We are anonymous, we are legion

The Internet Way

nishant — 2014-02-14T06:59:48Z

Dr. Nishant Shah's review of the book “The Everything Store: Jeff Bezos and the Age of Amazon” by Bantam Press/Random House Group, London was published in Biblio Vol. 19 No.8 (1&2), January – February 2014.

Click to download the file (PDF, 2436 Kb). Dr. Nishant Shah's review can be found on page 16.

The Age of Amazon’ is not just the title of a book, it is a retrospective on the history of e-commerce as well as a prophecy for the shape of things to come. In his meticulously reported book, Brad Stone takes us through the roller coaster ride of the ‘Everything Store’ that Amazon has become, building a gripping tale of an idea that has become synonymous to the world of online shopping in just over two decades.

The book reads well as a biopic on the visionary lunacy of Jeff Bezos, the founder of Amazon, as well as a gripping tale of how ideas grow and develop in the digital information age. Stone is an expert storyteller, not only because of his eye for the whimsical, the curious and the enchantment of the seemingly banal, but also because of his ability to question his own craft.

At the very outset, Stone warns us that the book has been compiled through workers at employee, but not Bezos himself. This helps Stone separate the maker from the brand — unlike Steve Jobs who became the cult icon for Apple, Bezos himself has never become the poster child of his brand, allowing

Amazon to become not only an everything store but everybody store. But it means that Stone’s task was to weave together the personal biography of Bezos, his dramatic journey through life with the tumultuous and adventurous inception and growth of Amazon, and his skill lies in the meeting of the twines, which he does with style, ease and charm.

One of the easiest accusations to throw at a book like this is to state that it reduces the murky, blurred, messy and incoherent set of events into a narrative that establishes causes and attributes design and intention where none existed. However, Stone was confronted with the idea of ‘Narrative Fallacy’ — a concept coined by Nassim Nicholas Taleb in his Black Swan, referring to the tendency of human beings to reduce complex phenomenon to “soothing but oversimplified stories”. In fact, the challenge to not reduce the book to a series of connected anecdotes was posed by Bezos when Stone pitched the book to him. And what has emerged is a book about accidents, serendipity, risk, redundancy, failure charting the ineffable, inscrutable and inexplicable ways in which digital technologies are shaping the worlds we live in.

With the rigour and journalistic inquiry that Stone has displayed in his regular writings in The Businessweek, The Everything Store has stories which are as memorable as they are unexpected. Stone does a fantastic job of charting Bezos’ life — from tracking down the lost father who had no idea what his son, who he had abandoned at age three, has become, to the chuckleworthy compilation of Bezos’ favourite quotes (Stone calls it his ‘greatest hits’), the book is filled with pointed and poignant observations and stories that give us an idea of the extraordinary life of Jeff Bezos. But unlike the expected character creation of a mad genius, what you get is the image of a man who lived in contradictions: wedded to his internal idea of truth but also ruthless in his business policies which were predatory and competitive to say the least; a businessman who once wrote a memo titled ‘Amazon.love’ about how he wanted a company to be “loved not feared” but also used the metaphor of a “cheetah preying on the gazelles” in its acquisition of smaller businesses; a man who thought of himself as a “missionary rather than a mercenary” and yet built a business empire that embodies some of the most discriminatory, exploitative and stark conditions of adjunct, adhoc, underpaid and contract-based labour of our precariously mobile worlds.

Stone is masterful as he segues from Bezos’ personal life and ambitions into the monomaniacal and turbulent trajectory of Amazon. Amazon is not a simple success story. It tried and failed at many things, but what remains important is how, it failed at the traditional way of doing things and succeeded at the internet way of thinking. So when Amazon failed, it was not a failure to succeed, but a failure that resulted because the infrastructure needed to make it succeed was not yet in place. Stone’s narrative that effortlessly takes us through the economics, trade, policies, regulation, administration and struggles of Amazon, shows how it was a company that had to invent the world it wanted to succeed in, in order to succeed. In many ways, the book becomes not only about Amazon and its ambitions to sell everything from A-Z, but about how it built prototypes for the rest of the world so that it could become relevant and rule.

