Pathways to Higher Education
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The Infrastructure Turn in the Humanities
https://cis-india.org/raw/the-infrastructure-turn-in-the-humanities
<b>An extended survey of digital initiatives in arts and humanities practices in India was undertaken during the last year. Provocatively called 'mapping digital humanities in India', this enquiry began with the term 'digital humanities' itself, as a 'found' name for which one needs to excavate some meaning, context, and location in India at the present moment. Instead of importing this term to describe practices taking place in this country - especially when the term itself is relatively unstable and undefined even in the Anglo-American context - what I chose to do was to take a few steps back, and outline a few questions/conflicts that the digital practitioners in arts and humanities disciplines are grappling with. The final report of this study will be published serially. This is the fourth among seven sections.</b>
<p> </p>
<h2>Sections</h2>
<p>01. <a href="http://cis-india.org/raw/digital-humanities-in-india">Digital Humanities in India?</a></p>
<p>02. <a href="http://cis-india.org/raw/a-question-of-digital-humanities">A Question of Digital Humanities</a></p>
<p>03. <a href="http://cis-india.org/raw/reading-from-a-distance-data-as-text">Reading from a Distance – Data as Text</a></p>
<p>04. <strong>The Infrastructure Turn in the Humanities</strong></p>
<p>05. <a href="http://cis-india.org/raw/living-in-the-archival-moment">Living in the Archival Moment</a></p>
<p>06. <a href="http://cis-india.org/raw/new-modes-and-sites-of-humanities-practice">New Modes and Sites of Humanities Practice</a></p>
<p>07. <a href="http://cis-india.org/raw/digital-humanities-in-india-concluding-thoughts">Digital Humanities in India – Concluding Thoughts</a></p>
<hr />
<p>In an article in the Digital Humanities Quarterly describing the emergence of the term cyberinfrastructure, Patrik Svensson speaks of an ‘infrastructure turn’ in the humanities, pointing towards a seemingly new found interest and investment in resources and tools for humanities research, pedagogy and publication in many universities and other knowledge institutions (Svensson 2011). Though the term has not been significantly used otherwise, it is interesting to note the implications of such a statement in the context of other such important ‘turns’ in the history of ideas, such as the linguistic or cultural turn. Particularly in the predominant debates around digital humanities, which are largely Anglo-American, infrastructure is an important and inherent component of any thinking around this area, as it derives many of its theoretical and practical concerns from a history of humanities computing. A lot of early work in DH was done in in the area of digital archives and knowledge repositories, such as The Walt Whitman Archive, Rossetti and Blake archives (Gold and Groom 2011, Drucker 2011), where digitization and algorithmic querying were important developments in terms of imagining and opening up the archive. From there to seemingly complex projects on data mapping, visualization, distant reading and cultural analytics, which require parsing through a huge corpora of humanities data, the growth of infrastructure has been a key aspect of these developments, although this many not be emphasized in the early literature about the field. The use of computational methods and the move towards the use of big data in the humanities has been an important change in terms of objects of the enquiry and methodology, and infrastructure is an essential condition of both these changes.</p>
<p>Like with other disciplines the nature of infrastructure and resources available to the humanities – in the form of galleries, archives, libraries, museums and now online repositories, language laboratories, and bibliographic, writing and editing tools and software – have also in some manner influenced the nature or scope of questions that could be asked of an object or text. It is therefore useful to explore the influence of infrastructure at a very conceptual level, in terms of what new ways of enquiry have been made possible with digital technologies and the internet. Now with new tools that can parse many pages of text at a go, or an algorithm that can derive patterns from a data set of images, video or other cultural artifacts, the scope of the enquiry seems to have increased exponentially, as much literature around DH suggests (Berry 2011). Indeed this point is also a bone of contention for many traditional humanities scholars, as it not only seems to be a technologically deterministic notion, but also one that takes away from more conventional methods of humanities research, which are based on close reading and interpretation of texts. In the Indian context however, these possibilities still seem distant owing to several gaps in terms of requirements of infrastructure, resources and material. In many institutions, the lack of basic infrastructure and resources in the form of libraries, classroom teaching-learning resources and access to the internet and other digital tools for the humanities continues to remain a problem. Existing institutional infrastructure is lesser that what is required, and mostly outdated.</p>
<p>This conflict over whether new tools and resources for the humanities is taking away or adding to humanities research is better understood in the light of how the concept of infrastructure has been understood, and specifically in the context of communication and research. Brian Larkin (2008) describes infrastructures as “institutionalized networks that facilitate the flow of goods in a wider cultural as well as physical sense”. He talks about both technical (such as transport, telecommunications, urban planning, energy and water) and ‘soft’ infrastructure such as the knowledge of a language, or cultural style and religious learnings. He therefore defines infrastructure as “this totality of both technical and cultural systems that create institutionalized structures whereby goods of all sorts circulate, connecting and binding people into collectivities.” This definition opens out the understanding of the term a little more, for it brings within the ambit different kinds of goods – such as knowledge, and proposes that infrastructure has the power to bind people within collectivities, thus emphasizing both its limitations as well as potentialities.</p>
The notion of infrastructure as not being neutral to culture is further emphasized when Larkin talks about its mediating capacities, brought about by a layering of new technologies over old ones. "Infrastructures…mediate and shape the nature of economic and cultural flows and the fabric of urban life. One powerful articulation of this mediation is the monumental presence of infrastructures themselves" (Ibid.: 6). Thus the understanding of infrastructures as merely a means of the execution of ideas is one of the obstacles in terms of imagining them as more central to the work of the humanities. Often, the notion of infrastructure has been understood in terms of the institutional infrastructure in place, and not in terms of the smaller networks, tools or resources that build it, which are often located at the level of individuals. Ownership is a key aspect of the problem here, because the ownership of such infrastructure is largely with the state or large corporate entities, and not something within the ambit of small and private institutions or even individuals, and this often mandates the manner of their use. Indeed in the case of DH, there are certain kinds of technologies and resources that cannot be replicated easily at all, as such it is something that needs investment from the state and large knowledge institutions such as the university. Another problem, as rightly identified by Svensson is that the imagination of research infrastructures has been primarily in terms of the needs of the natural sciences, as a result of which resources, tools and materials for the humanities often end up being inadequate, in terms of financial and intellectual investment. Thus not only is there a challenge in terms of the availability of infrastructure, but also with respect to the optimum utilization of what is available.
<p> </p>
<p>Some of the practitioners and scholars interviewed as part of this mapping have also repeatedly brought up a number of concerns about (or the lack of) infrastructure they have had to use, modify and develop as part of their projects and research. Dr. Indira Chowdhury, historian and Founder-Director of the Centre for Public History (CPH) at the Srishti School of Art, Design and Technology, Bangalore finds it rather ironic that a city like Bangalore, with so much infrastructure at its disposal has such little thinking in the humanities. There are of course several reasons for this, she says, and in many places infrastructure development is restricted for certain reasons, like for example in Kashmir, where the use of internet and mobile phones is regulated strictly due to security concerns. The key question of course is to have more of a dialogue between places to ensure that they are not functioning in isolation. She also emphasizes that the problems are also at a more basic level, like with transcription for example <strong>[1]</strong>. The advent of the digital has brought with it several new possibilities, but she also talks about the many misconceptions that seem to be prevalent with regard to the digital, particularly in terms of preservation and storage capacity. The question of format is of great importance and a determining factor in much of research that mobilizes digital technologies. As part of her work on archiving oral histories, she has often had to emphasize that there are specific formats for a digital oral archive. As she says:</p>
<blockquote>You should not switch to say MP3 just because it’s cheaper, more convenient and a lighter file. I often have people arguing that I just bought a recorder, it gives me a clear recording [in the MP3 format] etc. If you were to archive that file you would find that within a few years you begin to lose data on that file. The digital archive has also made people think a lot more about what they are preserving, in what format. These are things you then teach yourself, you do not archive in certain formats, or rely on an archive of MP3 files, because every time you copy them onto something it would have lost a little bit of its description. So these are things that make the historian more oriented, you think a lot more about what you are doing.</blockquote>
<p>She therefore warns against these presumptions that a digital archive will resolve completely problems of space and preservation, as a change in format can easily render your data inaccessible and essentially useless. The idea of ‘loss of data’ and lack of space is something easily missed, as there a notion of the digital being an endless space, but that too comes at a cost. As Jonathan Sterne (2013) explains in his work on the MP3 as a cultural artifactiv, it is a format that works through compression and elimination of excess sound, which eventually greatly affects the quality of the sound object itself. The notion of the digital rendering a certain quality of sound, and by implication generating a ‘better’ digital artifact itself, is therefore highly debatable.</p>
<p>There are other considerations to bear in mind as well. As Padmini Ray Murray, another faculty member at the CPH points out, the context of such work in the global south is very different, and lack of good infrastructure is definitely one of the major problems. There are issues of bandwidth, problems such as surveillance, and issues with regulation of internet access, now the issue of network neutrality and so on, all of which have implications for possible digital humanities work and specifically work on digital archives. A significant challenge she sees is that we don't have mechanisms to translate between/ from Indian languages. She says that:</p>
<blockquote>It would be amazing to have an archive metadata tool that can work with different Indian languages which at the moment is an impossibility. This is where a place like Bangalore comes into the picture... We need to pull on resources that are being pioneered in places like the IITs, or institutions here working with natural language processing...technologies that we cannot in a humanities context create, but pull those in to use them for humanities research. But the questions that we are asking are necessarily quite different, from what we have in the West.</blockquote>
<p>The problem with Indian languages brings out the problems that are specific to the global south and therefore the infrastructure needs of humanities research work. Padmini Murray mentions Bichitra, the online variorum of the works of Rabindranath Tagore developed by the School of Cultural Texts and Records at Jadavpur University as an effective illustration of the challenges faced by researchers working in languages other than English. She explains “The very level of creating the code for Bichitra was different, because it had to be done from scratch. Finding a set of reliable Bangla characters is difficult because the ligatures get mixed up, so they created a character set from scratch to create Bichitra, and for Prabhed [the collation software] which works within it.” The problem of a lack of standardization for Indic language inputs is therefore an immediate practical concern for archival work in different languages in India <strong>[2]</strong>.</p>
<p>Indiancine.ma <strong>[3]</strong>, an online archive of Indian film, has similarly been experimenting with different ways of reading and annotating film text, with a focus right now on films that are out of copyright. It uses an open-source platform named Pandor/a <strong>[4]</strong> for media archives, which helps to organise and manage large, decentralized collections of video, to collaboratively create metadata and time-based annotations, and to archive as a desktop-class web application. The editing tool enables a user to pause, cut and annotate a particular scene or sequence in the film according to a time code, thus creating enormous new possibilities in terms of how we engage with the film text at several levels. The different ways of organising content through different filters also helps map content in unique ways and read them. According to Jan Gerber and Sebastian Lutgert, who are part of the team that developed the archive and its predecessor Pad.ma <strong>[5]</strong>, Indiancine.ma is a work in progress, and it will always be, so as to allow new opportunities to present themselves with every change in the software and tools being used. They are particular about the archive being open to a variety of users and uses – that is, it is not only a tool or space of publication for humanities researchers, but is also a software project, a resource for a film fan club, and many other things as it is open to interpretation. It is meant for people to build together and have conversations across domains and disciplines. In their work with people from both the humanities and sciences, they do see a void or gap between domains, and reiterate that it is very difficult for people to have a conversation across their disciplinary moorings. Infrastructure development has also become divided across these lines, and suffers from a kind of tunnel vision which often prevents it from being developed in response to the needs of the communities it is meant to address. As Sebastian recollects the experience of creating Pad.ma, a similar online video archive using the same platform, Pandor/a, he speaks of collaborating with people from a non-technology background, at the artists collective CAMP in Mumbai <strong>[6]</strong>, and how the lack of a hierarchy between technologists and non-technologists only contributed to making these projects better. A lot of the early software projects in India suffered due to this distance between people from technology and non-technology backgrounds, and the lack of a common language for them to communicate. Both Sebastian and Jan themselves come with training and experience in diverse areas, ranging from philosophy and visual arts to software development, and believe that their contribution to this archive is more conceptual than technological. They also see the Free and Open Source Software (FOSS) culture, then a rather incipient movement in India when they had just begun work on these projects, as one that can foster more conversations and collaborative work in technology and research in India. When they had started out of course, it was very difficult to convince people to use free and open source software, or even get filmmakers to release their footage for an open access platform like Pad.ma. CAMP was one of the few spaces then that had this open source culture, and it encouraged people to collaborate extensively, across areas of expertise. As Sebastian says “You deal with a relatively complex informatics system, but you are fully aware that you can modify and change things, and deal with them in a transparent way, which is great.” Both claim that nobody owns Pad.ma or Indiancine.ma, but everybody looks after it in a way, because they all use it differently depending on their interests, and this nurtures and builds the platform in different ways. The availability of this somewhat outside/alternate space for collaboration, and working within the open source context has been instrumental in the growth of these two online open access archives.</p>
<p>The computational aspects of Pad.ma and Indiancine.ma, and even Bichitra to some extent is may be something to look forward to for researchers interested in exploring the possibilities of such research with these platforms. Given that both are essentially large corpora of material, introducing new algorithmic tools to work with them is not a distant possibility, something that has also been the core of a lot of DH work in the Anglo-American context. Jan and Sebastian have tried this already with one of their earlier projects, 0xdb <strong>[7]</strong>, which is another online archive of cinema, by running a color recognition algorithm on it. There is an instance of face detection and speech recognition software that could be run on this platform, with interesting results. The existing filters on Indiacine.ma also make it possible to search for images or sequences based on colour and object recognition. For instance, an interesting experiment is to search for ‘telephone’ in the archive, which pulls up images containing telephones from across the entire corpus, outlining an interesting trajectory of the use of the instrument. While helpful in terms of querying and searching over a large corpus, they also emphasize the need to be able to make sense of it in a meaningful way. As Jan says “Most of this software is developed really as a means of control, in the area of surveillance etc., and not for exploring; it is more of a content identifying tool rather than to discover things. Clustering or referencing credits are other possibilities, but its more statistical analysis of the footage; are they really adding anything qualitative to cinema studies is still an open question”. Given this disjuncture in what these tools are developed for and how they are finally used, a point of concern is whether the research questions are also driven by the possibilities and limitations of the software itself. While that remains a broader question, Sebastian feels that more than a software, this is a new digital eco-system itself, and using these platforms in different ways, in fact even beyond what they were imagined for, will drive the technology in new directions. The limitation of computational tools as he sees now is really the speed, and given the expenses involved, they may not be feasible to implement and expect results anytime soon.</p>
<p>Both the above platforms demonstrate a certain ability to read texts both closely, as well as from a distance through the use of algorithmic tools, thus demonstrating the possibilities of analysis afforded by the infrastructure it has been built with. More importantly, they also highlight the limits of such tools and resources due to several challenges posed by the material itself. In the case of Bichitra, the problems of developing a code for Bengali characters has put forth a number of technological challenges; a pointer towards one among many problems for archiving materials in Indian languages. Indiancine.ma and Pad.ma are more symptomatic of the context in which new technologies can develop today given the support and space for collaboration and conversations across domains of expertise. The problems of format and technological obsolescence brought up by scholars at CPH is an important one; while colluding with proprietary software is inevitable in some cases, as suggested by the practitioners and researchers behind these platforms, keeping back-ups of material and being able to migrate out of a digital platform at any given point is also extremely essential. Such flexibility of material, and immense interoperability – across domains, formats and social-cultural contexts including language is something that researchers in DH, or for that matter in any field that actively engages with the internet and digital technologies would look for in the infrastructure that they build for research, scholarship and pedagogy. Infrastructure continues to remain a critical aspect knowledge production and dissemination, and it is imperative now more than ever, that it is addressed at the conceptual level of any research intervention involving digital technologies and knowledge production.</p>
<p> </p>
<h2>Notes</h2>
<p><strong>[1]</strong> See section on <em>Archives</em> for a more detailed discussion on this issue: <a href="http://cis-india.org/raw/living-in-the-archival-moment">http://cis-india.org/raw/living-in-the-archival-moment</a>.</p>
<p><strong>[2]</strong> See the section on <em>Reading from a Distance – Data as Text</em> for more on this: <a href="http://cis-india.org/raw/reading-from-a-distance-data-as-text">http://cis-india.org/raw/reading-from-a-distance-data-as-text</a>.</p>
<p><strong>[3]</strong> See: <a href="http://indiancine.ma/">http://indiancine.ma/</a></p>
<p><strong>[4]</strong> See: <a href="https://pan.do/ra">https://pan.do/ra</a></p>
<p><strong>[5]</strong> See: <a href="https://0xdb.org/">http://pad.ma/</a></p>
<p><strong>[6]</strong> See: <a href="http://studio.camp/">http://studio.camp/</a></p>
<p><strong>[7]</strong> See: <a href="https://0xdb.org/">https://0xdb.org/</a></p>
<p> </p>
<h2>References</h2>
<p>Berry, D.M. "The Computational Turn", <em>Culture Machine</em>. Vol 12, 2011. <a href="http://www.culturemachine.net/index.php/cm/article/viewArticle/440">http://www.culturemachine.net/index.php/cm/article/viewArticle/440</a>.</p>
<p>Drucker, Johanna, "Humanistic Theory and Digital Scholarship" In <em>Debates in the Digital Humanities</em>. Minneapolis: University of Minnesota Press, 2012, <a href="http://dhdebates.gc.cuny.edu/debates/text/34">http://dhdebates.gc.cuny.edu/debates/text/34</a>.</p>
<p>Gold, Matthew K. and Jim Groom. "Looking for Whitman: A Grand, Aggregated Experiment". In <em>Debates in the Digital Humanities</em>. Minneapolis: University of Minnesota Press, 2012, <a href="http://dhdebates.gc.cuny.edu/debates/text/5">http://dhdebates.gc.cuny.edu/debates/text/5</a>.</p>
<p>Larkin, Brian. "Introduction". In <em>Signal and Noise: Media, Infrastructure and Urban Culture in Nigeria</em>. London: Duke University Press, 2008</p>
<p>Sterne, Jonathan, 'The MP3 as Cultural Artifact,' <em>New Media and Society</em>. Vol. 18(5):825–842, 2006</p>
<p>Svensson, Partrik, "From Optical Fibre to Conceptual Cyberinfrastructure" In' <em>Digital Humanities Quarterly</em>, Vol.5, No.1, 2011. <a href="http://www.digitalhumanities.org/dhq/vol/5/1/000090/000090.html">http://www.digitalhumanities.org/dhq/vol/5/1/000090/000090.html</a>.</p>
<p> </p>
<p>
For more details visit <a href='https://cis-india.org/raw/the-infrastructure-turn-in-the-humanities'>https://cis-india.org/raw/the-infrastructure-turn-in-the-humanities</a>
</p>
No publishersneha-ppDigital KnowledgeMapping Digital Humanities in IndiaResearchDigital HumanitiesResearchers at Work2016-06-30T05:07:06ZBlog EntryTechnology, Social Justice and Higher Education
https://cis-india.org/digital-natives/pathways/blog/higher-education
<b>Since the last two years, we at the Centre for Internet and Society, have been working with the Higher Education Innovation and Research Applications at the Centre for the Study of Culture and Society, on a project called Pathways to Higher Education, supported by the Ford Foundation. </b>
<p>The main aim of the project is to research the state of social diversity and justice in undergraduate colleges in India and encourage students to articulate the axes of discrimination and exclusion which might keep them from interacting and engaging with educational resources and systems in their college environments.</p>
<h3>Peer-to-Peer Technologies<br /></h3>
<p>The entry point into these debates was digital technologies, where
through an introduction to peer-to-peer technologies, digital story
telling through various web based platforms, and a collaborative thought
environment mediated by internet and digital technologies, we
facilitated the students to identify, articulate and address questions
of discrimination, change and the possibility of engaging with these
critically in order to build a better learning environment for
themselves (and their peers) in their own colleges.</p>
<table class="plain">
<tbody>
<tr class="even">
<td><img src="https://cis-india.org/home-images/sies.jpg/image_preview" title="sies " height="266" width="400" alt="sies " class="image-inline image-inline" /></td>
<td>
<div align="left">Each workshop was designed not only to be sensitive to
the specificities of the locations of the colleges, but also to
accommodate for the needs, desires and aspirations of the students
involved. The participants looked at their own personal, family and
community histories, their everyday experiences, their affective modes
of aspiration and desire, and their own circumstances which often
circumscribe them, in order to come up with certain themes that they
thought were relevant and crucial in their own contexts.</div>
<br />
<div align="left"> </div>
</td>
</tr>
</tbody>
</table>
<p>As a follow-up on the workshops, the students developed specific
projects and activities that will help them strengthen their hypotheses
by looking beyond the personal and finding ways by which they can engage
with the larger communities, spreading awareness, building histories
and acquiring skills to successfully bolster their classroom interaction
and learning.</p>
<p><em>The following is a bird’s eye view of the key themes that have emerged in the workshops:</em></p>
<h3>The Costs of Belonging</h3>
<p>Almost unanimously, though articulating it in different ways, the
students looked at different costs of belonging to a space. Sometimes it
was the space of the web, sometimes of the larger educational
institution, sometimes to distinct language groups which do not treat
English as the lingua franca, and sometimes to communities and friend
circles within the college environment.</p>
<p> </p>
<p align="center"><img src="https://cis-india.org/home-images/problem.jpg/image_preview" title="problems" height="365" width="548" alt="problems" class="image-inline image-inline" /></p>
<div align="left">It was particularly insightful for us to understand
that granting access, providing infrastructure or equipping
‘underprivileged’ students with skills is not enough. In fact, it became
apparent that there is a certain policy driven, post-Mandal affirmative
action that has already bridged the infrastructural and access gap in
the educational institutions. The easy availability of computers,
internet access, the ubiquitous cell phone, were all indicators that for
most of the students, it wasn’t a question of affording access. Even
when we were dealing with economically disadvantaged students, there
were a plethora of technology devices they had access to and familiarity
with. Shared resources, public access to digital technologies, and
institutional support towards promoting digital familiarity all played a
significant role in demystifying the digital for them. In many ways,
these students were digital natives if defined through access, because
they had Facebook accounts and browsed Google to find everything they
wanted. Their phone was an extension of their selves and they used it in
creative ways to communicate and connect with their peers.<br /><br />Based
on this, the students are now prepared to work on documenting,
exploring and raising awareness about these questions, to see what the
gating factors are that disallow people with access to still feel
excluded from the power of the digital.<br /><br /></div>
<h3>The Need for Diversity<br /></h3>
<div align="left"><br />
<table class="plain">
<tbody>
<tr>
<td><img src="https://cis-india.org/home-images/others.jpg/image_preview" alt="others" class="image-inline image-inline" title="others" /></td>
<td>It is a telling sign about the state of the Internet in India that every
student presumed that the only way to be really fluent with the digital
web is to be fluent in English. The equation of English being
synonymous with being online was both fascinating and troubling to us.
