10 Jun 11 | Events
Date: Tuesday 28 June 2011
Time: 6.30-8pm
Venue: Sheikh Zayed Theatre, LSE, New Academic Building
Speakers: Max Mosley, David Price, Hugh Tomlinson and Suzanne Moore
Chair: Jo Glanville
A public debate to celebrate the launch of the new issue of Index on Censorship magazine, Privacy is dead! Long live privacy. Index editor Jo Glanville chairs a panel featuring Hugh Tomlinson QC, who represents Ryan Giggs, former F1 president Max Mosley, Imogen Thomas’ lawyer David Price and Suzanne Moore columnist for the Daily Mail and the Guardian who will discuss gagging orders, tabloid intrusion and the right to a private life.
* Are injunctions a means to uphold our human rights or an unjust anachronism after the recent Twitter exposés?
* Should Article 10, the right to freedom of expression, trump Article 8, the right to respect for a private life?
* Are celebrities’ personal lives fair game?
This event is now sold out but LSE will be operating a returns queue situated outside the Sheikh Zayed Theatre. Any seats left empty by ticketholders will be filled by those in the returns queue shortly before the start of the event. Entry via the returns queue is not guaranteed.
There will be a live videolink of this event to the Wolfson Theatre, New Academic Building. Entry to the videolink will be on a first come, first served basis with no ticket required. Doors will open from around 6pm.
02 Jun 11 | Uncategorized
Courageous Bahraini free expression campaigner Nabeel Rajab finally got to make his contribution to this week’s IFEX General Meeting in Beirut on Thursday evening, not in person as planned, but via skype and laptop. (more…)
24 May 11 | News and features
US view: The Electronic Frontier Foundation’s Jillian York and Cindy Cohn examine the Ryan Giggs affair
(more…)
23 Apr 11 | Uncategorized
Exciting. Innovative. Shocking. That’s how Wednesday’s TRIPWIRES performance was described by some of those in attendance. For the performers, both the process and the event itself were “life-changing” and “just the beginning”. The night combined dance, theatre, martial art, political expression and satire to explore what free speech means to young Londoners.
The interactive performance, which was staged at East London’s Mile End Arts Pavilion, focused on some of the most challenging, frightening and taboo subjects shaping lives: offence; self-censorship; the experience of not having a voice; difference of opinion and the tensions that arise from it.
The project, a collaboration between Index on Censorship and international youth arts organisation Phakama, grew out of a series of investigative workshops over four months. It was devised by the crew themselves, drawing on archive material from Index on Censorship and, crucially, their own experiences and backgrounds. It was the pilot for what Index on Censorship and Phakama hope will be a long-running educational initiative.
The performance featured a series of scenarios: the stoning of a young woman presented as a circus attraction; a catwalk that drew out the themes of the objectification of women and beauty as alienation; the “free space” that leaves participants dumbstruck and lost for words; the waiting room where preferential treatment can be bought and sold. Audience participation was crucial to the unraveling of each absorbing and often uncomfortable scenario. The tacit question asked by each scenario was: where do you draw the line?
Voices came from unexpected places, disorientating, challenging and bringing the audience into the debate. Music, movement, singing, storytelling all contributed to a thoroughly atmospheric account of what it’s like to be young, vulnerable, charismatic and ready to confront life, whatever it offers up.
Later, the audience was invited outside the theatre, equipped with individual headsets, the voices of the TRIPWIRES performers’ in their ears. Film, movement, singing, visual art — and a sculpture of a burning man — all played their part in creating a dynamic, inspiring and memorable experience. It’s one that will keep the audience thinking for a long time to come.
