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The essay studies the introduction and use of audio-visual media in contemporary Swedish courtroom praxis and how this affects social interaction and the constitution of judicial space. The background to the study is the increasing use of video technology in law courts during the last decennium, and in particular the reformed trial code regulating court proceedings introduced in Sweden in 2008. The reform is called A Modern Trial (En modernare rättegång, Proposition 2004/05:131). An important innovation is that testimonies in lower level court proceedings now are video recorded and, in case of an appeal trial, then are screened in the appellate court. The study of social interaction and the constitution of judicial space in the essay is based in part on an ethnographic study of the Stockholm appellate court (Svea hovrätt) conducted in the fall 2010; in part on a study of the preparatory works to the legal reform; and in part on research on how media technology affects social interaction and the constitution of space and place.

Artists operating under a studio model, such as Andy Warhol, have frequently been described as reducing their work to statements of authorship, indicated by the signature finally affixed to the work. By contrast, luxury goods manufacturers decry as inauthentic and counterfeit the handbags produced during off-shift hours using the same materials and craftsmanship as the authorized goods produced hours earlier. The distinction between authentic and inauthentic often turns on nothing more than a statement of authorship. Intellectual property law purports to value such statements of authenticity, but no statement has value unless it is accepted as valid by its audience, a determination that depends on shared notions of what authenticity means as well as a common understanding of what authenticity designates.

Capital increasingly takes the form of intangible assets, especially trademarked corporate brands. Further, contemporary capitalism increasingly accumulates through commodification of iconic cultural images and legendary narratives constituting a “second enclosure movement” (Boyle, 2008). This paper develops a critical theory of brands, branding, and brand management within economies of spectacle.

A case study of the consumer culture surrounding large displacement motorcycling is used to critique the central premise of consumer culture theory (marketing professionals create brands that become valuable icons) and develop an alternative view using concepts from critical theory, especially spectacle (Debord, 1967) and culture industry (Adorno, 1991).

After initial enclosure, legends were managed by Crossmarketing Licensing Networks (CMLN), coalitions of corporate and state actors, each possessing a piece of the legendary pie. The Sturgis CMLN was organized into two political divisions, rally profiteers and civic leaders, with overlapping but differentiated interests and approaches to the management of the Sturgis legend. The CMLN intervened in the cultural commons to overcome legendary degradations (banality, incoherence, undesirability) surrounding the Sturgis Motorcycle Rally.

Brands are capitalized culture created by enclosures, a form of primitive accumulation. Under current conditions of immaterial production, CMLN’s engage in ongoing cultural production to maintain the capitalized value of their brands. Brands are not only hunted in the wilds of culture, but also increasingly domesticated and fattened when herded through legendary commons.

This chapter explores the multiple levels of authenticity involved in son et lumière and projection mapping. Light shows are increasingly staged at historic sites, using monumental buildings as canvases. The use of light allows the buildings to communicate, giving them a performative, additional dimension, generating multiplicity, where the same architectural structure or place is encountered simultaneously in both its light and physical forms. The effect is hyperreal, transforming buildings into simulacra, versions of distorted reality, where no original exists. As the building appears to move, the mind simultaneously informs the viewer that it is static, evoking a co-created tourist experience. Light shows, arguably staged by “imagineers”, reflect the increasing move toward the spectacle essential for creative and experience economies.

A pandemic causes abrupt and unanticipated disruptions in many facets of society. A lot of authorities have quickly turned to online teaching methods. The best methods for online teaching have become a hot topic of discussion due to this urgent fast transmission. It was difficult to teach physiology to medical and paramedical students online because of concerns about how to give the students an effective interactive online teaching practice and how to guarantee successful outcomes. Therefore, three approaches have been individually applied to medical and nursing students for the first time in the physiology department of the Faculty of Medicine in Rabigh, King Abdulaziz University. Through online lectures and assignments, the strategies attempted to capture the students’ interest and interaction. The second-year nursing students were given a mind map project to complete after the lecture. The third-year medical students used a crossword puzzle game to test the students’ understanding. The third-year medical students were presented with short stories to better comprehend the physiological processes covered in the lectures. Overall, the three instructional strategies received positive feedback from the students. Incorporating such cutting-edge and imaginative educational approaches, in conclusion, could significantly aid in managing the pressures that arise during pandemics.

The initial jurisprudential response to the gig economy above has included the exploration of two new legal personae: algorithmic persons and dependent contractors. The author uses the word ‘exploration’ here, because neither figure has become an established character on the legal landscape in the United States – yet. Given the sector’s claims of absolute novelty, it may seem that the best way to develop regulations is to identify new positions and actors, define them, and then apply existing regulations and expectations or develop new ones accordingly. This chapter explains why this approach is misguided. First, legal personae have only a tangential relationship with actually existing human beings. Much regulatory energy could be caught up in elaborate definitions and descriptions intended to develop robust regulation, only to find that they create the blueprint for future business models that avert these very frameworks. Second, these legal personae are developed within the existing frameworks of employment law and corporate regulation, which in the United States, are determined by a phantasmagoric understanding of ‘the market’. Unless this basic framework is questioned, one can expect that these new legal personae will fail to protect actual workers and consumers.