Of course, a lot of it has to do with India’s own preoccupations, marked
by a postcolonial subjectivity, with English as the language of
modernity and privilege. But it also has to do with the fact that almost
all things digital in India, lack localisation. The digital
technologies and platforms remain almost exclusively in English,
fostered by the fact that input devices (keyboards, for example) and
display interfaces favour English as the language of computing.<br /><br /><br /></td>
</tr>
</tbody>
</table>
</div>
<p>Such an idea might also help in
reducing the distance between those who can fluently navigate the web
through its own language, and those who, through various reasons, find
themselves tentative and intimidated online.</p>
<p>The breakthrough that the
participants had, when they realised that they don’t have to be ‘proper
in English’ while being online – the ability to find local language
resources, fonts, translation machines, and the possibility of
transliterating their local language in the Roman script was a learning
lesson for us.</p>
<h3>Peer-to-Peer (P2P) Learning</h3>
<div align="left">As a part of their orientation to the world of the
digital, especially with the methodologies of the workshops, the
students literally had an overnight epiphany where they could see the
possibilities and potentials of P2P learning. The recognition that they
are not merely recipients of knowledge but also bearers of experience
and contexts which are rich and replete with knowledge, gave them new
insights on how to approach learning and education. Through digital
storytelling, the workshops demonstrated how, in our own stories and
accounts of life, there are many indicators and factors which can help
us engage with the realities of exclusion and injustice.<br /><br />Working
together in groups, not only to excavate knowledge from the outside, as
it were, but also to unearth the knowledge, experience, stories,
emotions that we all carry with ourselves and can serve as valuable
tools to bring to the classroom, is a lesson that all the groups
learned. The idea of a peer also led them to question the established
hierarchies within formal education. What was particularly interesting
was that they did not – as is often the case – translate P2P into DIY
education. They recognised that there are certain knowledge and skill
gaps that they would like experts to address and have incorporated
special trainings with different experts in areas of language,
communication, ethnography, interviews, film making, etc. However, the
methods for these trainings are going to emphasise a more P2P structure
that is different from the regular classroom learning.<br /><br />What would
happen if a teacher is looked at as a peer rather than a superior? How
would they navigate curricula if the scope of their learning was greater
than the curricula? How could they work together to learn from each
other, different ways of learning and understanding? These are some of
the questions that get reflected in their proposed campus activities,
where they are trying to now produce knowledge about their communities,
cities, families, groups and experiences, by conducting surveys,
ethnographies, historical archive work, etc. The digital helps them in
not only disseminating the information they are collecting but also in
re-establishing their relationship with learning and knowledge.<br /><br /><img src="https://cis-india.org/home-images/workshop.jpg/image_preview" title="classroom" height="337" width="509" alt="classroom" class="image-inline image-inline" /><br />
<div align="center"><br />
<div align="left">Ideas like open space dialogues, collaborative
story-telling, mobilising resources for knowledge production, creating
awareness campaigns and interacting with a larger audience through the
digital platforms are now a part of their proposals and promise to show
some creative, innovative and interesting uses of these technologies.
How the teachers would react to such an imagination of the students as
peers within the formal education system, remains to be seen as we
organise a faculty training workshop later in December. <br /><br />These
three large themes find different articulations, interpretations and
executions in different locations. However, they seem to be emerging as
the new forms of social exclusion that we need to take into account. It
is apparent that the role of technologies – both at the level of usage
and of imagination – is crucial in shaping these forms of social
inequities. But the technologies can also facilitate negotiations and
engagements with these concerns by providing new forms of knowledge
production and pedagogy, which can help the students in developing
better learning environments and processes. The Pathways to Higher
Education remains committed to not only documenting these learnings but
also to see how they might be upscaled and integrated into mainstream
learning within higher education in India.</div>
</div>
</div>
<p>
For more details visit <a href='https://cis-india.org/digital-natives/pathways/blog/higher-education'>https://cis-india.org/digital-natives/pathways/blog/higher-education</a>
</p>
No publisherpraskrishnaFeaturedHigher EducationResearchers at WorkDigital Knowledge2015-03-30T14:54:21ZBlog EntryTalk on Game Studies by Dr. Souvik Mukherjee, July 28, 6 pm
https://cis-india.org/raw/talk-on-game-studies-souvik-mukherjee-july-28-6-pm
<b>This talk will explore the story-telling aspects of game studies and how it relates to discussions of other digital media, Internet cultures and also traditional Humanities. As an introduction, it also aims to open up discussions for Game Studies in India.</b>
<p> </p>
<img src="http://cis-india.org/home-images/call-of-duty-no-russian" alt="Call of Duty: Modern Warfare 2 - No Russian" />
<p> </p>
<h2>Abstract</h2>
<p><em>You are a CIA agent who has infiltrated the Russian mafia and the mafia bosses want you to shoot down innocent civilians in a crowded Moscow airport. What do you do - kill the civilians or blow your cover?</em></p>
<p>The above scenario is taken from the controversial ‘No Russian’ chapter in the videogame Call of Duty: Modern Warfare 2. Graphically realistic and often provoking us to explore deeper questions, videogames have changed from simplistic beat-em-ups to more thought-provoking media through which stories can be shaped and retold. Videogames are, therefore, storytelling media although traditional Humanities and Information Technology both struggle with this notion. This talk will explore how videogames tell stories and why traditional academia finds them problematic. It will also address how understanding this ‘new; storytelling could result in the creation of eminently more innovative and arguably, more marketable gaming software.</p>
<p>Coming back to the Call of Duty scenario, one notices a significant difference from most stories that we get in books or movies. The reader / player has a choice and this is a nontrivial choice that influences the furtherance of the story. The story therefore has multiple endings and is, in effect, constructed jointly by the affordances and mechanics created by the game designer and by the choices and the playing skill of the player. Further, the player can save and replay a game sequence over and over - each time the game plays out differently and the story changes, at least slightly. Moreover, the involvement of the player with the game environment can be very intense and create the feeling of being within the story-world. Finally, there is the issue of accepting that games, usually likened to the playful and the non-serious, can be instrumental in creating a thought-provoking narrative experience. Likewise, the idea of a computer program spinning out a story is equally unexpected and looked upon with suspicion.</p>
<p>For all the problems posed by game-narratives, the consideration that videogames tell stories and that some videogames tell very thought-provoking tales is an unavoidable one. Recent trends in Humanities criticism and in Computing recognise the synergy between the disciplines. Gaming is no longer all about creating Shooters such as Doom; videogames have changed in concept, have entered social networking platforms and are increasingly beginning to comment on real-world issues. In terms of software development, the storytelling game has made it imperative to study the player’s responses; how players interact with the game-world and how they innovate strategies are of key importance to designing successful gameplay sequences. As far as the Humanities are concerned, the game-narrative can provoke thought into philosophical problems such as the morality of killing civilians in the Call of Duty sequence; further the videogame-story also helps explore storytelling in a multiple and shared textual form and to think about inherent linkages between games, stories and machines.</p>
<p>The aim of this talk is to raise questions regarding the storytelling aspect of videogames rather than coming up with any set conclusions. Ultimately, such a discussion aims to lead to the development of some new pointers for rethinking the videogame industry, especially in terms of the global marketplace and in terms of how the story-experience in videogames is a key factor in shaping player interest. This talk is an introduction to the now slightly over a decade old field of Game Studies and how it relates to discussions of other digital media, Internet cultures and also traditional Humanities. As an introduction, it also aims to open discussions for Game Studies in India.</p>
<h2>Speaker</h2>
<p><strong>Souvik Mukherjee</strong> is currently employed as Assistant Professor of English Literature at Presidency University (earlier Presidency College), Calcutta. Souvik has been researching videogames as an emerging storytelling medium since 2002 and has completed his PhD on the subject from Nottingham Trent University in 2009. Souvik has done his postdoctoral research in the Humanities faculty of De Montfort University, UK and as a research associate at the Indian Institute of Technology in New Delhi, India where he worked on digital media as well as narrative analysis.</p>
<p>Souvik's monograph <a href="http://www.palgrave.com/us/book/9781137525048"><em>Videogames and Storytelling: Reading Games and Playing Books</em></a> was published by Palgrave Macmillan in 2015. His research examines their relationship to canonical ideas of narrative and also how videogames inform and challenge current conceptions of technicity, identity and culture, in general. His current interests involve the analysis of paratexts of videogames such as walkthroughs and after-action reports as well as the concept of time and telos in videogames. Besides Game Studies, his other interests are (the) Digital Humanities and Early Modern Literature. He also blogs about videogames research on <a href="http://readinggamesandplayingbooks.blogspot.in/">Ludus ex Machina</a>.</p>
<p> </p>
<p>
For more details visit <a href='https://cis-india.org/raw/talk-on-game-studies-souvik-mukherjee-july-28-6-pm'>https://cis-india.org/raw/talk-on-game-studies-souvik-mukherjee-july-28-6-pm</a>
</p>
No publishersneha-ppGamingWeb CulturesDigital KnowledgeGame StudiesDigital MediaResearchers at WorkEvent2016-09-16T13:21:58ZEventStudying Digital Creative Industries in India: Initial Questions
https://cis-india.org/raw/studying-digital-creative-industries-in-india-initial-questions
<b>This brief overview of the discourse around creative industries is an attempt to explore some ways of identifying what could be digital creative industries in India, and the questions they raise and problematize for us in terms of cultural expression, knowledge production, creativity and labour. The term ‘creative industries’ has been around for a while now, but with the advent of the digital, and with interest from different sectors, especially with a focus on policy and economic development, it would be essential to critically examine the discourse around the term, and see where it may be changing to open up new possibilities, particularly for the arts, humanities and design.</b>
<p> </p>
<h3>Introduction</h3>
<p>The term ‘creative industries’ has been popular for more than two decades now, and continues to remain an important sector for research and development, as indicated by several shifts in policy and public discourse in the last few years. A significant move has been the foregrounding of creativity and knowledge as important resources for economic growth and social well–being. The term has a connection with the older and more specific term ‘cultural industries’, with its origins in the Frankfurt School <strong>[1]</strong> of theory, but has developed as part of a larger discourse around the creative economy/knowledge economy. First used in Australia in 1994 as part of a report titled Creative Nation <strong>[2]</strong>, it became more widely recognized in the following years with the setting up of the Creative Industries Task Force by the United Kingdom’s Department of Culture, Media and Sport in 1997.The UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions (2005) <strong>[3]</strong> was perhaps the most prominent global effort in recognizing and taking steps towards fostering the growth of creativity and cultural production as part of sustainable development.</p>
<p>Following this there have been several other initiatives across the world, most noticeably in the Anglo-American context, that have built upon this framework to ease and facilitate cross-cultural flows and diversity in the circulation of information, labour and goods. Increasingly, the attempt now is to understand the relevance of these efforts in the digital age, where several advancements in technology and the ubiquitous presence of the internet continue to determine the creation, circulation and consumption of cultural commodities. This blog post is an attempt to outline some initial thoughts on what could be the possibilities of studying ‘digital’ creative industries in India. The digital is an inherent aspect of much cultural and creative expression today, given the steady transition from analogue to digital and the increased presence of internet in almost every domain. What would constitute creative digital industries in the present moment, how do they determine the larger course of cultural production, and pose new questions for labour, commodities, creativity and technology more broadly are some of the questions explored here.</p>
<p>According to the UN Creative Economy Report 2010 <strong>[4]</strong> the creative industries:</p>
<ul>
<li>are the cycles of creation, production and distribution of goods and services that use creativity and intellectual capital as primary inputs;</li>
<li>constitute a set of knowledge-based activities, focused on but not limited to arts, potentially generating revenues from trade and intellectual property rights;</li>
<li>comprise tangible products and intangible intellectual or artistic services with creative content, economic value and market objectives;</li>
<li>stand at the crossroads of the artisan, services and industrial sectors; and</li>
<li>constitute a new dynamic sector in world trade.</li></ul>
<p>As the report mentions, these are ‘evolving’ concepts and definitions, and just the number of areas that can come within the purview of the creative industries has increased greatly in the last decade. The report classifies creative industries under four different models as illustrated here:</p>
<img src="https://github.com/cis-india/website/raw/master/img/CIS-RAW_CreativeIndustriesClassification_CER2010.png" alt="Classification of creative industries." />
<h6>Source: <a href="http://unctad.org/en/Docs/ditctab20103_en.pdf">UN Creative Economy Report 2010</a>.</h6>
<p> </p>
<h3>Creative Industries in India</h3>
<p>In India, there has been a keen interest in the potential of creativity as a resource, although creative industries may not be a popularly used term. From a policy perspective it is largely in terms of opportunities for economic growth, and more recently the potential for innovation and entrepreneurship, as seen in the Niti Aayog report presented in 2015 <strong>[5]</strong>, which says that:</p>
<blockquote>the committee proposes using digital platforms to encourage innovation, reforming the educational system to encourage creativity and upskilling workers to make them more employable, improving the ease of doing business, and strengthening intellectual property rights. Finally, the committee also proposes a number of measures to change cultural biases and attitudes towards entrepreneurship in the long-term, including attaching entrepreneurship to large scale economic and social programs, promoting new high-potential sectors via the government’s “Make in India” campaign, fostering a culture of coordination and collaboration, attempting to redefine cultural notions of success, and tying entrepreneurship with the social inclusion agenda.</blockquote>
<p>The report therefore reflects an interest in harnessing creativity or creative labour as a significant factor in fostering innovation and entrepreneurship, and in some sense also expanding the scope of such entrepreneurship by tying it with social inclusion and encouraging collaboration. What this also has implications then is for educational reform, capacity-building and upskilling for increased employability and better livelihoods, something that requires a systemic and focused effort spread over time. The report also explicitly speaks of strengthening an existing intellectual property regime, which also has been a rather dominant framework for the creative industries discourse from a policy perspective. While there is a need to focus on growth and innovation, a perceived objective of IP, the easy conflation of the two is problematic. Further, the role of IPR in fostering innovation and socio-economic development, as reflected in the draft National IPR policy (2014) <strong>[6]</strong> is contentious, as responses to the draft have pointed out <strong>[7]</strong>. It would also be imperative to understand better the ‘cultural notions of success’ and how these would also impact the creative industries discourse in India.</p>
<p>As part of a large research initiative titled <em>Culture: Industries and Diversity in Asia</em> (CIDASIA) <strong>[8]</strong> spread over two years, the Centre for the Study of Culture and Society Bangalore worked on some of the pertinent questions that emerged out of the creative industries discourse in India and the sub-continent. In a report produced as part of this initiative creative industries are described as:</p>
<blockquote>[T]he vast sector that has emerged with the arrival of modern technologies (emphasis as in the original) and forms of mass reproduction since the colonial period. This sector has now become an important site of intervention for both governments such as in UK, Australia and India and international agencies such as the United Nations.</blockquote>
<p>Further, about the programme the report says:</p>
<blockquote>The initiative attempts to assess the viability of international and government policies for cultural and creative industries and thus lay the groundwork for a hitherto unprecedented intervention of philanthropic organizations in the domain. We specifically focus on culture industries through the node of ‘livelihoods’ that we see as inextricably tied to this sector.</blockquote>
<p>The importance of the question of livelihood to the growth in culture industries remains even today, as they are a source of employment for a vast section of society, mostly in rural areas, and often fall into what is called the unorganized sector. Low capital investment and the disputable legality of many of these industries however, make this connection a complicated one, as pointed out by the CIDASIA research. The study critiqued existing models of creative and cultural industries which emphasized copyright and intellectual property rights (IPR) as safeguards of livelihood and identity, a rather contentious connection given the presence of a large underground economy based on creative labour, which is also often migrant in nature. Other initiatives in the programme included a consultation to rethink the existing debates around cultural policy and diversity, with a focus on the rights of marginalized people, rights in the domain of mass culture, copyright and IPR. Diminishing spaces for cultural or political-artistic performances, and the role of creative cities in fostering such spaces was another area of concern.</p>
