101-601, 25 U.S.C. 3001 et seq., 104 Stat. 3048) is a United States federal law enacted in 1990, which aims to protect cultural material on federal and tribal lands, and imposes requirements on Federal Agencies and museums which receive federal funding to return such material – including human remains, funerary objects, sacred objects and objects of cultural patrimony - to Native peoples.

In practice, both tribes and museums have found both compliance with and implementation of NAGPRA law complex, contentious and challenging. Sometimes the process of repatriation is straight-forward, and sometimes it is not. In particular, the requirement under NAGPRA for indigenous knowledge in the form of oral histories to be afforded equal weight with archaeological or “scientific” forms of evidence have caused tension in implementation of the law.

Journeys To Complete The Work is a graphic work which combines information about the legal requirements and limits of NAGPRA with stories illustrating how the law has been applied during specific instances of repatriation. The aim of the comic is to provide tribes, museums and archaeologists with a point of reference that brings together the legal and personal sides of the issue. The comic's use of storytelling as a form of information mirrors the use of testimony and oral history as forms of evidence within NAGPRA implementation.

The comic is to be published later this summer, and will be launched at the 2017 Indigenous Comic Con in New Mexico.

Biographies

Sonya Atalay is assistant Professor in the Anthropology Department at the University of Massachusetts, Amherst. Her work is in engaged (public) anthropology, focusing on research partnerships with indigenous and local communities. She works across the disciplinary boundaries of cultural anthropology, archaeology, heritage studies, and Native American & Indigenous studies.

Jen Shannon is Curator and Associate Professor of Cultural Anthropology at the University of Colorado Museum of Natural History. Her research focuses on collaborative practice and connecting tribes to museum collections through NAGPRA consultations, co-directed research projects and exhibits, digitizing tangible and intangible heritage, the development of online access to collections, and oral history projects.

John Swogger is an archaeological illustrator who produces specialist technical illustrations for excavation and research projects, as well as reconstructions and visualizations of the past for museums and popular publications. Over the past decade he has increasingly used comics as a way to present archaeological information.