Author: Wesley M. Oliver File Type: pdf Legal precedents created during Prohibition have lingered, leaving search-and-seizure law much better defined than limits on police use of force, interrogation practices, or eyewitness identification protocols. An unlawful trunk search is thus guarded against more thoroughly than an unnecessary shooting or a wrongful conviction. Intrusive searches for alcohol during Prohibition destroyed middle-class Americans faith in police and ushered in a new basis for controlling police conduct. State courts in the 1920s began to exclude perfectly reliable evidence obtained in an illegal search. Then, as Prohibition drew to a close, a presidential commission awakened the public to torture in interrogation rooms, prompting courts to exclude coerced confessions irrespective of whether the technique had produced a reliable statement. Prohibitions scheme lingered long past the Roaring 20s. Racial tensions and police brutality were bigger concerns in the 1960s than illegal searches, yet when the Supreme Court imposed limits on officers conduct in 1961, searches alone were regulated. Interrogation law during the 1960s, fundamentally reshaped by the Miranda ruling, ensured that suspects who invoked their rights would not be subject to coercive tactics, but did nothing to ensure reliable confessions by those who were questioned. Explicitly recognizing that its decisions excluding evidence had not been well-received, the Court in the 1970s refused to exclude identifications merely because they were made in suggestive lineups. Perhaps a larger project awaitsrefocusing our rules of criminal procedure on those concerns from which Prohibition distracted us conviction accuracy and the use of force by police. **

Author: Sabeth Buchmann File Type: pdf An illustrated study that casts a new light on Oiticicas most important work of quasi-cinema on its fortieth anniversary. Helio Oiticica (19371980) occupies a central position in the Latin American avant-garde of the postwar era. Associated with the Rio de Janeiro-based neo-concretist movement at the beginning of his career, Oiticica moved from object production to the creation of chromatically opulent and sensually engulfing large-scale installations or wearable garments. Building on the idea for a film by Brazilian underground filmmaker Neville DAlmeida, Oiticica developed the concept for Block-Experiments in CosmococaProgram in Progress (19731974) as an open program a series of nine proposals for environments, each consisting of slide projections, soundtracks, leisure facilities, drawings (with cocaine used as pigment), and instructions for visitors. It is the epitome of what the artist called his quasi-cinema workhis most controversial production, and perhaps his most direct effort to merge art and life. Presented publicly for the first time in 1992, these works have been included in major international exhibitions in Los Angeles, Chicago, London, and New York. Drawing on unpublished primary sources, letters, and writings by Oiticica himself, this illustrated examination of Oiticicas work considers the vast catalog of theoretical references the artists work relies on, from anticolonial materialism to French phenomenology and postmodern media theory to the work of Jean-Luc Godard, Andy Warhol, and Brazilian avant-garde filmmakers. It discusses Oiticicas work in relation to the diaspora of Brazilian intellectuals during the military dictatorship, the politics of media circulation, the commercialization of New Yorks queer underground, the explicit use of cocaine as means of production, and possible future reappraisals of Oiticicas work. **About the Author Sabeth Buchmann, an art historian and critic, is Professor of Modern and Postmodern Art and Head of the Institute for Art Theory and Cultural Studies at the Academy of Fine Arts Vienna. Max Jorge Hinderer Cruz is a writer, translator, and cultural critic specializing in Latin American studies and materialist aesthetics.