<p>There were several learnings from these initiatives about the nature of creative industries (audio-visual media including film and television), the conflation and overlap with culture industries (including craft and legacy industries) and the complex relationship between the two, and how the latter benefits from the first. The question of livelihoods, particularly those of non-citizens, or the migrant is an important one, for it highlights the cultural visibility of these industries, and more importantly establishes the presence of an underground economy that produces goods of high economic value, using cheap labour. Policy reforms, especially with respect to IPR and any regulation of these industries would need to take into account these features. The convergence of difference forms of cultural production with the growth of new media technologies, in particular is a pertinent question. Along with growing concerns around piracy, growth of new kinds of content, exclusivity and distribution become important factors here. The availability of capital and technology, and a growing global presence has also changed dramatically the nature of several creative industries, such as media, entertainment and advertising, but also brought with it challenges of finding creative and sustainable business models <strong>[9]</strong>. The problem of cultural impenetrability, or the difficulty of certain commodities to find a market in certain countries was also brought up as part of a study on the Korean wave in India. The translation of cultural worth into economic value, here studied through an examination of the cinema as cultural object, produced interesting observations in addressing the commodification of these objects and understanding the problem of value in this context <strong>[10]</strong>. The role of technology in the growth of the creative industries was an inherent aspect of all these studies, with factors such as context, conditions and quality of access, and the need to understand the problem of the 'last mile' as a conceptual and cultural problem, rather than a technological one, being emphasized in these findings <strong>[11]</strong>.</p>
<p> </p>
<h3>Creative Labour?</h3>
<p>The importance of the question of livelihood to the growth in culture industries remains even today, as they are a source of employment for a vast section of society, mostly in rural areas, and often fall into what is called the unorganized sector. Low capital investment and the disputable legality of many of these industries however, make this connection a complicated one, as pointed out by the CIDASIA research. The study also critiqued existing models of creative and cultural industries which emphasized copyright and intellectual property rights (IPR) as safeguards of livelihood and identity, a rather contentious connection given the presence of a large underground economy based on creative labour, which is also often migrant in nature. Other initiatives in the programme included a consultation to rethink the existing debates around cultural policy and diversity, with a focus on the rights of marginalized people, rights in the domain of mass culture, copyright and IPR. Diminishing spaces for cultural or political-artistic performances, and the role of creative cities in fostering such spaces was another area of concern.</p>
<p>In the last decade alone, the internet and digital technologies have grown at an exponential pace in India. Creative industries have been driven greatly by advancements in technology, and the role of the digital here then becomes an important aspect of the discourse, in terms of either a space, object or context. The term itself has drawn different kinds of criticism, beginning with the juxtaposition of creativity and industry, or the ‘economisation of culture’, as another product of contemporary capitalism, a critique that stems from the Frankfurt School. The problems are several, as outlined here by Andrew Ross <strong>[12]</strong>:</p>
<blockquote>It may be too early to predict the ultimate fate of the paradigm. But sceptics have already prepared the way for its demise:: it will not generate jobs; it is a recipe for magnifying patterns of class polarisation; its function as a cover for the corporate intellectual property (IP) grab will become all too apparent; its urban development focus will price out the very creatives on whose labour it depends; its reliance on self-promoting rhetoric runs far in advance of its proven impact; its cookie-cutter approach to economic development does violence to regional specificity; its adoption of an instrumental value of creativity will cheapen the true worth of artistic creation.2 Still others are inclined simply to see the new policy rubric as ‘old wine in new bottles’ – a glib production of spin-happy New Labourites, hot for naked marketization but mindful of the need for socially acceptable dress. For those who take a longer, more orthodox Marxist view, the turn toward creative industries is surely a further symptom of an accumulation regime at the end of its effective rule, spent as a productive force, awash in financial speculation, and obsessed with imagery, rhetoric and display.</blockquote>
<p>Similar concerns may be highlighted in the Indian context as well, where the employability of many in creative fields of work, which often fall under the informal or unorganized sector, has always been fraught with uncertainty. The access to cultural and social capital also defines the discourse in a certain manner, as largely urban-centric and focused around a particular class. Education, training and capacity-building efforts in creative fields, and access to these are an important factor that requires further exploration. As reflected in the discussions above, the prevalent imagination of cultural and creative industries still focusses on IPR and socio-economic development of certain sectors of the knowledge economy, therefore making invisible other kinds of labour. The appropriation of the term itself to focus on innovation in certain sectors, at the cost of others, and streamlining and regulation of these in some way would be another aspect of concern. More importantly, the definition of creativity, as beyond skilling for certain kinds of work also needs to be emphasized in these discussions.</p>
<p> </p>
<h3>Key Questions</h3>
<p>Whether these are still pertinent criticisms now is a question, and more importantly, what would be new ways to frame the creative industries debate today would be a relevant starting point of engagement. The following are some questions that could be useful in mapping the creative industries discourse and how it could be thought about today, post the digital turn:</p>
<ol><li>What are digital creative industries? Is it possible to identify a smaller subset of industries that would come within the purview of this term, or is it another entry point into the creative industries discourse in India, where the digital is all pervasive? What are new kinds of creative industries that are heavily and/or purely reliant on the internet and digital technologies?<br /><br /></li>
<li>Does the digital add a new perspective/dimension to how we theorise the notion of creative labour, because of the manner in which it affects, or determines creative expressions in the present, on the internet and more broadly in the digital? More importantly, do we need to critically think about a definition of creativity itself, today within the digital context? How do we then understand questions of precarity in working conditions, innovation and entrepreneurship in this space?<br /><br /></li>
<li>Who is the creative subject? Is it possible to understand such a subject outside of the very Eurocentric discourse around creativity and ‘creation’, which paints the creator as hegemonic in some sense? Another new way to reframe the livelihoods question is to understand the creative worker/knowledge worker, and how to think of these distinctions. What are the new ways to understand this debate?<br /><br /></li>
<li>The discourse around creative industries has largely been framed within the context of the intellectual property rights, and as a method to ensure the stability of the IPR regime. Given the changes, and many nuances to the IPR debates in the last few years, and the growth of the Free/Libre and Open Source Software (FLOSS) movement, it would be useful to understand the growth of creative digital industries in this context.<br /><br /></li>
<li>What does this tell us about a growing digital economy in India? Creative industries would raise interesting questions about the fostering of a digital economy in India, and the many ways in which it determines cultural production in the rest of the world.<br /><br /></li></ol>
<p> </p>
<h3>Endnotes</h3>
<p><strong>[1]</strong> Theodor Adorno and Max Horkheimer, 'The Culture Industry: Enlightenment as Mass Deception,' 1944. <a href="https://www.marxists.org/reference/archive/adorno/1944/culture-industry.htm">https://www.marxists.org/reference/archive/adorno/1944/culture-industry.htm</a>.</p>
<p><strong>[2]</strong> See: <a href="http://apo.org.au/resource/creative-nation-commonwealth-cultural-policy-october-1994">http://apo.org.au/resource/creative-nation-commonwealth-cultural-policy-october-1994</a>.</p>
<p><strong>[3]</strong> See: <a href="http://portal.unesco.org/en/ev.php-URL_ID=31038&URL_DO=DO_TOPIC&URL_SECTION=201.html">http://portal.unesco.org/en/ev.php-URL_ID=31038&URL_DO=DO_TOPIC&URL_SECTION=201.html</a>.</p>
<p><strong>[4]</strong> See: <a href="http://unctad.org/en/Docs/ditctab20103_en.pdf">http://unctad.org/en/Docs/ditctab20103_en.pdf</a>.</p>
<p><strong>[5]</strong> See: <a href="http://niti.gov.in/mgov_file/report%20of%20the%20expert%20committee.pdf">http://niti.gov.in/mgov_file/report%20of%20the%20expert%20committee.pdf</a>.</p>
<p><strong>[6]</strong> See: <a href="http://dipp.nic.in/English/Schemes/Intellectual_Property_Rights/IPR_Policy_24December2014.pdf">http://dipp.nic.in/English/Schemes/Intellectual_Property_Rights/IPR_Policy_24December2014.pdf</a>.</p>
<p><strong>[7]</strong> For more on this see: 'Comments on the First Draft Of The National IPR Policy' submitted by the Centre for Internet and Society, 2015 <a href="http://cis-india.org/a2k/blogs/cis-comments_first-draft-of-national-ipr-stategy.pdf">http://cis-india.org/a2k/blogs/cis-comments_first-draft-of-national-ipr-stategy.pdf</a>, and 'SpicyIP Tidbit: New IPR Policy in 2 months' by Balaji Subramanian, SpicyIP, October 2015, <a href="http://spicyip.com/2015/10/spicyip-tidbit-new-ipr-policy-in-2-months.html">http://spicyip.com/2015/10/spicyip-tidbit-new-ipr-policy-in-2-months.html</a>.</p>
<p><strong>[8]</strong> See: <a href="http://cscs.res.in/irps/cidasia-1">http://cscs.res.in/irps/cidasia-1</a>.</p>
<p><strong>[9]</strong> S. Ananth, 'Business of Culture in India,' 2008. <a href="http://cscs.res.in/dataarchive/textfiles/textfile.2009-12-18.9970782136">http://cscs.res.in/dataarchive/textfiles/textfile.2009-12-18.9970782136</a>.</p>
<p><strong>[10]</strong>'When The Host Arrived: A Report on the Problems and Prospects for the Exchange of Popular Cultural Commodities with India,' 2008. <a href="http://cscs.res.in/dataarchive/textfiles/textfile.2009-07-17.9853066637/file">http://cscs.res.in/dataarchive/textfiles/textfile.2009-07-17.9853066637/file</a>.</p>
<p><strong>[11]</strong>Ashish Rajadhyaksha, 'The Last Cultural Mile' (Bangalore: Centre for Internet and Society, 2011) <a href="http://cis-india.org/raw/histories-of-the-internet/blogs/the-last-cultural-mile/the-last-cultural-mile-blog-old">http://cis-india.org/raw/histories-of-the-internet/blogs/the-last-cultural-mile/the-last-cultural-mile-blog-old</a>.</p>
<p><strong>[12]</strong> Andrew Ross, 'Nice Work of You Can get it: The Mercurial Career of Creative Industries Policy,' in <em>MyCreativity Reader</em>. Eds. Geert Lovink and Ned Rossiter (Amsterdam: Institute of Network Cultures, 2007).</p>
<p> </p>
<p>
For more details visit <a href='https://cis-india.org/raw/studying-digital-creative-industries-in-india-initial-questions'>https://cis-india.org/raw/studying-digital-creative-industries-in-india-initial-questions</a>
</p>
No publishersneha-ppDigital EconomyDigital KnowledgeResearchCreative IndustriesResearchers at Work2016-03-18T13:55:56ZBlog EntryState of the Internet's Languages 2020: Announcing selected contributions!
https://cis-india.org/raw/stil-2020-selected-contributions
<b>In response to our call for contributions and reflections on ‘Decolonising the Internet’s Languages’ in August, we are delighted to announce that we received 50 submissions, in over 38 languages! We are so overwhelmed and grateful for the interest and support of our many communities around the world; it demonstrates how critical this effort is for all of us. From all these extraordinary offerings, we have selected nine that we will invite and support the contributors to expand further.</b>
<p> </p>
<h4>Cross-posted from the Whose Knowledge? website: <a href="https://whoseknowledge.org/selected-contributions/" target="_blank">URL</a></h4>
<p>Call for Contributions and Reflections: <a href="https://cis-india.org/raw/stil-2020-call" target="_blank">URL</a></p>
<hr />
<img src="https://whoseknowledge.org/wp-content/uploads/2019/07/DTI-L-webbanner-1.png" alt="Decolonizing the Internet's Languages" />
<p> </p>
<p>Thank you to all of you who wrote in: we would publish every one of your contributions if we could! Each of you highlighted unique aspects of the problem and possibility of the multilingual internet, and it was extremely difficult to select a few to include in the ‘State of the Internet’s Languages Report’. Whether your submission was selected or not, we hope you will continue to be part of this work with us, and that the report will reflect your thoughtful concerns and interests in a multi-lingual internet.</p>
<p>The nine selected contributions will be a significant aspect of the openly licensed State of the Internet’s Languages report to be published mid-2020. In different formats and languages, they span many kinds of language contexts across the world, from many different communities and perspectives. They will form part of a broader narrative combining data and experience, highlighting how limited the current language capacities of the internet are, and how much opportunity there is for making our knowledges available in our many languages.</p>
<p>A special thank you to the final contributors – we’ll be in touch shortly with more details. We’re looking forward to working with you as you develop your contributions and share your experiences!</p>
<p>The selected contributions are from:</p>
<ul>
<li>
<h4><em>Caddie Brain, Joel Liddle, Leigh Harris, Graham Wilfred</em></h4>
<p>As part of a broader movement to increase inclusion and diversity in emojis, Aboriginal people in Central Australia are creating Indigemoji, the first set of Australian Indigenous emojis delivered via a free app. Caddie, Joel, Leigh and Graham aim to describe how to reflect Aboriginal experiences online, to increase the accessibility of Arrernte language in the broader Australian lexicon, to position Arrernte knowledge on digital platforms for future generations of Arrentre speakers and learners, and to contribute more broadly to the decolonisation of the internet.</p>
</li>
<li>
<h4><em>Claudia Soria</em></h4>
<p>Claudia will describe “The Digital Language Diversity Project” funded by the European Commission under the Erasmus+ programme. The project has surveyed the digital use and usability of four European minority languages: Basque, Breton, Karelian and Sardinian. It has also developed a number of instruments that can help speakers’ communities drive the digital life of their languages, in the form of a methodology named “digital language planning”.</p>
</li>
<li>
<h4><em>Donald Flywell Malanga</em></h4>
<p>Donald will share his experiences conducting two panel discussions with elderly and ten young Ndali People in Chisitu Village based in Misuku Hills, Malawi. He aims to hear their stories and make sense of them relating to how Chindali could be spoken/expressed online, examine the barriers they face in sharing/expressing their language online, and unearth possible solutions to address such barriers.</p>
</li>
<li>
<h4><em>Emna Mizouni</em></h4>
<p>Emna will interview African and Arab content creators and consumers to share their experiences in posting content in their own language and expose their cultures. She will reach out to different ethnicities from Africa to gather data on the reasons they use the “colonial languages” on the internet and the burdens they face, whether technical such as internet connectivity and accessibility, lack of devices, social or cultural barriers, etc.</p>
</li>
<li>
<h4><em>Ishan Chakraborty</em></h4>
<p>Ishan will explore the experiences of individuals who identify themselves as both disabled and queer, and who are not visible online in Bengali. Online research papers and academic works in Bengali are significantly limited, and even more so in the case of works on marginalities and intersections. One of the most effective ways of making online material accessible to persons with visual disability is through audio material, and Ishan will explore some of these possibilities.</p>
</li>
<li>
<h4><em>Joaquín Yescas Martínez</em></h4>
<p>Joaquin will be describing the free software, open technology initiatives and the sharing philosophy of “compartencia” in his community of Mixe and Zapotec peoples in Mexico. He will explore initiatives such as Xhidza Penguin School, an app to learn the language online, and learning workshops to look at new methodologies for sharing and using the language. It is not only a means of communication but it also encompasses a different way of understanding the world.</p>
</li>
<li>
<h4><em>Kelly Foster</em></h4>
<p>Kelly will draw attention to the work being done to revitalise indigenous languages and the struggles to represent the Nation Languages of the Caribbean and its diasporas in structured data and on Wikipedia. She aims to have the native names of the islands, locations and indigenous peoples on Wikidata, labelled with their own language so she can generate a map of the Caribbean with as many native names as possible. But the language of the Taino people of the islands that are now called Jamaican, Cuba, Puerto Rico and Haiti has been labelled as extinct, as are the people, by European researchers. Though a victim of the first European genocide of the Caribbean, they live on in the tongues and blood of people who are more often racialised as Black and Latinx.</p>
</li>
<li>
<h4><em>Paska Darmawan</em></h4>
<p>As a first-generation college student who did not understand English, Paska had difficulties in finding educational, inspiring content about LGBTQIA issues in their native language, let alone positive content about the local LGBTQIA community. They plan to share a mapping of available Indonesian digital LGBTQIA content, whether it be in the form of Wikipedia articles, websites, social media accounts, or any other online media.</p>
</li>
<li>
<h4><em>Uda Deshpriya</em></h4>
<p>Uda will explore the lack of feminist content on the internet in Sinhala and Tamil. Mainstream human rights discussions take place in English and leaves out the majority of Sri Lankans. Women’s rights discourse remains even more centralized. Despite the fact that all primary criminal and civil courts work in local languages, statutes and decided cases are not available in Sinhala and Tamil, including Sri Lanka’s Constitution and its amendments. This extends to content creation through both text and art, with significant barriers of keyboard and input methods.</p>
</li></ul>
<p> </p>
<p>
For more details visit <a href='https://cis-india.org/raw/stil-2020-selected-contributions'>https://cis-india.org/raw/stil-2020-selected-contributions</a>
</p>
No publishersneha-ppLanguageDigital KnowledgeResearchFeaturedState of the Internet's LanguagesDigital HumanitiesResearchers at WorkDecolonizing the Internet's Languages2019-11-01T18:12:49ZBlog EntryState of Consumer Digital Security in India
https://cis-india.org/internet-governance/blog/state-of-consumer-digital-security-in-india
<b>This report attempts to identify the existing state of digital safety in India, with a mapping of digital threats, which will aid stakeholders in identifying and addressing digital security problems in the country. This project was funded by the Asia Foundation.</b>
<p style="text-align: justify;"> </p>
<p style="text-align: justify;">Since 2006, successive Union governments in India have shown increased focus on digital governance. The National e-Governance Plan was launched by the UPA government in2006, and several digital projects led by the state such as digitisation of the filing of taxes, appointment process for passports, corporate governance, and the Aadhaar programme(India’s unique digital identity system that utilises biometric and demographic data) arose under it, in the form of mission mode projects (projects that are part of a broader National e-governance initiative, each focusing on specific e-Governance aspects, like banking, land records, or commercial taxes). In 2014, when the NDA government came to power, the National e-Governance Plan was subsumed under the government’s flagship project of Digital India, and several mission mode projects were added. In the meantime, the internet connectivity, first in the form of wire connectivity, and later in the form of mobile connectivity has increased greatly. In the same period, use of digital services, first in new services native to the Internet such as email, social networking, instant messaging, and later the platformization and disruption of traditional business models in transportation, healthcare, finance and virtually every sector, has led to a deluge of digital private service providers in India.</p>
<p style="text-align: justify;">Currently, India has 500 million internet users — over a third of its total population — making it the country with the second largest number of Internet users after China. The uptake of these technological services has also been accompanied by several kinds of digital threats that an average digital consumer in India must regularly contend with. This report is a mapping of consumer-facing digital threats in India and is intended to aid stakeholders in identifying and addressing digital security problems. The first part of the report categorises digital threats into four kinds, Personal Data Threats, Online Content Related Threats, Financial Threats, and Online Sexual Harassment Threats. Threats under each category are then defined, with detailed consumer-facing consequences, and past instances where harm has been caused because of these threats.</p>
