The volume "Visualizing Law and Authority. Essays on Legal Aesthetics" brings together revised papers from the international conference "Law and the Image", held in Stockholm, 24–25 September, 2010. The participants/contributors belong to the disciplines of Art history, Cultural studies, Literary and Media studies, and Law. The contributions discuss the complex relations between law, media and visual phenomena. The common theme of the essays consists in an examination of the scopic field and of regimes of visibility in phenomenological terms, arguing that law constitutes a cognitive and aesthetic field of normative world-making. Rather than merely inverting Shelley’s dictum that the "poets are the unacknowledged legislators of the world", the essays argue in different ways for the necessity to develop a legal aesthetics. The most immediate way of pursuing such a legal aesthetics consists in examining law itself as an aesthetic object, for instance the power of law to produce icons, in the sense of unreadable texts or textiles (Martin Kayman, Gary Watt). Several essays focus on the way that visual art and media can be used to constitute and represent political power, but also to question it and to put it into question (Chiara Battisti, Leif Dahlberg, Elina Druker, Sidia Fiorato, Paul Raffield). Other essays investigate legal structures inherent in the artwork (and the artworld) itself (Ari Hirvonen, Max Liljefors, Christine Poggi, Karen-Margrethe Simonsen). Finally, there are two essays focusing on the use of images and imagery in the legal process, explicity arguing for the need of a legal aesthetics (Daniela Carpi, Richard Sherwin). Although diverse, the individual essays are interconnected with each other in fruitful and critical ways, making both explicit and implict references to each other.

Visualizing Law in the Age of the Digital Baroque explores the profound impact that visual digital technologies are having on the practice and theory of law. Today, lawyers, judges, and lay jurors face a vast array of visual evidence and visual argument. From videos documenting crimes and accidents to computer displays of their digital simulation, increasingly, the search for fact-based justice inside the courtroom is becoming an offshoot of visual meaning making. But when law migrates to the screen it lives there as other images do, motivating belief and judgment on the basis of visual delight and unconscious fantasies and desires as well as actualities. Law as image also shares broader cultural anxieties concerning not only the truth of the image but also the mimetic capacity itself, the human ability to represent reality. What is real, and what is simulation? This is the hallmark of the baroque, when dreams fold into dreams, like immersion in a seemingly endless matrix of digital appearances. When fact-based justice recedes, laws proliferate within a field of uncertainty. Left unchecked, this condition of ontological and ethical uneasiness threatens the legitimacy of law’s claim to power. Visualizing Law in the Age of the Digital Baroque offers a jurisprudential paradigm that is equal to the challenge that current cultural conditions present.

This book analyses the dominant imagery related to migration and illustrates how framing of migrants as subjects viewed through the lens of the host gaze positions them for exclusion and marginalisation. It focuses on comparative sources derived from public and media visual campaigns focusing on migration issues. It illustrates how the ethical gap that the host-centric way of looking creates results in the growing suspicion of the migrant and how this ethical gap broadens and impacts on the legal exclusion of migrants as legal subjects.

In this book, a group of lawyers and legal historians help to identify the new Nordic legal map, which is under construction. This book is a collection of papers addressing legal staging, and most of the articles combine theoretical approaches to the visuality of law with practical experiences and effects. The texts show that law is so much more than law in action and law in books: law is also part of a visual culture. It contributes to that culture and is, in turn, analyzed, maintained, and criticized by that culture. At the same time, the cultural manifestations of law change the way we understand law and, thus, change law itself.

Your Invisible Power by Genevieve Behrend provides a transformative guide to harnessing visualization and the law of attraction for personal transformation. Through principles such as the power of thought, visualization techniques, and positive affirmations, readers can unlock their innate potential, manifest desired outcomes, and cultivate a life of fulfillment and abundance. Embrace Behrend's teachings and embark on a journey of self-discovery, empowerment, and unlimited possibilities.

The truth is, many people fail to ever visualize properly because they never really found the necessary information that can really make a change. By purchasing this book and reading through the concepts that can really make a long lasting difference; you will be putting yourself in a position to finally visualize correctly, see positive change, and will accomplish more with these visualization techniques than ever before. The book will also illustrate to you: Why visualizing is so important in your life What results you can expect to reach through visualization Which ones are the main reasons why you don’t reach the results you want Which ones are the key elements (that most people keep secret) to reach your goals My experiences and my personal suggestions to improve your results My method in 9 steps … and a lot more! Containing not only background information on techniques but scripts that you can use to practice the skill for yourself, this book can provide you with everything you need to know about Visualization. Get this book today.

Law and images are generally not regarded as having much in common, since law is based on textual and images are based on visual information. The paper demonstrates that quite to the contrary, legal norms can be understood as models of intended moral behaviour and hence as images, in the same way as images can be said to have a normative and hence regulatory effect. Following an interdisciplinary approach along the lines of cultural research, the paper explains how images “function” to lawyers and how the law “works” to those trained in the visual sciences. In addition, laying the foundations for a research field “Law and Images” in parallel to the well-established “Law and Literature”, the paper describes the main avenues for future research in this field. Also, the paper contains a brief systematization of images in law, of law and for law.