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                <text>Research</text>
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                <text>&lt;p class="p1"&gt;&lt;span class="s1"&gt;Entries in this section of the Copyright Cortex include both peer-reviewed and non-peer-reviewed research, exploring the law of copyright and its effects on policy and practice in a variety of cultural heritage contexts. From managing the risks associated with making orphan works available online to claiming copyright in digital surrogates of public domain works, this section catalogues data, evidence, and commentary across a wide range of topics. &lt;/span&gt;&lt;/p&gt;
&lt;p class="p1"&gt;&lt;span class="s1"&gt;If you have any recommendations for material that should feature in this section of the Copyright Cortex please do let us know. You can contact us at: &lt;/span&gt;&lt;a href="mailto:info@copyrightcortex.org"&gt;&lt;span class="s2"&gt;info@copyrightcortex.org&lt;/span&gt;&lt;/a&gt;&lt;/p&gt;</text>
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            <text>Käte Hamburger Center for Advanced Study in the Humanities</text>
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              <text>Cultures of Visual Art Copyright: Artists - Authors - Aliens</text>
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              <text>Some observations from the margins of a concept of copyright</text>
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              <text>Grischka Petri</text>
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              <text>2015-04-28</text>
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              <text>Cultural aspects of copyright include different legal cultures and systems. Traditionally the Anglo-American copyright system is contrasted with the continental concept of author’s rights. Beyond these legally imprinted definitions, this paper endeavours to highlight some of those aspects of copyright, which rely on cultural, artistic and aesthetic conditions. Firstly, copyright in the visual arts differs considerably from the standard copyright model of texts in that it is closely connected to material culture. This relationship poses specific copyright problems in theory and practice. Secondly, copyright relies on the role of the author. Artists have defined this role autonomously, occasionally clashing with established norms, both legal and cultural. The question emerges whether traditional copyright needs alternatives to accommodate and protect cultural productions that betray its presumed foundations. Art history provides enlightening examples for a re-examination, some of which will be presented in this paper.</text>
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              <text>Andrea Wallace</text>
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              <text>Käte Hamburger Center for Advanced Study in the Humanities, Forum Law as Culture</text>
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              <text>In this video, Dr. Grischka Petri presents a paper that explores copyright in the visual arts and the appearance and progression of authorship in art history. </text>
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              <text>00:47:53</text>
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              <text>visual art</text>
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      <name>Albrecht Dürer</name>
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      <name>Engravers' Copyright Act 1735</name>
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      <name>Marcel Duchamp</name>
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