<hr />
<p> </p>
<p>Read the full report <a href="https://cis-india.org/internet-governance/report-state-of-consumer-digital-security-in-india" class="internal-link" title="Report - State of Consumer Digital Security in India">here</a>.</p>
<p>
For more details visit <a href='https://cis-india.org/internet-governance/blog/state-of-consumer-digital-security-in-india'>https://cis-india.org/internet-governance/blog/state-of-consumer-digital-security-in-india</a>
</p>
No publisherpranavDigital GovernancePrivacyDigital KnowledgeInternet GovernanceDigital Media2021-07-05T11:07:24ZBlog EntryRethinking Conditions of Access
https://cis-india.org/raw/lila-inter-actions-october-14-2014-rethinking-conditions-of-access
<b>P. P. Sneha explores the possibilities of redefining the idea of access through the channels of education and learning. </b>
<p> </p>
<p style="text-align: justify;">The advent and pervasive growth of the internet and digital technologies in the last couple of decades have caused several changes in the way we now imagine education and processes of learning, both within and outside the classroom. The increasing use of digital tools, platforms and methods in classroom pedagogy, and the access for students to resources through online and collaborative repositories such as Wikipedia have led to a change in not just teaching practices, but also in the learning environment, which has now become more open, iterative and participatory in nature. While increased access to the internet may be one factor contributing to this change, the conditions of such access – how it is made available, to whom and for what purpose – still remain contentious. As per recent statistics, India has more than 200 million internet users, but as several studies on online users have illustrated, the numbers are hardly indicative of the nature of online engagement. The problem of the ‘digital divide’, though much debated and addressed, still persists in India, as in several other countries, with lack of infrastructure and low broadband speed being two among several reasons for the slow move in bridging this gap.</p>
<div><a class="hasimg" href="http://www.lilainteractions.in/wp-content/uploads/2014/10/digital_inclusion_index_map_thumb.jpg"><img src="http://www.lilainteractions.in/wp-content/uploads/2014/10/digital_inclusion_index_map_thumb.jpg" alt="null" height="199" width="335" /><img class="himage" src="http://www.lilainteractions.in/wp-content/uploads/2014/10/digital_inclusion_index_map_thumb-bw.jpg" alt="null" height="199" width="335" /></a></div>
<div>Last year, the Digital Inclusion Index map indicated India as only BRICS country ‘at extreme risk’ on the ‘digital divide’</div>
<p style="text-align: justify;">The problem of the digital divide itself has largely been understood as one of access to the internet and/or broadly digital technologies, but the conditions of this access, in terms of the nature of its use and adaptability to a dynamic and ever-changing technological landscape is something that needs to be looked at critically, in order to provide a more nuanced understanding of the problem itself, and its inherent conflicts. The technological landscape we inhabit today is quite diverse, and rather multi-layered, as a result of which conditions of access also differ across spaces and in degrees. The problematisation, therefore, will need to be more qualitative and nuanced, to take into account several variables spread over social, cultural and economic categories.</p>
<p><img class="alignleft size-full wp-image-4133" src="http://www.lilainteractions.in/wp-content/uploads/2014/10/quote-internet-speed-ps-1.png" alt="quote internet speed ps 1" height="580" width="195" /></p>
<div class="hyphenate">
<p style="text-align: justify;">The assumption of the internet, as an open and accessible, therefore neutral space, has also been questioned time and again, with the latest debates around net neutrality being illustrative of this conflict. Though there is a growing interest in exploring and using the democratic potential that the internet offers, as demonstrated by several forms of online social activism and the growth of open access digital knowledge repositories and public archival spaces, there are also pertinent concerns about privacy, accessibility and the quality of online interaction and content. A large part of this uncertainty and the conflicts we see around access and regulation may be attributed to the fact that the nature of the internet, or the digital itself as concept, method or space has not been adequately explored or theorised. As a public sphere, it often reprises certain systemic forms of injustice and marginalisation seen offline, and conflates them with notions pertaining to the personal. As such, social, economic and linguistic barriers mediate the access we have to certain kinds and forms of discourse online, thereby making physical access the first step towards being part of the labyrinthian world that is the internet.</p>
<div><a class="hasimg" href="http://www.lilainteractions.in/wp-content/uploads/2014/10/maharashtra_farmers_computers_20060821.jpg"><img src="http://www.lilainteractions.in/wp-content/uploads/2014/10/maharashtra_farmers_computers_20060821.jpg" alt="null" height="231" width="335" /><img class="himage" src="http://www.lilainteractions.in/wp-content/uploads/2014/10/maharashtra_farmers_computers_20060821-bw.jpg" alt="null" height="231" width="335" /></a></div>
<div>How can e-learning start, when the general access is very fragmented?</div>
<p style="text-align: justify;">These conflicts are present in the classroom and other spaces and processes of learning as well, where traditionally there has been resistance to the use of technology, and particularly the internet as it is seen as a disturbance or a deterrent to learning. But technology has always been a part of the classroom, and now with the mobile phone becoming ubiquitous, it is indeed difficult to imagine that a student who has access to such a device would be disconnected from the internet, or not look toward other digital tools and methods to engage with, for educational or recreational purposes. However, indeed, how much of this engagement is effectively connected to learning is still a bone of contention, and is yet to be explored adequately.</p>
</div>
<p><img class="alignright size-full wp-image-4134" src="http://www.lilainteractions.in/wp-content/uploads/2014/10/quote-internet-speed-ps-2.png" alt="quote internet speed ps 2" height="430" width="195" /></p>
<div class="hyphenate">
<p style="text-align: justify;">What are the changes in the learning environment that the advent of digital technologies has produced? What challenges do they pose for both teachers and students? And what are the possible solutions that these areas of research are opening up? A more integrated and inclusive approach in designing methods and tools for use in the classroom could be one way of making issues and conflicts in this space more transparent. Several efforts in education technology and experiments in digital learning have focused precisely on this aspect. The sheer visibility and vastness of the internet offers several possibilities in terms of access to materials, tools and resources online. Several large-scale efforts in digitisation made by both the state and public organisations are attempts to utilise this potential, and they speak of the growing interest in making material available online for both classroom teaching and research.</p>
<div><a class="hasimg" href="http://www.lilainteractions.in/wp-content/uploads/2014/10/Mooc-vs-University-in-2013-584x1024.jpg"><img src="http://www.lilainteractions.in/wp-content/uploads/2014/10/Mooc-vs-University-in-2013-584x1024.jpg" alt="null" height="587" width="335" /><img class="himage" src="http://www.lilainteractions.in/wp-content/uploads/2014/10/Mooc-vs-University-in-2013-584x1024-bw.jpg" alt="null" height="587" width="335" /></a></div>
<div>The MOOCs are slowly challenging the universities<a title="MOOCs vs. Universities" href="http://www.lilainteractions.in/wp-content/uploads/2014/10/Mooc-vs-University-in-2013-584x1024.jpg" target="_blank">. See the image full screen</a></div>
<p style="text-align: justify;">The growth of Massive Open Online Courses (MOOCs) is an example of the fervour of online platforms of learning, which provide students across the world with an access to teaching and course material from some of the best institutions. However, there have been, at least in their earlier versions, several critiques of these platforms, as well, precisely because they replicate a certain classroom teaching model that is not accessible to students everywhere. This urges us to revisit the premise of such structures.</p>
<p style="text-align: justify;">The ‘digital turn’ in the last couple of decades has engendered several changes in the way knowledge is now produced, disseminated and consumed by people located in different areas. It has also created a need to constantly rethink existing systems of learning we have in place, to plug the gaps that develop between people, skills and resources. It is only through more attempts to problematise the notion of access qualitatively, and to better understand the role of digital technologies and the internet in terms of changes in learning environments, that we may be able to understand and utilise its potential to the best.</p>
</div>
<hr />
<div style="text-align: justify;" class="hyphenate"><strong>P.P. Sneha</strong> works with the Researchers at Work (RAW) programme at the Centre for Internet and Society, Bangalore. She has a Master’s degree in English, and has previously worked in the area of higher education. This essay is a reflection on some of the learnings from projects on the quality of access to higher education and a mapping of the digital landscape and the growth of Digital Humanities in India, conducted by the Higher Education Innovation and Research Applications (HEIRA) programme at the Centre for the Study of Culture and Society (with support from the Ford Foundation), and the CIS. The original post can be <a class="external-link" href="http://www.lilainteractions.in/internet-slowdown-day/">read here</a>.</div>
<p>
For more details visit <a href='https://cis-india.org/raw/lila-inter-actions-october-14-2014-rethinking-conditions-of-access'>https://cis-india.org/raw/lila-inter-actions-october-14-2014-rethinking-conditions-of-access</a>
</p>
No publishersnehaDigital KnowledgeMapping Digital Humanities in IndiaResearchDigital HumanitiesResearchers at Work2015-11-13T05:35:00ZBlog EntryResearch Symposium on Digital Transitions in Cultural and Creative Industries in India, New Delhi, Feb 27-28
https://cis-india.org/raw/digital-transitions-in-cultural-and-creative-industries-in-india-symposium-2018
<b>It is our privilege to collaborate with LabEx ICCA (Université Paris 13), UNESCO New Delhi, Centre for Social Sciences and Humanities (CSH), and Centre d'études de l'Inde et de l'Asie du Sud (CEIAS), to organise a Research Symposium on Digital Transitions in Cultural and Creative Industries in India. The symposium gathers researchers and practitioners engaging with the changing landscape of cultural and creative industries in India in the context of the rapid expansion of digital technologies and social media. We invite you to join us for a critical exploration of the prevalent discourse around cultural and creative industries, to identify what could be the different forms of digital creative and cultural industries developing in India, and how they problematise the questions of cultural expression, knowledge production, creativity, and labour.</b>
<p> </p>
<h4>Venue: <a href="https://www.google.com/maps/place/UNESCO+NEW+DELHI/@28.5962104,77.1766346,17z/data=!4m12!1m6!3m5!1s0x390d1d69e65aea35:0x95c8f02076400bf2!2sUNESCO+NEW+DELHI!8m2!3d28.5962104!4d77.1788233!3m4!1s0x390d1d69e65aea35:0x95c8f02076400bf2!8m2!3d28.5962104!4d77.1788233?hl=en" target="_blank">Conference Room, UNESCO New Delhi, 1 San Martin Marg, Chanakyapuri, New Delhi, 110021</a> (<em>Note: Please bring your identity document to enter the UNESCO premises</em>)</h4>
<h4>RSVP: Registration is closed</h4>
<h4>Booklet: <a href="https://github.com/cis-india/website/raw/master/docs/labex-icca-cis-unesco_symposium-2018_booklet.pdf">Download</a> (PDF)</h4>
<h4>Programme: <a href="https://cis-india.org/raw/files/research-symposium-on-transitions-in-cultural-and-creative-industries-in-india-programme-2018/at_download/file">Download</a> (PDF)</h4>
<h4>Poster: <a href="https://raw.githubusercontent.com/cis-india/website/master/img/labex-icca-cis-unesco_symposium-2018_poster.png">Download</a> (PNG)</h4>
<h4>Organisers: <a href="https://icca.univ-paris13.fr/" target="_blank">LabEx ICCA, Université Paris 13</a>, <a href="http://www.unesco.org/new/en/newdelhi" target="_blank">UNESCO New Delhi</a>, <a href="http://csh-delhi.com/" target="_blank">Centre for Social Sciences and Humanities (CSH)</a>, <a href="http://ceias.ehess.fr/" target="_blank">Centre d'études de l'Inde et de l'Asie du Sud (CEIAS)</a>, and the Centre for Internet and Society (CIS), India</h4>
<hr />
<img src="digital-transitions-in-cultural-and-creative-industries-in-india-symposium-2018/leadImage" alt="Research Symposium on Digital Transitions in Cultural and Creative Industries in India, New Delhi, Feb 27-28" width="50%" />
<p> </p>
<h3><strong>Concept Note</strong></h3>
<p>Digital technologies involve, accompany and provoke changes in the structuring of industrial sectors. How are they more particularly transforming the creation, production, distribution processes in cultural and creative industries? What are reconfigurations and challenges associated with the rise in power of actors from the industries of communication and information? What are the new stakeholder strategies, economic models and power relationships involved? Does digital have the effect of empowering the smallest actors / self-employed / freelancers or on the contrary does it allow large players to relieve themselves of the promotion, production costs on individual creator?</p>
<p>A growing interest in fields such as digital humanities, new media, digital cultures and the Galleries, Libraries, Archives and Museums (GLAM) sector is another important development here. The rise of a number of digital initiatives in arts and humanities practice, research and teaching has also brought up significantly the question of new skills or expertise required in these fields. The need for digital literacy and ‘re-skilling’ to adapt to new forms of arts and humanities practice in a digital environment has often come with much criticism, as it is viewed as an effort towards vocationalisation and professionalization of these disciplines, a result of the changing mandates of the university and higher education in general. How do we then productively engage with these questions of skill, expertise and labour that goes into the building of new digital industries, which are often located within and at the periphery of academia and creative practices? Importantly, how can concerns about a perceived conflict of creativity and industry be addressed as these transformations take place rapidly with the advent of the digital is an important point of focus.</p>
<p>A critical exploration of the prevalent discourse around creative industries would offer ways of identifying what could be the different forms of digital creative and cultural industries developing in India, and how they problematize for us questions of cultural expression, knowledge production, creativity and labour. The conflation and overlap of both ‘cultural’ and ‘creative industries’ and the location of these terms within a larger discourse around policy, economic development, livelihoods and rights, takes on different dimensions post the digital turn. In the context of initiatives like Digital India, and efforts to consolidate an IPR regime, the implications of policy reforms for creative work, especially that performed within informal/underground economies and in the cultural heritage sector are many. These discussions would inform and draw from the ongoing efforts in fostering of a digital economy in India, and the many ways in which it determines cultural production in the rest of the world.</p>
<p>Topics that will be addressed at the symposium include, but are not restricted to:</p>
<p>- Digital turns and transformations in cultural and creative industries</p>
<p>- Media infrastructure, digital platforms, and changing landscape of actors</p>
<p>- Digital transitions in the Indian news industry</p>
<p>- Online/offline lives of creative industries and media consumption</p>
<p>Presented by the Labex ICCA and the Center for Internet and Society (CIS), the symposium will gather Indian, French, and international specialists in the cultural industries, new media and technology, information and communication sciences, and social sciences but also professionals and industrial actors in the cultural and artistic sectors. The event is driven an ambition to promote the creation of an interdisciplinary and inter-institutional Franco-Indian research network to initiate, develop and share research on cultural industries in India and more widely in South Asia.</p>
<h4>Organising Committee</h4>
<p>- Christine Ithurbide (LabEx ICCA, Université Paris 13 / CSH)</p>
<p>- Philippe Bouquillion (LabEx ICCA, Université Paris 13)</p>
<p>- Vibodh Parthasarathi (Jamia Millia Islamia)</p>
<p>- Sumandro Chattapadhyay (The Centre for Internet and Society)</p>
<p>- Puthiya Purayil Sneha (The Centre for Internet and Society)</p>
<p> </p>
<h3><strong>Symposium Programme (Draft)</strong></h3>
<h4>First Day – Tuesday, February 27, 2018</h4>
<p>10:00-10:30<br />
<strong>Tea and Coffee</strong></p>
<p>10:30-11:00<br />
<strong>Welcoming Address</strong><br />
<em>Snigdha Bisht (UNESCO Cultural Department)</em><br />
<strong>Introductions</strong><br />
<em>Shailendra Sigdel (UNESCO Institute for Statistics), Christine Ithurbide (LabEx ICCA / CSH), and Vibodh Parthasarathi (Jamia Millia Islamia)</em></p>
<p>11:00-12:30<br />
<strong>Session 1: Digital Opportunities and Challenges in the Cultural Industries</strong><br />
<em><strong>Speakers:</strong> Tanishka Kachru (National Institute of Design, Ahmedabad), Akshaya Kumar (IIT Indore), and Vivan Sharan (KOAN Advisory)<br />
<strong>Chair:</strong> Christine Ithurbide (LabEx ICCA / CSH)</em></p>
<p>12:30-13:30<br />
<strong>Lunch</strong></p>
<p>13:30-15:00<br />
<strong>Session 2: Digital Transitions in the News Landscape</strong><br />
<em><strong>Speakers:</strong> Zeenab Aneez (Freelance Journalist), Ravichandran Bathran (Dalit Camera), and Franck Rebillard (University of Paris 3 – Sorbonne Nouvelle and Labex ICCA)<br />
<strong>Chair:</strong> Vibodh Parthasarathi (Jamia Millia Islamia)</em></p>
<p>15:00-15:30<br />
<strong>Tea and Coffee</strong></p>
<p>15:30-17:00<br />
<strong>Session 3: Technology, Creativity, and (Re)Skilling</strong><br />
<em><strong>Speakers:</strong> Padmini Ray Murray (Srishti School of Art Design and Technology), Sneha Raghavan (Asia Art Archive), and Xenia Zeiler (University of Helsinki)<br />
<strong>Chair:</strong> Puthiya Purayil Sneha (The Centre for Internet and Society)</em></p>
<h4>Second Day – Wednesday, February 28, 2018</h4>
<p>10:00-10:30<br />
<strong>Tea and Coffee</strong></p>
<p>10:30-12:30<br />
<strong>Session 4: Digital Platforms and Media Distribution</strong><br />
<em><strong>Speakers:</strong> Narendra Ganesh (KPMG), Mae Thomas (Maed in India), Philippe Bouquillion (Université Paris 13 / LabEx ICCA), and Nikhil Pahwa (Medianama)<br />
<strong>Chair:</strong> Sumandro Chattapadhyay (The Centre for Internet and Society)</em></p>
<p>12:30-13:30<br />
<strong>Lunch</strong></p>
<p>13:30-15:00<br />
<strong>Session 5: Copyright, Creative Content, and Rights of Performers</strong><br />
<em><strong>Speakers:</strong> Nandita Saikia (Lawyer), Anubha Sinha (The Centre for Internet and Society), and Manojna Yeluri (Artistik License)<br />
<strong>Chair:</strong> Neha Paliwal (Sahapedia)</em></p>
<p>15:00-15:30<br />
<strong>Tea and Coffee</strong></p>
<p>15:30-17:00<br />
<strong>Session 6: Technologies of Aesthetic Imagi/nation</strong><br />
<em><strong>Speakers:</strong> Farrah Miranda (Artists), Rashmi Munikempanna (Artist), Swati Janu (Architect), and Tara Atluri (Writer, Researcher, Artist)<br />
<strong>Chair:</strong> Tara Atluri (Writer, Researcher, Artist)</em></p>
<p>17:00-18:00<br />
<strong>Concluding Remarks</strong><br />
<em><strong>Speakers:</strong> Christine Ithurbide (LabEx ICCA / CSH), Neha Paliwal (Sahapedia), Philippe Bouquillion (Université Paris 13 / LabEx ICCA), Puthiya Purayil Sneha (The Centre for Internet and Society), Tara Atluri (Writer, Researcher, Artist), and Vibodh Parthasarathi (Jamia Millia Islamia)<br />
<strong>Chair:</strong> Sumandro Chattapadhyay (The Centre for Internet and Society)</em></p>
<p> </p>
<h3><strong>Location of Venue</strong></h3>
<iframe src="https://www.google.com/maps/embed?pb=!1m18!1m12!1m3!1d3503.1188754990826!2d77.17663461441647!3d28.596210382432034!2m3!1f0!2f0!3f0!3m2!1i1024!2i768!4f13.1!3m3!1m2!1s0x390d1d69e65aea35%3A0x95c8f02076400bf2!2sUNESCO+NEW+DELHI!5e0!3m2!1sen!2sin!4v1518344368273" frameborder="0" height="450" width="600"></iframe>
