UK libel law, property law, copyright law— and PUNK, dissertation... (Mega Mix) (2009)
| 28 September 2009
Page 3 of 3
This I did,
with the agreement of my supervisor.
The assessors would receive loose copies of the text—
revealing the censored layer,
under the condition that they destroy the copies afterwards.
I asked them to compare these copies, to the censored copy—
To be presented in the library.
In other words, I asked the assessors
to act like book editors, and magazine editors,
the ones that know the risks,
but cannot afford to pay lawyers to screen material,
or don’t want to face the risk of any kind of lawsuit.
I wanted, the assessors,
to experience this contextual information,
this historical information,
even a possible explanation of intention,
being taken away...
Here are several photos of celebrities staying at the hotel!...
You can search Google Images if you like.
And to include these university letters,
which clearly—and very understandably—explain why we are NOT allowed to see this information,
or at least... at this time.
Personally, I don’t have a problem with this.
I accept working within a larger system,
Which faces practical challenges.
Not from the dissertation, but from the book Fair Game (2007) by Valerie Plame Wilson, the outed CIA agent. Here there was a demand to not release certain information. Plame and her publisher opted to keep the redaction to communicate this to the public. Plame explains this in interview on BBC Newsnight. (Begins at 5:30 into the interview.)
However, I didn’t want to present a sealed text,
delivering the illusion of being complete.
I wanted to keep the text rough—to deliver a message...
My story, Post-Punkers—
Is an art and design writing story.
Is an an art and design history story.
We don’t know how many other art and design stories are hidden.
And libel law is just one of the tools,
hidden behind the gatekeeper’s closed door.
The answers are in journalism, public relations training—and related laws.
And the knowledge of the ins and outs is inside the heads of the practitioners.
These and other factors shape what we know—
and more importantly,
what we don’t know—
about our highly entertaining world of contemporary art and design
D.M.: So what grade did you get? Did you pass?
R.J.: I submitted this with the assurance from my supervisor that I would pass. I knew that my tribe supported the work because they advised on it, and a key person working in the industry actually read through it. Much to my surprise, the PUNK dissertation received a distinction and award for "most innovative"... A real UK academic story, huh?