But the book is not a Martin-Scorsese-type homage to the scoundrel or the villain. While it is imbued up and spit you out. And if you are good, he will jump on your back and ride you into the ground.” Or as Stone himself suggests, that is the way the company is going to grow “until either Jeff Bezos exits the scene or no one is left to stand in his way”. This policy of taking everything from its employees and channelling it to the relentless growth of the company accounts for not only the high attrition rate of top executives but also the growing controversies about work and labour conditions in Amazon warehouses and on-the-ground delivery services.

Stone’s book does not go into great detail about the new work force that companies like Amazon produce — a work force that is reduced to being a cog in a system, performing mechanical tasks, working at minimal wage, and without the protections that are offered to the white collar high-level technology executives that are the popup children of the digital trade. Stone reminds us that behind the incredible platform that Amazon is, is a massive physical infrastructure which almost reminds us of the early industrial days where the labourer was in a state of exploitation and precariousness. And even as we celebrate the rise of these global behemoths, we might forget that behind the seductive interfaces and big data applications, that under the excitement of drone-based delivery systems and artificial intelligence that will start delivering things even before you place the order, is a system that pushes more and more workers in unprotected and exploitative work conditions.

All in all, The Everything Store is a little bit like Amazon itself. It is a love story of a man with his ideas, and how the rest of the world has shifted, tectonically, to accommodate these eruptions. In its historical retrospective, it shows us the full scope of the ideas and possibilities that inform Amazon, and thus the future that it is going to build for us. And with masterful craftsmanship, Brad Stone writes that it is as much about the one man and his company, as it is about the physical and affective infrastructure of our rapidly transforming digital worlds.

For more details visit https://cis-india.org/internet-governance/blog/biblio-january-february-volume-ix-8-nishant-shah-the-internet-way

February 11: The Day We Fight Back Against Mass Surveillance

divij — 2014-02-14T06:00:05Z

The expansive surveillance being perpetuated by governments and corporations is the single biggest threat to individual liberties in the digital age.

The expanding scope and extent of massive data collection and surveillance undertaken by bodies like the USA’s National Security Agency compromises our privacy and stifles our freedom of speech and expression in its most vital public spheres, affecting the civil liberties of citizens of countries all across the world.

The previous year has been a watershed year for reclaiming the internet as a free and open space, primarily through the exposure of the unwarranted systems of surveillance that threaten it, by whistle-blowers like Edward Snowden and WikiLeaks. Despite all these efforts, they have only managed a dent in the surveillance regimes, which continue unbridled, with the protection of the state and the surveillance industry. The future of a free internet depends upon the systematic challenge of these programs by the millions of internet users they affect.

February 11, 2014 is the day we fight back against mass surveillance. Organized by the Electronic Frontier Foundation, and supported by thousand of organizations like Mozilla and the Centre for Internet and Society, on this day of action, citizens around the world will demand an end to these programs that threaten the freedom of the internet. You can support this cause by signing and supporting the 13 Principles (International Principles on the Application of Human Rights to Communications Surveillance), and contacting your local media, petitioning your local legislators and telling your friends and colleagues about the topic. Publicizing the movement and creating a buzz around it will help spread the message to many others across the internet. Do anything that will make the fight more visible and viable, such as organizing or attending public lectures, or creating tools or memes or art to spread information. For more ways in which you can contribute, and more information on the event, visit the website.

The users of the internet deserve a free and open internet and deserve and end to mass surveillance. If we can make enough noise, make enough of an impact, we can greatly bolster the movement for reclaiming the internet.

For more details visit https://cis-india.org/internet-governance/blog/the-day-we-fight-back-against-mass-surveillance

Internet Intermediary Liability: Towards Evidence-based Policy and Regulatory Reform to Secure Human Rights on the internet

praskrishna — 2014-03-06T05:51:47Z

Elonnai Hickok participated as a speaker at this event organized by Association for Progressive Communications at the Wedgwood, 75A 2nd Ave. Melville, Johannesburg, February 10-11, 2014.

Click to download the full details in this event brochure.