<p> </p>
<p>
For more details visit <a href='https://cis-india.org/raw/digital-transitions-in-cultural-and-creative-industries-in-india-symposium-2018'>https://cis-india.org/raw/digital-transitions-in-cultural-and-creative-industries-in-india-symposium-2018</a>
</p>
No publishersumandroDigital NewsRAW EventsDigital EconomyDigital KnowledgeDigital MediaCreative IndustriesResearchers at Work2018-02-26T11:04:24ZEventReading from a Distance — Data as Text
https://cis-india.org/raw/digital-humanities/reading-from-a-distance
<b>The advent of new digital technologies and the internet has redefined practices of reading and writing, and the notion of textuality which is a fundamental aspect of humanities research and scholarship. This blog post looks at some of the debates around the notion of text as object, method and practice, to understand how it has changed in the digital context. </b>
<p> </p>
<p style="text-align: justify;">The concepts of text and textuality have been central to the discourse on language and culture, and therefore by extension to most of the humanities disciplines, which are often referred to as text-based disciplines. The advent of new digital and multimedia technologies and the internet has brought about definitive changes in the ways in which we see and interpret texts today, particularly as manifested in new practices of reading and writing facilitated by these tools and dynamic interfaces now available in the age of the digital. The ‘text’ as an object of enquiry is also central to much of the discussion and literature on Digital Humanities, given that many scholars, particularly in the West trace its antecedents to practices of textual criticism and scholarship that stem from efforts in humanities computing. Everything from the early attempts in character and text encoding (see <a href="http://www.tei-c.org/index.xml">TEI</a>) to new forms and methods of digital literary curation, either on large online archives or in the form of apps such as Storify or Scoop it have been part of the development of this discourse on the text. Significant among these is the emergence of processes such as text analysis, data mining, distant reading, and not-reading, all of which essentially refer to a process of reading by recognising patterns over a large corpus of texts, often with the help of a clustering algorithm<a name="_ftnref1" href="#_ftn1">[1]</a>. The implications of this for literary scholarship are manifold, with many scholars seeing this as a point of ‘crisis’ for the traditional practices of reading and meaning-making such as close reading, or an attempt to introduce objectivity and a certain quantitative aspect, often construed as a form of scientism, into what is essentially a domain of interpretation. But an equal number of advocates of the process also see the use of these tools as enabling newer forms of literary scholarship by enhancing the ability to work with and across a wide range and number of texts. The simultaneous emergence of new kinds of digital objects, and a plethora of them, and the supposed obscuring of traditional methods in the process is perhaps the immediate source of this perceived discomfort. There are different perspectives on the nature of changes this has led to in understanding a concept that is elementary to the humanities. Apart from the fact that digitisation makes a large corpus of texts now accessible, subject to certain conditions of access of course, it also makes texts ‘ <em>massively addressable at different levels of scale</em>’ as suggested by Micheal Witmore. According to him “Addressable here means that one can query a position within the text at a certain level of abstraction”. This could be at the level of character, words, lines etc that may then be related to other texts at the same level of abstraction. The idea that the text itself is an aggregation of such ‘computational objects’ is new, but as Witmore points out in his essay, it is the nature of this computational object that requires further explanation. In fact, as he concludes in the essay, “textuality is addressability” and further...this is a condition, rather than a technology, action or event”. What this points towards is the rather flexible and somewhat ephemeral nature of the text itself, particularly the digital text, and the need to move out of a notion of textuality which has been shaped so far by the conventions of book culture, which look to ideal manifestations in provisional unities such as the book.<a name="_ftnref2" href="#_ftn2">[2]</a></p>
<p style="text-align: justify;">The notion of the text itself as an object of enquiry has undergone significant change. Various disciplines have for long engaged with the text - as a concept, method or discursive space - and its definitions have changed over time that have added dimensions to ways of doing the humanities. With every turn in literary and cultural criticism in particular, the primacy of the written word as text has been challenged, what is understood as ‘textual’ in a very narrow sense has moved to the visual and other kinds of objects. The digital object presents a new kind of text that is difficult to grasp - the neat segregations of form, content, process etc seem to blur here, and there is a need to unravel these layers to understand its textuality. As Dr. Madhuja Mukherjee, with the Department of Film Studies, at Jadavpur University points out, with the opening up of the digital field, there are more possibilities to record, upload and circulate, as a result of which the very object of study has changed; the text as an object therefore has become very unstable, more so that it already is. Film is an example, where often DVDs of old films no longer exist, so one approaches the ‘text’ through other objects such as posters or found footage. Such texts also available through several online archives now offer possibilities of building layers of meaning through annotations and referencing. Another example she cites is of the Indian Memory project, where objects such as family photographs become available for study as texts for historiography or ethnographic work. She points out that this is not a new phenomenon, as the disciplines of literary and cultural studies, critical theory and history have explored and provided a base for these questions, but there is definitely a new found interest now due the increasing prevalence of digital methods and spaces. One example of such a digital text perhaps is the hypertext<a name="_ftnref3" href="#_ftn3">[3]</a>. George Landow in his book on hypertext draws upon both Barthes and Foucault’s conceptualisation of textuality in terms of nodes, links, networks, web and path, which has been posited in some sense as the ideal text. Landow’s analysis emphasises the multilinearity of the text, in terms of its lack of a centre, and therefore the reader being able to organise the text according to his own organising principle - possibilities that hypertext now offers which the printed book could not. While hypertext illustrates the post-structural notion of what comprises an open text as it were, it may still be linear in terms of embodying certain ideological notions which shape its ultimate form. Hypertext, while in a pragmatic sense being the text of the digital is still at the end of a process of signification or meaning-making, often defined within the parameters set by print culture.</p>
<p style="text-align: justify;">But to return to what has been one of the fundamental notions of textual criticism, the ‘text’ is manifested through practices of reading and writing <a name="_ftnref4" href="#_ftn4">[4]</a>. So what have been the implications of digital technologies for these processes which have now become technologised, and by extension for our understanding of the text? While processes such as distant reading and not-reading demonstrate precisely the variability of meaning-making processes and the fluid nature of textuality, they also seem to question the premise of the method and form of criticism itself. Franco Moretti, his book Graphs, Maps and Trees talks about the possibilities accorded by clustering algorithms and pattern recognition as a means to wade through corpora, thus attempting to create what he calls an ‘abstract model of literary history’. He describes this approach as ‘within the old territory of literary history, a new object of study’...He further says, “Distant reading, I have once called this type of approach, where distance is however not an obstacle, but a <em>specific kind of knowledge: </em>fewer elements<em>, </em>hence a sharper sense of their overall interconnection. Shapes, relations, structures. Forms. Models.” The emphasis for Moretti therefore is on the method of reading or meaning-making. There seem to be two questions that emerge from this perceived shift - one is the availability of the data and tools that can ‘facilitate’ this kind of reading, and the second is a change in the nature of the object of enquiry itself, so much so that close reading or textual analysis is not engaging or adequate any longer and calls for other methods. An example much closer home of such new forms of textual criticism is that of ‘ <a href="http://bichitra.jdvu.ac.in/index.php">Bichitra’</a>, an online variorum of Rabindranath Tagore’s works developed by the School of Cultural Texts and Records at Jadavpur University. The traditional variorum in itself is a work of textual criticism, where all the editions of the work of an author are collated as a corpus to trace the changes and revisions made over a period of time. The Tagore varioum, while making available an exhaustive resource on the author’s work, also offers a collation tool that helps trace such variations across different editions of works, but with much less effort otherwise needed in manually reading through these texts. Like paper variorum editions, this online archive too allows for study of a wider number and diversity of texts on a single author through cross-referencing and collation.</p>
<p style="text-align: justify;">As is apparent in the development of new kinds of tools and resources to facilitate reading, there is a problem of abundance that follows once the problem of access has been addressed to some extent. Clustering algorithms have been used to generate and process data in different contexts, apart from their usage in statistical data analysis. The role of data is pertinent here; and particularly that of big data. But the understanding of big data is still shrouded within the conventions of computational practice, so much so that its social aspects are only slowly being explored now, particularly in the context of reading practices. Big data as understood in the field of computing is data that is so vast or complex that it cannot be processed by existing database management tools or processing applications<a name="_ftnref5" href="#_ftn5">[5]</a>. But if one were to treat data as text, as is an eventual possibility with literary criticism that uses computational methods, what becomes of the critical ability to decode the text - and does this further change the nature of the text itself as a discursive object, and the practice of reading and textual criticism as a result. Reading data as text then also presupposes a different kind of reader, one that is no longer the human subject. This would be a significant move in understanding how the processes of textuality also change to address new modes of content generation, and how much the contours of such textuality reflect the changes in the discursive practices that construct it. Most of the debate however has been framed within a narrative of loss - of criticality and a particular method of making meaning of the world. Close reading as a method too came with its own set of problems - which can be seen as part of a larger critique of the Formalists and later American New Criticism, specifically in terms of its focus on the text. As such, this further contributes to canonising a certain kind of text and thereby a form of cultural and literary production. <a name="_ftnref6" href="#_ftn6">[6]</a> Distant reading as a method, though also seen as an attempt to address this problem by including corpora, still poses the same issues in terms of its approach, particularly as the text still serves as the primary and authoritative object of study. The emphasis therefore comes back to reading as a critical and discursive practice. The objects and tools are new; the skills to use them need to be developed. However, as much of the literature and processes demonstrate, the critical skills essentially remain the same, but now function at a meta-level of abstraction. Kathleen Fitzpatrick in her book on the rise of electronic publishing and planned technological obsolescence dwells on the manner in which much of our reading practice is still located in print or specifically book culture; the conflict arises with the shift to a digital process and interface, in terms of trying to replicate the experience of reading on paper. Add to this problem of abundance of data, and processes like curation, annotation, referencing, visualisation, abstraction etc acquire increased valence as methods of creatively reading or making meaning of content. <a name="_ftnref7" href="#_ftn7">[7]</a></p>
<p style="text-align: justify;">Whether as object, method or practice, the notion of textuality and the practice of the reading have undergone significant changes in the digital context, but whether this is a new domain of enquiry is a question one may ask. Matthew G. Kirschenbaum in his essay on re-making reading suggests that perhaps the function of these clustering algorithms, apart from serving to supplant or reiterate what we already know is to also ‘provoke’ new ideas or questions. This is an interesting use of the term, given that the suggestion to use quantitative methods such as clustering and pattern recognition in fields that are premised on close reading and interpretation is itself a provocative one and has implications for content. The conflict produced between close and distant reading, the shift from print to digital interfaces would therefore emerge as a space for new questions around the given notion of text and textuality. But if one were to extend that thought, it may be pertinent to ask if the Digital Humanities can now provide us with a vibrant field that will help produce a better and more nuanced understanding of the notion of the text itself as an object of enquiry. This would require one to work with and in some sense against the body of meaning already generated around the text, but in essence the very conflict may be where the epistemological questions about the field are located.</p>
<p style="text-align: justify;"><strong> References: </strong></p>
<ol>
<li style="text-align: justify;">Fitzpatrick, Kathleen, “Texts”, Planned Obsolescence – Publishing, Technology and Future of the Academy, New York and London: New York University Press, 2011. pp.89 – 119.</li>
<li style="text-align: justify;">Kirschenbaum, M.G, “The Remaking of Reading: Data Mining and the Digital Humanities”, Conference proceedings; National Science Foundation Symposium on Next Generation of Data Mining and Cyber-Enabled Discovery for Innovation, Balitmore, October 10-12, 2007, <a class="external-link" href="http://www. cs. umbc. edu/hillol/NGDM07/abstracts/talks/MKirschenbaum. pdf">http://www. cs. umbc. edu/hillol/NGDM07/abstracts/talks/MKirschenbaum. pdf</a>. </li>
<li style="text-align: justify;">Landow, George. P, Hypertext: The Convergence of Critical Theory and Technology, Balitmore: John Hopkins University Press, 1992 pp 2-12</li>
<li style="text-align: justify;">Moretti, Franco, Graphs, Maps and Trees: Abstract Models for a Literary History, Verso: London and New York, 2005. p.1</li>
<li style="text-align: justify;">Whitmore, Michael , “Text: A Massively Addressable Object”, Debates in the Digital Humanities, ed. Mathew K. Gold, University of Minnesota Press: 2012 pp 324 – 327 <a href="http://dhdebates.gc.cuny.edu/debates/text/24">http://dhdebates.gc.cuny.edu/debates/text/24</a></li>
<li style="text-align: justify;">Wilkens, Mathew, “Canons,Close Reading and the Evolution of Method” Debates in the Digital Humanities, ed. Mathew K. Gold, University of Minnesota Press: 2012 pp 324 – 327 <a href="http://dhdebates.gc.cuny.edu/debates/text/24">http://dhdebates.gc.cuny.edu/debates/text/24</a></li></ol>
<div style="text-align: justify;">
<hr align="left" size="1" width="100%" />
<div id="ftn1">
<p><a name="_ftn1" href="#_ftnref1">[1]</a> For more on cluster analysis and algorithms see http://en.wikipedia.org/wiki/Cluster_analysis</p>
</div>
<div id="ftn2">
<p><a name="_ftn2" href="#_ftnref2">[2]</a> See Witmore, 2012. pp 324 - 327</p>
</div>
<div id="ftn3">
<p><a name="_ftn3" href="#_ftnref3">[3]</a> A term coined by Theodor H. Nelson, which he describes as “a series of text chunks connected by links which offer the reader different pathways” ( As quoted in Landow, 1991. pp 2-12)</p>
</div>
<div id="ftn4">
<p><a name="_ftn4" href="#_ftnref4">[4]</a> Barthes, 1977. pp 155 - 164</p>
</div>
<div id="ftn5">
<p><a name="_ftn5" href="#_ftnref5">[5]</a> See http://en.wikipedia.org/wiki/Big_data</p>
</div>
<div id="ftn6">
<p><a name="_ftn6" href="#_ftnref6">[6]</a> See Wilkens (2012). pp 249-252</p>
</div>
<div id="ftn7">
<p><a name="_ftn7" href="#_ftnref7">[7]</a> See Fitzpatrick (2011), pp 89 -119</p>
</div>
</div>
<p>
For more details visit <a href='https://cis-india.org/raw/digital-humanities/reading-from-a-distance'>https://cis-india.org/raw/digital-humanities/reading-from-a-distance</a>
</p>
No publishersnehaDigital KnowledgeMapping Digital Humanities in IndiaResearchDigital HumanitiesResearchers at Work2015-11-13T05:29:12ZBlog EntryReading from a Distance – Data as Text
https://cis-india.org/raw/reading-from-a-distance-data-as-text
<b>An extended survey of digital initiatives in arts and humanities practices in India was undertaken during the last year. Provocatively called 'mapping digital humanities in India', this enquiry began with the term 'digital humanities' itself, as a 'found' name for which one needs to excavate some meaning, context, and location in India at the present moment. Instead of importing this term to describe practices taking place in this country - especially when the term itself is relatively unstable and undefined even in the Anglo-American context - what I chose to do was to take a few steps back, and outline a few questions/conflicts that the digital practitioners in arts and humanities disciplines are grappling with. The final report of this study will be published serially. This is the third among seven sections.</b>
<p> </p>
<h2>Sections</h2>
<p>01. <a href="http://cis-india.org/raw/digital-humanities-in-india">Digital Humanities in India?</a></p>
<p>02. <a href="http://cis-india.org/raw/a-question-of-digital-humanities">A Question of Digital Humanities</a></p>
<p>03. <strong>Reading from a Distance – Data as Text</strong></p>
<p>04. <a href="http://cis-india.org/raw/the-infrastructure-turn-in-the-humanities">The Infrastructure Turn in the Humanities</a></p>
<p>05. <a href="http://cis-india.org/raw/living-in-the-archival-moment">Living in the Archival Moment</a></p>
<p>06. <a href="http://cis-india.org/raw/new-modes-and-sites-of-humanities-practice">New Modes and Sites of Humanities Practice</a></p>
<p>07. <a href="http://cis-india.org/raw/digital-humanities-in-india-concluding-thoughts">Digital Humanities in India – Concluding Thoughts</a></p>
<hr />
The concepts of text and textuality have been central to the discourse on language and culture, and therefore by extension to most of the humanities disciplines, which are often referred to as text-based disciplines. The advent of new digital and multimedia technologies and the internet has brought about definitive changes in the ways in which we see and interpret texts today, particularly as manifested in new practices of reading and writing facilitated by these tools and dynamic interfaces now available in the age of the digital. The ‘text’ as an object of enquiry is also central to much of the discussion and literature on DH given that many scholars, particularly in the West trace its antecedents to practices of textual criticism and scholarship that stem from efforts in humanities computing. Everything from the early attempts in character and text encoding <strong>[1]</strong> to new forms and methods of digital literary curation, either on large online archives or in the form of social media such as Storify <strong>[2]</strong> or Scoop-it <strong>[3]</strong> have been part of the development of this discourse on the text. Significant among these is the emergence of processes such as text analysis, data mining, distant reading, and not-reading, all of which essentially refer to a process of reading by recognising patterns over a large corpus of texts, often with the help of a clustering algorithm <strong>[4]</strong>. The implications of this for literary scholarship are manifold, with many scholars seeing this as a point of ‘crisis’ for the traditional practices of reading and meaning-making such as close reading, or an attempt to introduce objectivity and a certain quantitative aspect, often construed as a form of scientism, into what is essentially a domain of interpretation (Wieseltier 2013). But an equal number of advocates of the process also see the use of these tools as enabling newer forms of literary scholarship by enhancing the ability to work with and across a wide range and number of texts.
