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Works for Works, Book 2

Works for Works, Book 2: “No Rights,” privileges works-based agency (praxis) in literary-artistic scholarship. The principal focus of the Franciscan-inspired embrace of a “no rights” status for works of literary-artistic scholarship is toward freeing both author and works from forms of technocratic...

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Main Author: Keeney, Gavin
Format: Online
Language:English
Published: punctum books 2026
Subjects:
Intellectual property
Moral rights
Cognitive capitalism
Knowledge commons
Anti-capitalism
Political economy
Philosophy of art
thema EDItEUR::L Law::LN Laws of specific jurisdictions and specific areas of law::LNR Intellectual property law
thema EDItEUR::K Economics, Finance, Business and Management::KC Economics::KCP Political economy
thema EDItEUR::A The Arts::AB The arts: general topics::ABA Theory of art
thema EDItEUR::Q Philosophy and Religion::QD Philosophy::QDT Topics in philosophy::QDTN Philosophy: aesthetics
Online Access:ONIX_20260415T184307_9781685711818_2
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Summary:Works for Works, Book 2: “No Rights,” privileges works-based agency (praxis) in literary-artistic scholarship. The principal focus of the Franciscan-inspired embrace of a “no rights” status for works of literary-artistic scholarship is toward freeing both author and works from forms of technocratic determinism and neo-utilitarianism associated with regimes of intellectual property rights law and platform cultures. Engaging, and then dispensing with, the concept of “the artistic exception,” a holdover from modernist justifications for art in/for itself, Works for Works nonetheless restores the primacy of the work itself through disconnecting author and work toward a transfiguration of both author and work and the substantiation of a new ecosystem for radical works of artistic-critical inquiry. Works for Works, Book 2: “No Rights,” follows upon Works for Works, Book 1: Useless Beauty (2022), a structuralist-inspired survey and exposé of the immanentist paradox artist-scholars inhabit in the post-contemporary transition from modernist and post-modernist reflexivity to forms of cultural production that favor no singular raison d’être or socio-cultural, socio-economic, or socio-political bias.

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