ABSTRACT This article addresses the relationships between emotions and the law, and how they define public order and constitute emotional legal landscapes. Using the example of the litigation process of the censorship of Dries Verhoeven’s art installation Ceci n’est pas … we explore the power of individual and collective emotions in acting as a stimulus to the evaluation of the acceptability and legality of artworks in urban public spaces. Verhoeven’s installation was interrupted in Helsinki, Finland, because of public obscenity after a passer-by who was offended by the artwork reported it to the police. This led to a three-year court process, the legal archaeological analysis of which reveals the complex moral geographies in the formation of legal landscapes: the arbitrariness of the interpretation of the law, the significance of time and place in legal evaluation, and the hidden morals included in the understanding of public order. The results show the potential of the concept of emotional legal landscapes in exploring the spatial effects of legal processes, and in revealing how legal reasoning is complex and emotionally laden instead of being carried out by rational legal actors.

中文翻译：

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Dries Verhoeven 的 Ceci n'est pas 中的公共淫秽和情感法律景观的形成……

摘要 本文论述了情感与法律之间的关系，以及它们如何定义公共秩序和构成情感法律景观。以 Dries Verhoeven 的艺术装置 Ceci n'est pas 审查诉讼程序为例……我们探讨了个人和集体情感在刺激评估城市公共空间艺术品的可接受性和合法性方面的力量。Verhoeven 的装置在芬兰赫尔辛基被中断，因为在一名被艺术作品冒犯的路人向警方报告后，由于公共淫秽。这导致了为期三年的法庭程序，其法律考古分析揭示了法律景观形成中复杂的道德地理：法律解释的随意性，时间和地点在法律评估中的重要性，以及包含在理解公共秩序中的隐藏道德。结果显示了情感法律景观概念在探索法律程序的空间效应以及揭示法律推理如何复杂且充满情感而不是由理性的法律行为者进行的潜力方面的潜力。