<p> </p>
<p>The simultaneous emergence of new kinds of digital objects, and a plethora of them, and the supposed obscuring of traditional methods in the process is perhaps the immediate source of this perceived discomfort. There are different perspectives on the nature of changes this has led to in understanding a concept that is elementary to the humanities. Apart from the fact that digitisation makes a large corpus of texts now accessible, subject to certain conditions of access of course, it also makes texts '<em>massively addressable at different levels of scale</em>' as suggested by Michael Witmore (Witmore 2012: 324-327, emphasis as in the original). According to him: "[A]ddressable here means that one can query a position within the text at a certain level of abstraction" (Ibid. 325). This could be at the level of character, words, lines etc that may then be related to other texts at the same level of abstraction. The idea that the text itself is an aggregation of such ‘computational objects’ is new, but as Witmore points out in his essay, it is the nature of this computational object that requires further explanation. In fact, as he concludes in the essay, "textuality is addressability and further ... this is a condition, rather than a technology, action or event" (Ibid. 326). What this points towards is the rather flexible and somewhat ephemeral nature of the text itself, particularly the digital text, and the need to move out of a notion of textuality which has been shaped so far by the conventions of book culture, which look to ideal manifestations in provisional unities such as the book (Ibid. 327).</p>
<p> </p>
<h2>Of Texts and Hypertextuality</h2>
<p>An example much closer home of such new forms of textual criticism is that of 'Bichitra' <strong>[5]</strong>, an online variorum of Rabindranath Tagore’s works developed by the School of Cultural Texts and Records at Jadavpur University. The traditional variorum in itself is a work of textual criticism, where all the editions of the work of an author are collated as a corpus to trace the changes and revisions made over a period of time. The Tagore variorum, while making available an exhaustive resource on the author’s work, also offers a collation tool that helps trace such variations across different editions of works, but with much less effort otherwise needed in manually reading through these texts. Like paper variorum editions, this online archive too allows for study of a wider number and diversity of texts on a single author through cross-referencing and collation. Prof. Sukanta Chaudhuri <strong>[6]</strong>, Professor Emeritus, Department of English and School of Cultural Texts and Records at Jadavpur University, Kolkata has been part of the process of setting up this variorum. According to him the most novel aspects of this platform, or as he calls it - 'integrated knowledge site' - are to do with these functions of cross-referencing and integration. The bibliography is a hyperlinked structure, which connects to all the different digital versions of a particular text (the most being 20 versions of a single poem). The notion of a bibliography has always evoked hypertextuality – the possibility to link and cross - reference texts, but with the advent of the digital, this possibility has been fully realized, as seen in the case of the hypertext <strong>[7]</strong>. For collation, the project team developed a unique software, titled 'Prabhed,' (meaning difference in Bengali) that helps to assemble text at three levels (a) chapter in novel, act/scene in drama, canto in poem; (b) para in novel or other prose, speech in drama, stanza in poem; (c) individual words.. For instance, you can choose a particular section of a book, poem or play - and compare its occurrences across different editions and versions of the work to note their matches and differences. If two paragraphs have been removed from one chapter, and put into another, that can be traced through the collation software. If a particular word has been omitted in a later edition, or if certain lines have been rearranged in a poem, these changes can be tracked <strong>[8]</strong>. What makes the search engine 'integrated' is not simply that it can search all Tagore's works in one go, but that it links up with the bibliography and thereby with the actual text of the works. It is interesting to note here the different changes that the text undergoes to become available for study on a digital platform, where it is amenable to intense searching and querying of this kind. It is now possible to search across a large corpus of texts, for minute changes in words or sentences, and ask questions of these in terms of their usage, instances and contexts of their occurrence, thus facilitating a kind of enquiry previously never undertaken in textual studies.</p>
<p>The project however is not without its challenges, as Prof. Chaudhuri further outlines. Working with Indic scripts is a persistent problem for digital initiatives in India. In Bengali some work has been done in the form of a scientifically designed keyboard software called Avro, which stores all the conjunct letters preserving their separate characteristics <strong>[9]</strong>. Developing Optical Character Recognition (OCR) for scanned material in Indian languages remains a crucial issue for most digitization and archival initiatives in India. Other issues include the problem of vowel markers appearing before the consonants, even if phonetically they follow and are keyed in afterwards. To get the font and keyboard software to recognize this is a big challenge. The third challenge, especially in the case of works printed from the nineteenth century to the middle of the twentieth century, is that there are vast differences in spelling; the same word can be spelt in different ways, and as there is no lexicon, one may not do any kind of general search. There is also the issue of a high degree of inflection in the language. A word may have a suffix (or, <em>vibhakti</em>) attached to it to indicate the case: one for the subject of the sentence, another for the object, another for the possessive case and so on. These are multiplied by the different forms of the verbs. The development of a lexicon in Bengali would be one of the ways to resolve many of these issues. However, as most people can only see and interact with the digital interface of Bichitra, and not really understand the process behind it, or the amount of work involved in making the platform work the way it does, funding for research and development, maintenance and sustainability is difficult to obtain. Backroom file management, which includes both paper and digital files remains a big but largely invisible task on such a platform. The total number of files generated from Bichitra is tens of millions or hundreds of millions, and many of these are offline files which would not even go on to the website. Hence while uploading the files, the basic groundwork for a retrieval system for different files serving different functions had already been laid, including the creation of a bibliography, which was a huge exercise in itself. The process of making text available as hypertext is labor that is invisibilized, and is rarely or never available to the end user.</p>
<p>Prof. Chaudhuri also speaks of ways in which the notion of textuality has been rendered differently through the use of the internet and digital technologies. Digital or electronic text has helped theorize better the notion of a fluid text - the fact that a text is never complete, but only bound between the covers of a book at a given point of several processes that are technological as well as social. The notion of the text itself as an object of enquiry has undergone significant change in the last several decades. Various disciplines have for long engaged with the text - as a concept, method or discursive space - and its definitions have changed over time that have added dimensions to ways of doing the humanities. With every turn in literary and cultural criticism in particular, the primacy of the written word as text has been challenged, what is understood as ‘textual’ in a very narrow sense has moved to the visual and other kinds of objects. The digital object presents a new kind of text that is difficult to grasp - the neat segregations of form, content and process seem to blur here, and there is a need to unravel these layers to understand its textuality. As Dr. Madhuja Mukherjee, with the Department of Film Studies, at Jadavpur University points out, with the opening up of the digital field, there are more possibilities to record, upload and circulate, as a result of which the very object of study has changed; the text as an object therefore has become very unstable, more so that it already is. Film is an example, where often DVDs of old films no longer exist, so one approaches the 'text' through other objects such as posters or found footage. Such texts also available through several online archives now offer possibilities of building layers of meaning through annotations and referencing. Another example she cites is of the Indian Memory project, where objects such as family photographs become available for study as texts for historiography or ethnographic work. She points out that this is not a new phenomenon, as the disciplines of literary and cultural studies, critical theory and history have explored and provided a base for these questions, but there is definitely a new found interest now due the increasing prevalence of digital methods and spaces.</p>
<p>Shaina Anand, artist and filmmaker, further espouses this thought when she talks about the new possibilities of textual analysis of film that are now possible, particularly in terms of temporal control, first with the DVD, then the internet and now with online archival platforms like Indiancine.ma <strong>[10]</strong> and the Public Access Digital Media Archive, or Pad.ma <strong>[11]</strong>. The first is an online archive of Indian film from the pre-copyright era (so effectively before 1955), while the second is an archive of found and archival footage, images sound clips and unfinished films <strong>[12]</strong>. Both platforms allow the user to search through an array of material, view/listen to them download or embed them as links. They make available to users not just an online database for storage and retrieval but also a space to work with a range of materials in multiple video and audio formats and themes through annotations and referencing. The annotation tool is perhaps the most innovative aspect of these platforms, wherein a user can pause, isolate a section of a sequence and annotate it using a range of options and filters. The annotations are textual, in the form of comments, commentary and marginalia (in the case of Pad.ma) and can also link to other paraphernalia around the film object, such as posters, images, advertisements and other literature. Users can also contextualize material by adding transcripts, descriptions, events, keywords, and even locating the events in the video on a map. These have brought to the fore several questions on relevance, accessibility and ownership, as in the case of raw footage from films, and opened up possibilities for such materials to be re-contextualized by the reader in different ways. This layering of annotations around the film object also creates a new research object, or text that then necessitates new methods of studying it as well. As opposed to the earlier practice of the researcher/critic having to watch the film first and then comment or analyse it, and relying on memory to generate the scholarship, it is now possible to pause, analyse or read and come back to the film and annotate the text in several ways. What does this do to the film text - the process documenting the form is new, not cinema as a form itself – is a question that comes up quite prominently here. The computational aspect also is important here, given the vast amount of footage that is now available, which then requires better lexical indexing to compute and manage large data sets. This has been a constant endeavour with Pad.ma and Indiancine.ma as well.</p>
<p>As in the case of film, what becomes prominent here is the move to a digital text of some sort. One such example of a digital text perhaps is the hypertext. George Landow in his book on hypertext draws upon both Barthes and Foucault’s conceptualisation of textuality in terms of nodes, links, networks, web and path, which has been posited as the 'ideal text' by Barthes (Landow 2006: 2). Landow’s analysis emphasises the multilinearity of the text, in terms of its lack of a centre, and therefore the reader being able to organise the text according to his own organising principle - possibilities that hypertext now offers which the printed book could not. While hypertext illustrates the possibilities of multilinearity of a text that can be realised in the digital, it may still be linear in terms of embodying certain ideological notions which shape its ultimate form. Hypertext, while in a pragmatic sense being the text of the digital is still at the end of a process of signification or meaning-making, often defined within the parameters set by print culture. As such it is only the narrative, and not the form itself that is multi-linear in hypertext fiction.</p>
<p> </p>
<h2>Textual Criticism in the Digital</h2>
<p>But to return to what has been one of the fundamental notions of textual criticism, the 'text' is manifested through practices of reading and writing (Barthes 1977). So what have been the implications of digital technologies for these processes which have now become technologised, and by extension for our understanding of the text? While processes such as distant reading and not-reading demonstrate precisely the variability of meaning-making processes and the fluid nature of textuality, they also seem to question the premise of the method and form of criticism itself. Franco Moretti, in his book <em>Graphs, Maps and Trees</em> talks about the possibilities accorded by clustering algorithms and pattern recognition as a means to wade through corpora, thus attempting to create what he calls an 'abstract model of literary history' (Moretti 2005: 1). He describes this approach as "within the old territory of literary history, a new object of study." He further says, "Distant reading, I have once called this type of approach, where distance is however not an obstacle, but a <em>specific kind of knowledge</em>: fewer elements, hence a sharper sense of their overall interconnection. Shapes, relations, structures. Forms. Models" (Moretti 2005: 1, emphasis as in original). The emphasis for Moretti therefore is on the method of reading or meaning-making. There seem to be two questions that emerge from this perceived shift - one is the availability of the data and tools that can 'facilitate' this kind of reading, and the second is a change in the nature of the object of enquiry itself, so much so that close reading or textual analysis is not engaging or adequate any longer and calls for other methods of reading.</p>
<p>As is apparent in the development of new kinds of tools and resources to facilitate reading, there is a problem of abundance that follows once the problem of access has been addressed to some extent. Clustering algorithms have been used to generate and process data in different contexts, apart from their usage in statistical data analysis. The role of data is pertinent here; and particularly that of big data. But the understanding of big data is still shrouded within the conventions of computational practice, so much so that its social aspects are only slowly being explored now, particularly in the context of reading practices. Big data as not just a reference to volume but also its other aspects of data such as velocity, scope, and granularity among others significantly increases the ambit of what the term covers, with implications for new epistemologies and modes of research (Kitchin 2014). But if one were to treat data as text, as is an eventual possibility with literary criticism that uses computational methods, what becomes of the critical ability to decode the text – and does this further change the nature of the text itself as a discursive object, and the practice of reading and textual criticism as a result. Reading data as text then also presupposes a different kind of reader, one that is no longer the human subject. This would be a significant move in understanding how the processes of textuality also change to address new modes of content generation, and how much the contours of such textuality reflect the changes in the discursive practices that construct it. Most of the debate however has been framed within a narrative of loss - of criticality and a particular method of making meaning of the world. Close reading as a method too came with its own set of problems - which can be seen as part of a larger critique of the Formalists and later New Criticism, specifically in terms of its focus on the text. As such, this further contributes to canonising a certain kind of text and thereby a certain form of cultural and literary production (Wilkens 2012). Distant reading as a method, though also seen as an attempt to address this problem by working with corpora as opposed to select texts, still poses the same issues in terms of its approach, particularly as the text still serves as the primary and authoritative object of study. The emphasis therefore comes back to reading as a critical and discursive practice. The objects and tools are new; the skills to use them need to be developed. However, as much of the literature and processes demonstrate, the critical skills essentially remain the same, but now function at a meta-level of abstraction. Kathleen Fitzpatrick in her book on the rise of electronic publishing and planned technological obsolescence dwells on the manner in which much of our reading practice is still located in print or specifically book culture; the conflict arises with the shift to a digital process and interface, in terms of trying to replicate the experience of reading on paper (Fitzpatrik 2011). Add to this problem of abundance of data, and processes like curation, annotation, referencing, visualisation, abstraction etc. acquire increased valence as methods of creatively reading or making meaning of content (Ibid.). More importantly, it also points towards a change and diversity in the disciplinary method. Where close reading was once the only method by which a text became completely accessible to the reader, it is now possible to approach it through a set of processes, thus urging us to rethink the method of enquiry itself.</p>
<p>Whether as object, method or practice, the notion of textuality and the practice of the reading have undergone significant changes in the digital context, but whether this is a new domain of enquiry is a question we may still need to ask. Matthew G. Kirschenbaum in his essay on re-making reading (quoted earlier in this chapter) suggests that perhaps the function of these clustering algorithms, apart from serving to supplant or reiterate what we already know is to also ‘provoke’ new ideas or questions (Kirschenbaum XXXX: 3). The conflict produced between close and distant reading, the shift from print to digital interfaces would therefore emerge as a space for new questions around the given notion of text and textuality. But if one were to extend that thought, it may be pertinent to ask if DH can now provide us with a vibrant field that will help produce a better and more nuanced understanding of the notion of the text itself as an object of enquiry. This would require one to work with and in some sense against the body of meaning already generated around the text, but in essence the very conflict may be where the epistemological questions about the field are located. The digital text, owing to the possibilities of ‘massive addressability,’ mentioned earlier is now more fluid and socialized. The renewed focus on the textual is most apparent in this manner of imagining the text, using the metaphor of a highly interlinked, networked and shared text. It also puts forth important questions then of how we understand technology a certain way, especially in the context of language and representation as an important factor of understanding new textual objects. Is technology a tool for textual analysis, or is it in inherent to our understanding of the nature of the text? Is the development of these methods of enquiry shaped by certain disciplinary requirements, and do they also challenge or create new conflicts for traditional methods of enquiry? The growth in the study of different media objects, such as video and cinema, and the advent of areas such as media studies, oral history, media archaeologies has further prompted concerns regarding the study of the digital object in these disciplines, and a rethinking of how we understand the notion of the text.</p>
<p> </p>
<h2>Notes</h2>
<p><strong>[1]</strong> "The Text Encoding Initiative (TEI) is a consortium which collectively develops and maintains a standard for the representation of texts in digital form. Its chief deliverable is a set of Guidelines which specify encoding methods for machine-readable texts, chiefly in the humanities, social sciences and linguistics. Since 1994, the TEI Guidelines have been widely used by libraries, museums, publishers, and individual scholars to present texts for online research, teaching, and preservation." See: <a href="http://www.tei-c.org/">http://www.tei-c.org/</a>.</p>
<p><strong>[2]</strong> See: <a href="https://storify.com/">https://storify.com/</a></p>
<p><strong>[3]</strong> See: <a href="http://www.scoop.it/">http://www.scoop.it/</a></p>
<p><strong>[4]</strong> For more on text mining see Lisa Guernsey in 'Digging for Nuggets of Wisdom,' in The New York Times, October 16, 2003 <a href="http://www.nytimes.com/2003/10/16/technology/circuits/16mine.html?pagewanted=print">http://www.nytimes.com/2003/10/16/technology/circuits/16mine.html?pagewanted=print</a>. For more on data mining, distant reading, and the changing nature of reading practices see Matthew Kirschenbaum in 'The Remaking of Reading,' <a href="http://www.csee.umbc.edu/~hillol/NGDM07/abstracts/talks/MKirschenbaum.pdf">http://www.csee.umbc.edu/~hillol/NGDM07/abstracts/talks/MKirschenbaum.pdf</a>.</p>