For more details visit https://cis-india.org/news/apc-internet-intermediary-liability-towards-evidence-based-policy-and-regulatory-reform-to-secure-human-rights-on-the-internet

A tale of two Internet campaigns

praskrishna — 2014-03-07T00:19:26Z

Techies supported anti-surveillance campaign, companies backed internet safety.

Deepa Kurup's article was published in the Hindu on February 11, 2014. Sunil Abraham is quoted.

The Internet was the subject of two distinctly different global campaigns, both coinciding on Tuesday. While one is backed by rights groups, civil society organisations and advocates of software and Internet freedom in general, another is run and supported by major tech corporations with a view to creating awareness on being safe online.

Supported by over 5,000 websites globally, including biggies Reddit, Mozilla (makers of Firefox) and the Electronic Frontier Foundation, the ‘Day We Fight Back’ campaign aimed at raising a voice against mass dragnet surveillance by the U.S. government. Despite being a largely U.S.-centric mass campaign attacking the National Security Agency’s spying activities worldwide, groups such as the Free Software Movement of Karnataka (FSMK) and Bangalore-based NGO Centre for Internet and Society have supported it.

On Tuesday, GNU/Linux user groups (known as glugs) in several colleges — coordinated by the FSMK — did classroom-to-classroom campaigns talking to students and creating awareness about surveillance. In some engineering colleges, such as the SJBIT, these glugs are even screening documentaries related to online privacy and mass surveillance over the week. Explaining why the FSMK decided to hold a campaign here, Sarath M.S. of the FSMK said: “While the call for action is directed towards lawmakers in U.S., this affects all of us. It has undermined the sovereignty of nations and privacy of individuals. Given this, it is important to build public opinion among the youth against these surveillance systems, and make them understand the political issues underlying products and services that they use regularly.”

Sunil Abraham of the CIS, an organisation that is listed on the campaign website (www.thedaywefightback.org) as a supporter, says that the global support comes from the fact that people have realised that the idea that the Internet is a democratic medium is not true anymore. “The aftermath of Snowden’s revelations have signalled the end of the Internet as we knew it. This is an attempt by civil society organisations to make a case for the web we want.

Safe Internet Day

Meanwhile, two big companies announced activities as part of the Safe Internet Day, an annual global campaign that promotes safer use of online tech. To mark the occasion, Microsoft Corp released results of the third annual Microsoft Safe Computing Index that found that 20 per cent Indians have been victims of online phishing attacks and 12 per cent have suffered identity theft.

Google India too launched the ‘Good to Know’ campaign on online safety. It announced a partnership with Digital Empowerment Foundation (DEF) and the Voluntary Organisation in the Interest of Consumer Education (VOICE) on this campaign.

For more details visit https://cis-india.org/news/the-hindu-february-11-2014-deepa-kurup-a-tale-of-two-internet-campaigns

Towards an Equitable and Just Internet

praskrishna — 2014-02-17T11:20:19Z

IT for Change is organizing an international meeting to formulate a progressive response to issues of global governance of the Internet. Bhairav Acharya will be participating in this event to be held in New Delhi on February 14 and 15.

The Internet is emerging as a central feature of contemporary human life. We use it to access and disseminate information, to communicate and build community, to transact business and to practise democracy. Ever increasing dimensions of our social, economic, cultural and political life are tied to the Internet.

However, the benefits of the Internet - knowledge and power, wealth and influence, are distributed unevenly. A technology built on the egalitarian peer-to-peer principle, ironically, is emerging as a key axis of inequality, an instrument perpetuating and reinforcing longstanding social, economic, cultural and political injustices. Snowden's dramatic exposé of a deep nexus between the US government and a few global corporations to enable global surveillance, confirmed just one aspect of the problem. The truth about the Internet and how its socio-technical architecture is being shaped is considerably more complex and insidious. The rapid colonisation of the Internet by a few monopolizing global corporations, and its governance being subject, in a highly disproportionate manner, to the laws and policy priorities of one country, impacts not just privacy, but a huge range of very important social, economic, cultural and political issues. (To a lesser extent, policy frameworks developed by clubs of rich countries like the the OCED also impact the emerging shape of the Internet.)

Questions of democracy, social justice and equity need to become central to how the Internet, and how an Internet-mediated society, are evolving. The smokescreen of technical-neutrality has prevented for too long a critical, political examination of the social underpinnings of the Internet, its normative boundaries and legalinstitutional frames. In addition, self-serving formulations like 'Multistakeholderism' and 'Internet Freedom', are employed by the status quo to maintain a facade of legitimacy. Beyond the rhetoric, it is clear that the Internet – in its dominance by the powerful, is neither genuinely multi-stakeholder nor genuinely free.

There are foundational questions to be pursued, in this regard : How is the Internet redistributing power and resources? How does this impact those at the margins, those on the peripheries of an increasingly globalised world? How is such redistribution connected to the socio-technical architecture of the Internet? What kind of Internet would promote social justice and equity? What needs to be done to make it more just, more egalitarian? Who governs the Internet, and how can its governance be democratized? From the standpoint of global justice, two urgent priorities lie ahead of us.

A progressive conception and vision of the Internet, and
A common global ownership of the Internet that protects and promotes its public-ness, and its evolution as a 'global commons'. The Internet was envisaged as a decentralized network, with control from the peripheries. This characteristic of the network is rapidly eroding, What is urgently needed is a recasting of this technical principle into a socio-political framework for a truly people-owned and people-controlled Internet, and one that works for all. The global governance of the Internet requires a proper institutionalization and legal framework incorporating the true spirit of participatory democracy. It should inter alia serve to insulate the Internet both from corporatist and from statist dominations.

An international meeting, entitled 'Towards a Just and Equitable Internet', is envisaged to address the key issues identified above. It will be held in New Delhi, India, on February 14th and 15th, 2013. The meeting will bring together actors engaged in social justice movements and ICT, communication and media rights advocacy to dialogue with some of those already engaged with Internet governance issues, with a view to chart a progressive response to issues related to global governance of the Internet.

Potential outcomes from the meeting include:

A 'charter for Internet justice and equity';
Specific proposals for democratizing the global governance of the Internet as contributions to the 'Global Multistakeholder Meeting on the Future of Internet Governance' being hosted by Brazilian government in April, 2013, the UN Working Group on Enhanced Cooperation and the WSIS + 10 process.

For more details visit https://cis-india.org/news/towards-an-equitable-and-just-internet

Bitcoin & Open Source with Aaron Koenig

praskrishna — 2014-02-06T01:40:24Z

Aaron Koenig, director of bitfilm.org and a global Bitcoin entrepreneur will give a talk at the Centre for Internet and Society, Bangalore on February 7 at 6.00 p.m.

Learn more about Bitcoin and its global path as we explore concepts and ideaologies behind the technology behemoth.


Above is an image of a Bitcoin Expert giving a presentation. Image source: http://bit.ly/1keLpwi

For more details visit https://cis-india.org/events/bitcoin-and-open-source-aaron-koenig

The Changing Role of the Media in India: Constitutional Perspectives

praskrishna — 2014-02-04T06:05:31Z

The School of Law, Christ University is conducting National Conference on The Changing Role of the Media in India: Constitutional Perspectives from 28 February – 1 March 2014. Snehashish Ghosh will be moderating a session at this conference.

Christ University is one of India’s premier universities, offering a wide range of undergraduate, postgraduate and doctoral programmes. The School of Law was introduced in 2006 and is presently offering competitive law programmes, including the 5-Year integrated B.A., LL.B and B.B.A., LL.B (Hons.), as well as LL.M, M.Phil and Ph.D. The School of Law, is in pursuit of a dynamic environment that promotes holistic development of our students, through various co-curricular and extra-curricular activities. In this regard, it organizes a national conference every year. The theme for this year is ‘The Changing Role of the Media in India: Constitutional Perspectives’. The conference is planned to deliberate on the following sub-themes:

The Impact of the Press as the Fourth Estate on Constitution & Democracy
Independence of the Judiciary vis-a-vis Media Activism
Right to Information and the Freedom of the Press
Social Media and its Impact on Free Speech

For more info see the event details posted on Christ University website.