<p><strong>[5]</strong> See: <a href="http://bichitra.jdvu.ac.in/">http://bichitra.jdvu.ac.in/</a>.</p>
<p><strong>[6]</strong> Interview with author, July 30, 2015.</p>
<p><strong>[7]</strong> A term coined by Theodor H. Nelson, which he describes as "a series of text chunks connected by links which offer the reader different pathways." As quoted in George Landow, <em>Hypertext: The Convergence of Contemporary Critical Theory and Technology</em>, Baltimore: John Hopkins University Press, 1992, 2-12.</p>
<p><strong>[8]</strong> Bichitra, 'Collation Guide,' accessed on September 17, 2015, <a href="http://bichitra.jdvu.ac.in/bichitra_collation_guide.php">http://bichitra.jdvu.ac.in/bichitra_collation_guide.php</a>.</p>
<p><strong>[9]</strong> Omicron Lab, accessed September 17, 2015. <a href="https://www.omicronlab.com/avro-keyboard.html">https://www.omicronlab.com/avro-keyboard.html</a>.</p>
<p><strong>[10]</strong> See: <a href="http://pad.ma/">http://pad.ma/</a>.</p>
<p><strong>[11]</strong> See: <a href="http://indiancine.ma/">http://indiancine.ma/</a>.</p>
<p><strong>[12]</strong> For more on these platforms see the section on DH institutions in India.</p>
<p> </p>
<h2>References</h2>
<p>Barthes, Roland. "From Work to Text". In <em>Image, Music, Text</em>. London: Fontana Press, 1977.</p>
<p>Fitzpatrick, Kathleen. "Texts" in <em>Planned Obsolescence: Publishing, Technology and the Future of the Academy</em>. New York: New York University Press, 2011.</p>
<p>Kirschenbaum, Matthew. "The Remaking of Reading". <a href="http://www.csee.umbc.edu/%7Ehillol/NGDM07/abstracts/talks/MKirschenbaum.pdf">http://www.csee.umbc.edu/~hillol/NGDM07/abstracts/talks/MKirschenbaum.pdf</a>.</p>
<p>Kitchin, Rob. 'Big Data, New Epistemologies, and Paradigm Shifts,' <em>Big Data & Society</em>, 2014, April–June, pp. 1–12, DOI: 10.1177/2053951714528481.</p>
<p>Landow, George. <em>Hypertext: The Convergence of Contemporary Critical Theory and Technology</em>. Baltimore: Johns Hopkins University Press, 1992.</p>
<p>Moretti, Franco. <em>Graphs, Maps, Trees: Abstract Models for a Literary History</em>, Verso, 2005.</p>
<p>Wieseltier, Leon, 'Crimes Against Humanities,' The New Republic, September 3, 2013, <a href="http://www.newrepublic.com/article/114548/leon-wieseltier-responds-steven-pinkers-scientism">http://www.newrepublic.com/article/114548/leon-wieseltier-responds-steven-pinkers-scientism</a>.</p>
<p>Wilkens, Mathew. "Canons, Close Reading and the Evolution of Method". In <em>Debates in the Digital Humanities </em> Ed. M.K. Gold. Minneapolis: University of Minnesota Press, 2012.</p>
<p>Witmore, Michael. "Text: A Massively Addressable Object". In <em>Debates in the Digital Humanities</em>, Ed. M.K. Gold. Minneapolis: University of Minnesota Press, 2012</p>
<p> </p>
<p>
For more details visit <a href='https://cis-india.org/raw/reading-from-a-distance-data-as-text'>https://cis-india.org/raw/reading-from-a-distance-data-as-text</a>
</p>
No publishersneha-ppDigital KnowledgeMapping Digital Humanities in IndiaResearchDigital HumanitiesResearchers at Work2016-06-30T05:06:58ZBlog EntryPathways to Higher Education
https://cis-india.org/digital-natives/pathways/learning-in-higher-education
<b>The Pathways Project to Higher Education is a collaboration between the Higher Education Innovation and Research Applications (HEIRA) at the Centre for the Study of Culture and Society (CSCS) and the Centre for Internet and Society (CIS). The project is supported by the Ford Foundation and works with disadvantaged students in nine undergraduate colleges in Maharashtra, Karnataka and Kerala, to explore relationships between Technologies, Higher Education and the new forms of social justice in India.</b>
<p>These colleges are the SIES College of Arts, Science and Commerce, Mumbai, St. Xavier’s College, Mumbai, Ahmednagar College, Ahmednagar, UC College, Aluva, Newman College, Thodupuzha, Farook College, Kozhikode, Vidhyavardhaka College, Mysore, Dr. AV Baliga College, Kumta and St. Aloysius College, Mangalore from the states of Maharashtra, Kerala and Karnataka.</p>
<p>
For more details visit <a href='https://cis-india.org/digital-natives/pathways/learning-in-higher-education'>https://cis-india.org/digital-natives/pathways/learning-in-higher-education</a>
</p>
No publishernishantResearchers at WorkDigital Knowledge2015-03-30T14:52:54ZPageP.P. Sneha - Mapping Digital Humanities in India
https://cis-india.org/papers/mapping-digital-humanities-in-india
<b>It gives us great pleasure to publish the second title of the CIS Papers series. This report by P.P. Sneha comes out of an extended research project supported by the Kusuma Trust. The study undertook a detailed mapping of digital practices in arts and humanities scholarship, both emerging and established, in India. Beginning with an understanding of Digital Humanities as a 'found term' in the Indian context, the study explores the discussion and debate about the changes in humanities practice, scholarship and pedagogy that have come about with the digital turn. Further it inquires about the spaces and roles of digital technologies in the humanities, and by extension in the arts, media, and creative practice today; transformations in the objects and methods of study and practice in these spaces; and the shifts in the imagination of the ‘digital’ itself, and its linkages with humanities practices. </b>
<p> </p>
<h4>Download: <a href="https://github.com/cis-india/website/raw/master/docs/CIS_Papers_2016.02_PP-Sneha.pdf">Mapping Digital Humanities in India</a> (PDF)</h4>
<hr />
<h2>Foreword</h2>
<p>What different forms do digital humanities (DH) research and expertise take around the world? My colleagues and I investigated this question for our report on <a href="https://www.clir.org/pubs/reports/pub168" target="_blank"><em>Building Expertise to Support Digital Scholarship: A Global Perspective</em></a>. In some places, we struggled to find resources on local practices in DH, but fortunately in India we could draw upon the excellent work of P.P. Sneha and the Centre for Internet and Society. In a series of insightful blog posts, Sneha explored the implications of technology for humanities scholarship and surveyed digital humanities practices in India.</p>
<p>Now Sneha has brought this work together in “Mapping Digital Humanities in India.” Rather than falling into naive boosterism or superficial critique, this report plumbs deep questions about humanistic knowledge in a digital age: What do we make of textuality in a digital environment? How might digital tools and platforms contribute to conflicts about authority? How does digital infrastructure affect how humanities research can be practiced? Sneha probes the complexities of these questions, drawing from theorists such as Benjamin, Derrida and Foucault as well as digital humanities scholars such as Franco Moretti and Patrik Svensson.</p>
<p>From this strong theoretical foundation, “Mapping Digital Humanities in India” explores specific challenges and possibilities for DH in India, synthesizing rich interviews with a range of Indian scholars. Sneha notes that digital humanities is in an “incipient stage” in India, given the persistence of the digital divide in much of the country, the association of the term with a specific history in the Anglo-American context, and concerns about the uncritical embrace of technology. The report highlights several Indian projects that demonstrate how technology can be used to create and disseminate humanistic knowledge. Creating online resources in Indic languages poses challenges, especially inputting languages and translating between them. To create an online variorum of Nobel prize-winning author Rabindranath Tagore’s works, Bichitra had to develop a Bangla character set. Bichitra enables readers to collate texts at the level of the chapter/canto, paragraph/stanza or word. In the realm of film and video, Indiancine.ma (which archives Indian films from the pre-copyright period) and Pad.ma (which houses found and deposited audio, video, and allied materials) offer powerful annotation tools and open up the archive into a space
for interpretation and collaboration.</p>
<p>As digital humanities scholars attempt to move past a limited, Anglo-American perspective, “Mapping Digital Humanities in India” provides a model for how we can understand local practices in DH and connect them to ongoing discussions about humanistic knowledge. Through this report, readers can navigate central issues in digital humanities, explore the Indian context, and critically examine culturally based assumptions about DH practices.</p>
<p><em>- <strong>Lisa Spiro</strong>, Executive Director, Digital Scholarship Services, Rice University, Texas, USA</em></p>
<p> </p>
<h2>Executive Summary</h2>
<p>In the short time span that the term ‘digital humanities’ (henceforth DH) has been around in the Indian academic landscape, it had generated much discussion and debate about the changes in humanities practice, scholarship
and pedagogy that have come about with the digital turn. What are the spaces and roles of digital technologies in the humanities, and by extension in the arts, media, and creative practice today? How has it transformed objects and
methods of study and practice in these spaces? What does it tell us about the relationship between the humanities and technology? Perhaps most importantly, what is our imagination of the ‘digital’ itself, and how does it shape
our humanities practices?</p>
<p>These are but a few of the questions that this study on mapping key conversations and actors around the term DH tries to explore in some detail. While the study began as an attempt to understand the growing interest
around the term itself in India, its scope has extended to explore what specific contexts and conditions are in place in India that give it critical purchase. Five universities now offer various programmes in DH in India - ranging from a Master’s degree to certificate courses, and there have been several workshops, winter schools, seminars and one national level consultation over the last five years. Academic and applied practices focus on building of digital archives, film studies, game studies, textual studies, cultural heritage and critical making
to name just a few. While these efforts have managed to create a growing interest in DH, there is still a lack of consensus on what exactly constitutes the field in India. Thus, questions around definition, ontology, and method
remain pertinent, as does the need for recognition by the national academic bureaucracy.</p>
<p>Context is another important factor here - most global narratives of DH reiterate a predominantly Anglo-American narrative that draws from a history in the field of humanities computing, as well as a crisis in higher education,
particularly in the humanities and liberal arts. The efforts to map different histories of DH in the last couple of years, seen in the emergence of fields such as postcolonial DH and feminist DH, then point to diverse locations, and more intersectional perspectives from which the discourse around the field is being shaped. This is an important opportunity to better contextualise the debates around the digital as well – where conditions and hierarchies of access and usage, transition from analogue to the digital, and the notion of ‘digitality’ itself
need to be defined and understood better. In India, with initiatives such as the Digital India programme, and the increasing push for the adoption of digital technologies in every sphere from education to governance, and now a steady push towards a digital economy, there is already a tremendous amount of investment in the idea of the digital by a diverse group of stakeholders. These advancements, and the enthusiasm, must be read within the context of a rather chequered and uneven history of the growth of science and technology in India, the advent of the internet and adoption of ICT4D, and existence of digital divides at different levels. The changing higher education system in India, and criticism around a profit-driven model of education, along with the entry of a large number of private actors in the field in the form of MOOCs and other online platforms in the last few years also contribute to this growing interest in DH, as also much of its criticism. In fact, the global discourse on DH and its
linkages with shifts in government funding has seen increasingly polarized positions, with many humanities scholars being uncertain about the political or critical stake of the field, and a concern about the its focus on certain kinds of methods and skill sets at the expense of more traditional ones.</p>
<p>In India, the discourse around DH has largely remained within an academic context so far, although emerging creative practices in art, design and media may have been asking questions of a similar nature for some time now. These include efforts to understand changes in objects of enquiry from analogue to digitised and born digital artifacts, and the need for new methods of work and study that are necessitated by these new digital objects. The process of ‘digitisation’ itself is one fraught with several challenges, and demands a closer look – what are tools, resources and skills available for digitisation or creation of new digital cultural artifacts, and the context that facilitates their creation and active use in humanities research and practice. The ‘text’ as the
primary cultural artifact or object of enquiry in the humanities, has undergone several changes with digitisation. Working with digital texts that are fluid and networked, and most often in languages other than English bring forth
several new questions that are not only technological but also conceptual. The emergence of new digital cultural archives and online repositories, owing to the (marginally) increased access to internet and digital technologies and the growth of a culture that facilitates collecting and sharing, has greatly expanded the scope of engagement with these questions. The archive in fact forms a significant part of the discourse around DH in India - the challenges and prospects offered by digital cultural artifacts are quite diverse, ranging from modes of documentation, preservation and curation to dissemination over online spaces, and there is a need to understand these in greater detail. Infrastructure emerges as an important political and conceptual question here – while an interest in technological advancement and innovation, and the growth of a culture of free and open access to knowledge to some extent has helped facilitate work in the humanities at large, the lack of access to funding, expertise, and of course adequate, and advanced physical and technological infrastructure , such as computational methods often limits the kind of work that can be done with digital artifacts.</p>
<p>The implications of these changes for the study and practice of humanities are several, particularly with respect to traditional methods of pedagogy and scholarship. The access to resources like Wikipedia and devices like the mobile phone have facilitated a move towards more distributed, non-hierarchical, and individualised models and practices of learning, which simultaneously are premised upon new kinds of centralisation, hierarchies, and aggregation of information. The need to develop new forms of digital pedagogy as well as creating more spaces for such conversations within and outside the academic context would be crucial here. This growth of digitally-engaged
humanities practice raises pertinent questions about how exactly the “digital turn” is transforming the humanities, its practice and politics. DH being an interdisciplinary field also offers the possibilities to engage with creative, often alternative practices that exist at the margins of mainstream academia, thus trying to encourage collaborative work across different domains of expertise. The inherited separation of disciplines, or even humanities and technology as suggested by the term DH, may then be contentious here, as it creates the
opportunity to explore a twinned history of humanities and technology.</p>
<p>While the field of DH in India continues to develop slowly but surely, and hopefully widely, as more institutions and individuals become engaged with DH and related works, these key questions around its history, methods, and scope will continue to remain pertinent over the next years. For us at the Centre for Internet and Society, studying DH at this historical juncture when the Indian state is rushing towards embracing the “digital” provides a critical lens to understand and engage with the reconfigurations in modes and practices of arts and humanities scholarship and pedagogy in particular, and digital economies of knowledge in general.</p>
<p> </p>
<h2>CIS Papers</h2>
<p>The CIS Papers series publishes open access monographs and discussion pieces that critically contribute to the debates on digital technologies and society. It includes publication of new findings and observations, of work-in-progress, and of critical review of existing materials. These may be authored by researchers at or affiliated to CIS, by external researchers and practitioners, or by a group of discussants. CIS offers editorial support to the selected monographs and discussion pieces. The views expressed, however, are of the authors' alone.</p>
<p> </p>
<p>
For more details visit <a href='https://cis-india.org/papers/mapping-digital-humanities-in-india'>https://cis-india.org/papers/mapping-digital-humanities-in-india</a>
</p>
No publishersneha-ppHigher EducationDigital KnowledgeCIS PapersDigital HumanitiesEducation TechnologyMapping Digital Humanities in IndiaDigitisationDigital ScholarshipRAW ResearchResearchers at Work2016-12-31T05:56:49ZBlog EntryNothing to Kid About – Children's Data Under the New Data Protection Bill
https://cis-india.org/internet-governance/blog/ijlt-shweta-mohandas-and-anamika-kundu-march-6-2022-nothing-to-kid-about-childrens-data-under-the-new-data-protection-bill
<b>The pandemic has forced policymakers to adapt their approach to people's changing practices, from looking at contactless ways of payment to the shifting of educational institutions online.</b>
<p class="public-DraftStyleDefault-text-ltr fixed-tab-size public-DraftStyleDefault-block-depth0 iWv3d b+iTF _78FBa _1FoOD iWv3d _1j-51 mm8Nw" style="text-align: justify; ">The article was originally <a class="external-link" href="https://www.ijlt.in/post/nothing-to-kid-about-children-s-data-under-the-new-data-protection-bill">published in the Indian Journal of Law and Technology</a></p>
<hr />
<p class="public-DraftStyleDefault-text-ltr fixed-tab-size public-DraftStyleDefault-block-depth0 iWv3d b+iTF _78FBa _1FoOD iWv3d _1j-51 mm8Nw" style="text-align: justify; ">For children, the internet has shifted from being a form of entertainment to a medium to connect with friends and seek knowledge and education. However, each time they access the internet, data about them and their choices are inadvertently recorded by companies and unknown third parties. The growth of EdTech apps in India has led to growing concerns regarding children's data privacy. This has led to the creation of a <a class="_1lsz7 _3Bkfb" href="https://economictimes.indiatimes.com/tech/startups/edtech-firms-work-to-get-communication-right-with-the-asci/articleshow/89082308.cms" rel="noopener noreferrer" target="_blank">self-regulatory</a> body, the Indian EdTech Consortium. More recently, the <a class="_1lsz7 _3Bkfb" href="https://economictimes.indiatimes.com/tech/startups/edtech-firms-work-to-get-communication-right-with-the-asci/articleshow/89082308.cms" rel="noopener noreferrer" target="_blank">Advertising Standard Council of India</a><span class="_3zM-5"> has </span>also started looking at passing a draft regulation to keep a check on EdTech advertisements.</p>
<p class="public-DraftStyleDefault-text-ltr fixed-tab-size public-DraftStyleDefault-block-depth0 iWv3d b+iTF _78FBa _1FoOD iWv3d _1j-51 mm8Nw" style="text-align: justify; ">The Joint Parliamentary Committee (JPC), tasked with drafting and revising the Data Protection Bill, had to consider the number of changes that had happened after the release of the 2019 version of the Bill. While the most significant change was the removal of the term “personal data” from the title of the Bill, in a move to create a comprehensive Data Protection Bill that includes both personal and non personal data. Certain other provisions of the Bill also featured additions and removals. The JPC, in its revised version of the Bill has removed an entire class of <a class="_1lsz7 _3Bkfb" href="https://prsindia.org/billtrack/the-personal-data-protection-bill-2019#:~:text=Obligations%20of%20data%20fiduciary%3A%20A,specific%2C%20clear%20and%20lawful%20purpose" rel="noopener noreferrer" target="_blank">data fiduciaries</a> – guardian data fiduciary – which was tasked with greater responsibility for managing children's data. While the JPC justified the removal of the guardian data fiduciary stating that consent from the guardian of the child is enough to meet the end for which personal data of children are processed by the data fiduciary. While thought has been given to looking at how consent is given by the guardian on behalf of the child, there was no change in the age of children in the Bill. Keeping the age of consent under the Bill as the same as the age of majority to enter into a contract under the 1872 Indian Contract Act – 18 years – reveals the disconnect the law has with the ground reality of how children interact with the internet.</p>
<p class="public-DraftStyleDefault-text-ltr fixed-tab-size public-DraftStyleDefault-block-depth0 iWv3d b+iTF _78FBa _1FoOD iWv3d _1j-51 mm8Nw" style="text-align: justify; ">In the current state of affairs where Indian children are navigating the digital world on their own there is a need to look deeply at the processing of children’s data as well as ways to ensure that children have information about consent and informational privacy. By placing the onus of granting consent on parents, the PDP Bill fails to look at how consent works in a privacy policy–based consent model and how this, in turn, harms children in the long run.</p>
<h3 class="public-DraftStyleDefault-text-ltr fixed-tab-size public-DraftStyleDefault-block-depth0 iWv3d aujbK _3M0Fe _1FoOD iWv3d _1j-51 mm8Nw">1. Age of Consent</h3>
<p class="public-DraftStyleDefault-text-ltr fixed-tab-size public-DraftStyleDefault-block-depth0 iWv3d b+iTF _78FBa _1FoOD iWv3d _1j-51 mm8Nw" style="text-align: justify; ">By setting the age of consent as 18 years under the Data Protection Bill, 2021, it brings all individuals under 18 years of age under one umbrella without making a distinction between the internet usage of a 5-year-old child and a 16-year-old teenager. There is a need to look at the current internet usage habits of children and assess whether requiring parental consent is reasonable or even practical. It is also pertinent to note that the law in the offline world does make the distinction between age and maturity. For example, it has been <a class="_1lsz7 _3Bkfb" href="https://cis-india.org/internet-governance/blog/pallavi-bedi-and-shweta-mohandas-cis-comments-on-data-protection-bill" rel="noopener noreferrer" target="_blank">highlighted</a> that Section 82 of the Indian Penal Code, read with Section 83, states that any act by a child under the age of 12 years shall not be considered an offence, while the maturity of those aged between 12–18 years will be decided by the court (individuals between the age of 16–18 years can also be tried as adults for heinous crimes). Similarly, child labour laws in the country allow children above the age of 14 years to work in non-hazardous industries, which would qualify them to fall under Section 13 of the Bill, which deals with employee data.</p>
<p style="text-align: justify; "><span>A 2019 </span><a class="_1lsz7 _3Bkfb" href="https://reverieinc.com/wp-content/uploads/2020/09/IAMAI-Digital-in-India-2019-Round-2-Report.pdf" rel="noopener noreferrer" target="_blank">report</a><span> suggests that two-thirds of India’s internet users are in the 12–29 years age group, accounting for about 21.5% of the total internet usage in metro cities. With the emergence of cheaper phones equipped with faster processing and low internet data costs, children are no longer passive consumers of the internet. They have social media accounts and use several applications to interact with others and make purchases. There is a need to examine how children and teenagers interact with the internet as well as the practicality of requiring parental consent for the usage of applications.</span></p>
<p style="text-align: justify; "><span>Most applications that require age data request users to type in their date of birth; it is not difficult for a child to input a suitable date that would make it appear that they are </span><a class="_1lsz7 _3Bkfb" href="https://www.theguardian.com/media/2013/jul/26/children-lie-age-facebook-asa" rel="noopener noreferrer" target="_blank">over 18</a><span>. In this case they are still children but the content that will be presented to them would be those that are meant for adults including content that might be disturbing or those involving use of </span><a class="_1lsz7 _3Bkfb" href="https://www.theguardian.com/media/2013/jul/26/children-lie-age-facebook-asa" rel="noopener noreferrer" target="_blank">alcohol and gambling. </a><span>Additionally, in their privacy policies, applications sometimes state that they are not suited for and restricted from users under 18. Here, data fiduciaries avoid liability by placing the onus on the user to declare their age and properly read and understand the privacy policy.</span></p>
<p style="text-align: justify; "><span>Reservations about the age of consent under the Bill have also been highlighted by some members of the JPC through their dissenting opinions. </span><a class="_1lsz7 _3Bkfb" href="http://164.100.47.193/lsscommittee/Joint%20Committee%20on%20the%20Personal%20Data%20Protection%20Bill,%202019/17_Joint_Committee_on_the_Personal_Data_Protection_Bill_2019_1.pdf#page=221" rel="noopener noreferrer" target="_blank">MP Ritesh Pandey </a><span>suggested that the age of consent should be reduced to 14 years keeping the best interest of the children in mind as well as to support children in benefiting from technological advances. Similarly, </span><a class="_1lsz7 _3Bkfb" href="http://164.100.47.193/lsscommittee/Joint%20Committee%20on%20the%20Personal%20Data%20Protection%20Bill,%202019/17_Joint_Committee_on_the_Personal_Data_Protection_Bill_2019_1.pdf#page=221" rel="noopener noreferrer" target="_blank">MP Manish Tiwari </a><span>in his dissenting opinion suggested regulating data fiduciaries based on the type of content they provide or data they collect.</span></p>
<h3><span>2. How is the 2021 Bill Different from the 2019 Bill?</span></h3>
<p style="text-align: justify; "><span>The </span><a class="_1lsz7 _3Bkfb" href="http://164.100.47.4/BillsTexts/LSBillTexts/Asintroduced/373_2019_LS_Eng.pdf" rel="noopener noreferrer" target="_blank">2019 </a><span>draft of the Bill consisted of a class of data fiduciaries called guardian data fiduciaries – entities that operate commercial websites or online services directed at children or which process large volumes of children’s personal data. This class of fiduciaries was barred from profiling, tracking, behavioural monitoring, and running targeted advertising directed at children and undertaking any other processing of personal data that can cause significant harm to the child. In the previous draft, such data fiduciaries were not allowed to engage in ‘profiling, tracking, behavioural monitoring of children, or direct targeted advertising at children’. There was also a prohibition on conducting any activities that might significantly harm the child. As per Chapter IV, any violation could attract a penalty of up to INR 15 crore of the worldwide turnover of the data fiduciary for the preceding financial year, whichever is higher. However, this separate class of data fiduciaries do not have any additional responsibilities. It is also unclear as to whether a data fiduciary that does not by definition fall within such a category would be allowed to engage in activities that could cause ‘significant harm’ to children.</span></p>
<p style="text-align: justify; "><span>The new Bill also does not provide any mechanisms for age verification and only lays down considerations that verification processes should be undertaken. Furthermore, the JPC has suggested that consent options available to the child when they attain the age of majority i.e. 18 years should be included within the rule frame by the Data Protection Authority instead of being an amendment in the Bill.</span></p>
<h3><span>3. In the Absence of a Guardian Data Fiduciary</span></h3>
<p style="text-align: justify; "><span>The 2018 and 2019 drafts of the PDP Bill consider a child to be any person below the age of 18 years. For a child to access online services, the data fiduciary must first verify the age of the child and obtain consent from their guardian. The Bill does not provide an explicit process for age verification apart from stating that regulations shall be drafted in this regard. The 2019 Bill states that the Data Protection Authority shall specify codes of practice in this matter. Taking best practices into account, there is a need for ‘</span><a class="_1lsz7 _3Bkfb" href="https://cuts-ccier.org/pdf/project-brief-highlighting-inclusive-and-practical-mechanisms-to-protect-childrens-data.pdf" rel="noopener noreferrer" target="_blank">user-friendly and privacy-protecting age verification techniques</a><span>’ to encourage safe navigation across the internet. This will require </span><a class="_1lsz7 _3Bkfb" href="https://cuts-ccier.org/pdf/bp-global-technological-developments-in-age-verification-and-age-estimation.pdf" rel="noopener noreferrer" target="_blank">looking at </a><span>technological developments and different standards worldwide. There is a need to hold companies </span><a class="_1lsz7 _3Bkfb" href="https://www.livemint.com/opinion/columns/theres-a-better-way-to-protect-the-online-privacy-of-kids-11615306723478.html" rel="noopener noreferrer" target="_blank">accountable</a><span> for the protection of children’s online privacy and the harm that their algorithms cause children and to make sure that they are not continued.</span></p>
<p class="public-DraftStyleDefault-text-ltr fixed-tab-size public-DraftStyleDefault-block-depth0 iWv3d b+iTF _78FBa _1FoOD iWv3d _1j-51 mm8Nw" style="text-align: justify; ">The JPC in the 2021 version of the Bill removed provisions about guardian data fiduciaries, stating that there was no advantage in creating a different class of data fiduciary. As per the JPC, even those data fiduciaries that did not fall within the said classification would also need to comply with rules pertaining to the personal data of children i.e. with Section 16 of the Bill. Section 16 of the Bill requires the data fiduciary to verify the child’s age and obtain consent from the parent/guardian. The manner of age verification has also een spelt out. Furthermore, since ‘significant data fiduciaries’ is an existing class, there is still a need to comply with rules related to data processing. The JPC also removed the phrase “in the best interests of, the child” and “is in the best interests of, the child” under sub-clause 16(1), implying that the entire Bill concerned the rights of the data principal and the use of such terms dilutes the purpose of the legislation and could give way to manipulation by the data fiduciary.</p>
<h3><span>Conclusion</span></h3>
<p style="text-align: justify; "><span>Over the past two years, there has been a significant increase in applications that are targeted at children. There has been a proliferation of EduTech apps, which ideally should have more responsibility as they are processing children's data. We recommend that instead of creating a separate category, such fiduciaries collecting children's data or providing services to children be seen as ‘significant data fiduciaries’ that need to take up additional compliance measures.</span></p>
<p style="text-align: justify; "><span>Furthermore, any blanket prohibition on tracking children may obstruct safety measures that could be implemented by data fiduciaries. These fears are also increasing in other jurisdictions as there is a likelihood to restrict data fiduciaries from using software that looks out for such as </span><a class="_1lsz7 _3Bkfb" href="https://www.unodc.org/e4j/en/cybercrime/module-12/key-issues/online-child-sexual-exploitation-and-abuse.html" rel="noopener noreferrer" target="_blank">Child Sexual Abuse Material</a><span> as well as online predatory behaviour. Additionally, concerning the age of consent under the Bill, the JPC could look at international best practices and come up with ways to make sure that children can use the internet and have rights over their data, which would enable them to grow up with more awareness about data protection and privacy. One such example to look at could be the Children's Online Privacy Protection Rule (COPPA) in the US, where the rules apply to operators of websites and online services that collect personal information from kids </span><a class="_1lsz7 _3Bkfb" href="https://www.ftc.gov/tips-advice/business-center/guidance/childrens-online-privacy-protection-rule-six-step-compliance" rel="noopener noreferrer" target="_blank">under 13 </a><span>or provide services to children that are directed at a general audience, but have actual knowledge that they collect personal information from such children. A form of combination of this system and the significant data fiduciary classification could be one possible way to ensure that children’s data and privacy are preserved online.</span></p>
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<p>The authors are researchers at the Centre for Internet and Society and thank their colleague Arindrajit Basu for his inputs.</p>
<p>
For more details visit <a href='https://cis-india.org/internet-governance/blog/ijlt-shweta-mohandas-and-anamika-kundu-march-6-2022-nothing-to-kid-about-childrens-data-under-the-new-data-protection-bill'>https://cis-india.org/internet-governance/blog/ijlt-shweta-mohandas-and-anamika-kundu-march-6-2022-nothing-to-kid-about-childrens-data-under-the-new-data-protection-bill</a>
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No publisherShweta Mohandas and Anamika KunduDigitalisationDigital KnowledgeInternet GovernanceData ProtectionData Management2022-03-10T13:19:52ZBlog EntryNotes for India as the digital trade juggernaut rolls on
https://cis-india.org/internet-governance/blog/the-hindu-arindrajit-basu-february-8-2022-notes-for-india-as-the-digital-trade-juggernaut-rolls-on
<b>Sitting out trade negotiations could result in the country losing out on opportunities to shape the rules.</b>
<p>The article by Arindrajit Basu was <a class="external-link" href="https://www.thehindu.com/opinion/op-ed/notes-for-india-as-the-digital-trade-juggernaut-rolls-on/article38393921.ece">published in the Hindu</a> on February 8, 2022</p>
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<p style="text-align: justify; ">Despite the cancellation of the Twelfth Ministerial Conference (MC12) of the World Trade Organization (WTO) late last year (scheduled date, November 30, 2021-December 3, 2021) due to COVID-19, digital trade negotiations continue their ambitious march forward. On December 14, Australia, Japan, and Singapore, co-convenors of the plurilateral Joint Statement Initiative (JSI) on e-commerce, welcomed the ‘substantial progress’ made at the talks over the past three years and stated that they expected a convergence on more issues by the end of 2022.</p>
<h3>Holding out</h3>
<p style="text-align: justify; ">But therein lies the rub: even though JSI members account for over 90% of global trade, and the initiative welcomes newer entrants, over half of WTO members (largely from the developing world) continue to opt out of these negotiations. They fear being arm-twisted into accepting global rules that could etiolate domestic policymaking and economic growth. India and South Africa have led the resistance and been the JSI’s most vocal critics. India has thus far resisted pressures from the developed world to jump onto the JSI bandwagon, largely through coherent legal argumentation against the JSI and a long-term developmental vision. Yet, given the increasingly fragmented global trading landscape and the rising importance of the global digital economy, can India tailor its engagement with the WTO to better accommodate its economic and geopolitical interests?</p>
<h3><strong>Global rules on digital trade</strong></h3>
<p style="text-align: justify; ">The WTO emerged in a largely analogue world in 1994. It was only at the Second Ministerial Conference (1998) that members agreed on core rules for e-commerce regulation. A temporary moratorium was imposed on customs duties relating to the electronic transmission of goods and services. This moratorium has been renewed continuously, to consistent opposition from India and South Africa. They argue that the moratorium imposes significant costs on developing countries as they are unable to benefit from the revenue customs duties would bring.</p>
<p style="text-align: justify; ">The members also agreed to set up a work programme on e-commerce across four issue areas at the General Council: goods, services, intellectual property, and development. Frustrated by a lack of progress in the two decades that followed, 70 members brokered the JSI in December 2017 to initiate exploratory work on the trade-related aspects of e-commerce. Several countries, including developing countries, signed up in 2019 despite holding contrary views to most JSI members on key issues. Surprise entrants, China and Indonesia, argued that they sought to shape the rules from within the initiative rather than sitting on the sidelines.</p>
<p style="text-align: justify; ">India and South Africa have rightly pointed out that the JSI contravenes the WTO’s consensus-based framework, where every member has a voice and vote regardless of economic standing. Unlike the General Council Work Programme, which India and South Africa have attempted to revitalise in the past year, the JSI does not include all WTO members. For the process to be legally valid, the initiative must either build consensus or negotiate a plurilateral agreement outside the aegis of the WTO.</p>
<p style="text-align: justify; ">India and South Africa’s positioning strikes a chord at the heart of the global trading regime: how to balance the sovereign right of states to shape domestic policy with international obligations that would enable them to reap the benefits of a global trading system.</p>
<h3><strong>A contested regime</strong></h3>
<p style="text-align: justify; ">There are several issues upon which the developed and developing worlds disagree. One such issue concerns international rules relating to the free flow of data across borders. Several countries, both within and outside the JSI, have imposed data localisation mandates that compel corporations to store and process data within territorial borders. This is a key policy priority for India. Several payment card companies, including Mastercard and American Express, were prohibited from issuing new cards for failure to comply with a 2018 financial data localisation directive from the Reserve Bank of India. The Joint Parliamentary Committee (JPC) on data protection has recommended stringent localisation measures for sensitive personal data and critical personal data in India’s data protection legislation. However, for nations and industries in the developed world looking to access new digital markets, these restrictions impose unnecessary compliance costs, thus arguably hampering innovation and supposedly amounting to unfair protectionism.</p>
<p style="text-align: justify; ">There is a similar disagreement regarding domestic laws that mandate the disclosure of source codes. Developed countries believe that this hampers innovation, whereas developing countries believe it is essential for algorithmic transparency and fairness — which was another key recommendation of the JPC report in December 2021.</p>
<h3><strong>India’s choices</strong></h3>
<p style="text-align: justify; ">India’s global position is reinforced through narrative building by political and industrial leaders alike. Data sovereignty is championed as a means of resisting ‘data colonialism’, the exploitative economic practices and intensive lobbying of Silicon Valley companies. Policymaking for India’s digital economy is at a critical juncture. Surveillance reform, personal data protection, algorithmic governance, and non-personal data regulation must be galvanised through evidenced insights,and work for individuals, communities, and aspiring local businesses — not just established larger players.</p>
<p style="text-align: justify; ">Hastily signing trading obligations could reduce the space available to frame appropriate policy. But sitting out trade negotiations will mean that the digital trade juggernaut will continue unchecked, through mega-regional trading agreements such as the Regional Comprehensive Economic Partnership (RCEP) and the Comprehensive and Progressive Agreement for Trans-Pacific Partnership (CPTPP). India could risk becoming an unwitting standard-taker in an already fragmented trading regime and lose out on opportunities to shape these rules instead.</p>
<p style="text-align: justify; ">Alternatives exist; negotiations need not mean compromise. For example, exceptions to digital trade rules, such as ‘legitimate public policy objective’ or ‘essential security interests’, could be negotiated to preserve policymaking where needed while still acquiescing to the larger agreement. Further, any outcome need not be an all-or-nothing arrangement. Taking a cue from the Digital Economy Partnership Agreement (DEPA) between Singapore, Chile, and New Zealand, India can push for a framework where countries can pick and choose modules with which they wish to comply. These combinations can be amassed incrementally as emerging economies such as India work through domestic regulations.</p>
<p style="text-align: justify; ">Despite its failings, the WTO plays a critical role in global governance and is vital to India’s strategic interests. Negotiating without surrendering domestic policy-making holds the key to India’s digital future.</p>
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<p style="text-align: justify; "><i>Arindrajit Basu is Research Lead at the Centre for Internet and Society, India. The views expressed are personal. The author would like to thank The Clean Copy for edits on a draft of this article.</i></p>
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For more details visit <a href='https://cis-india.org/internet-governance/blog/the-hindu-arindrajit-basu-february-8-2022-notes-for-india-as-the-digital-trade-juggernaut-rolls-on'>https://cis-india.org/internet-governance/blog/the-hindu-arindrajit-basu-february-8-2022-notes-for-india-as-the-digital-trade-juggernaut-rolls-on</a>
</p>
No publisherbasuDigitalisationDigital KnowledgeInternet GovernanceE-CommerceDigital India2022-02-09T15:04:36ZBlog EntryNIPFP Seminar on Exploring Policy Issues in the Digital Technology Arena
https://cis-india.org/internet-governance/news/nipfp-seminar-on-exploring-policy-issues-in-the-digital-technology-arena
<b>Anubha Sinha participated in this seminar as a discussant on the "Regulating emerging technologies" panel. The event was held at Indian Institute of Advanced Study, Shimla on October 10 - 11, 2019.
</b>
<p>Click to view the <a class="external-link" href="http://cis-india.org/internet-governance/files/exploring-policy-issues-in-the-digital-technology-arena">agenda here</a>. The session briefs can be <a class="external-link" href="http://cis-india.org/internet-governance/files/session-briefs">seen here</a>.</p>
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For more details visit <a href='https://cis-india.org/internet-governance/news/nipfp-seminar-on-exploring-policy-issues-in-the-digital-technology-arena'>https://cis-india.org/internet-governance/news/nipfp-seminar-on-exploring-policy-issues-in-the-digital-technology-arena</a>
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No publisherAdminPrivacyDigital KnowledgeInternet GovernanceDigital TechnologiesDigital India2019-10-20T07:40:16ZNews Item