For more details visit https://cis-india.org/news/changing-role-of-media-in-india-constitutional-perspectives

The Dangers Of Birdsong

praskrishna — 2014-02-12T10:29:10Z

Instant gratification? Social media can quickly turn the game into checkmate if you don’t keep your emotions in check.

Namrata Joshi's article was published in Outlook on January 25, 2014. Sunil Abraham is quoted.

“Woke up from a dream in which I had just learned that I was going to keep wickets for India. In my dream, I thought, let me share this news on Twitter. I didn’t, fearing I would be made a laughing stock.” These are few of a series of stream of consciousness tweets about a dream posted this Monday by author-academician Amitava Kumar. Tweets that don’t just have to do with dreaming of a personal achievement, but also about tweeting it. “Twitter has invaded even our sleeping life,” says Amitava on an e-mail but also admits that he didn’t think for a moment that he was sharing something private in a public place while tweeting his reverie. “Instead, perhaps, I was seeking a private connection with a lot of readers.” Which he did rustle up in good measure. He followed it up by tweeting a picture of his son with him, taken by his 10-year-old daughter Ila, as a homage to a similar photostream by author- photographer-art historian Teju Cole.

Amitava’s unfussy and creative candidness about tweeting things personal, which he prefers to see as “grappling with a form of writing” came in the wake of a weekend of vigorous debate on how social media platforms were bringing the private under unblinking public scrutiny—the immediate hook being the sudden, tragic death of Sunanda Pushkar after her no-holds-barred Twitter war with Pakistani journalist Mehr Tarar (over the latter’s alleged liaison with her husband Shashi Tharoor, which was consumed with much amusement by their vicarious, at times vicious, followers). The Tharoor incident is not a stand-alone case. Be it a confidentiality clause or diplomatic tact, a professional decision or personal affair or even a death of someone close to you, social media has become a stage to play out the classified and the confidential (see infographic) by the celebrities and the aam aadmi alike. The payback? Spats, comebacks, breakdowns, meltdowns, resignations, embarrassments, humiliations, kerfuffles....

And it’s not something confined to India alone. “US Congressman Anthony Weiner’s tweet of his, let’s call it, torso, to a young woman in Seattle is perhaps the most egregious example of a US politician behaving badly online,” says Amitava. No surprise then that Weiner became a butt of late-night comedy shows.

But the larger question here is why. Why this urge and urgency to share it all? What is it about a platform like Twitter or Facebook that makes people bare and dare? Is it that the immediacy, speed and reach allows them the easiest way to extend the boundaries of their secluded, lonely lives, get instant attention and fan the curiosity of someone out there who they don’t even know? And why is propriety and moderation getting thrown out of the window in the world of virtual exchanges? Adman-columnist Santosh Desai calls Twitter a “broadcast system to the universe”. The tweets are often “thought bubbles”, “something you mutter” without a full sense of what public means. “The spur of the moment opinion or feeling acquires public currency,” he says. “The unraveling of the human being, the opening up of the closed box then becomes a new source of stimulation and pleasure,” he says. “I sometimes wonder how we shared before Twitter. We talk about what we like, don’t like at the drop of a hat. At times you are vulnerable and vent things out without an agenda and without knowing the repercussions. We creative bunch are like that,” says popular actress Divya Dutta.

According to Sunil Abraham, executive director of the Centre for Internet and Society, Bangalore, private information is a currency in the global attention economy. “One of the many ways of climbing the attention economy is to divulge private information. Those in public life like filmstars and socialites understand this completely and exploit all traditional broadcast channels and contemporary multicast channels like social media to amass public attention,” he says. Look closely and the online space is no different from the real. There are as many exceptions as there are rules. So for every exhibitionist handle that exploits our latent voyeurism, there is a Natasha Badhwar, one of the most life-affirming presences on Twitter. For her, like Amitava, sharing is a mode of expression. “Sharing gives us agency. We take back the power to tell our story, express our views, share our version in our own words,” she says. According to her, “honest” sharing fuels empathy. “It is contagious, it makes the reader want to share too,” she says. And from that sharing could emerge a new pool of acquaintances, friends and well-wishers. It may not be a virtual escape from the real but a journey and connect back to the actual, an expansion of the human circle than a depletion of it.

But not all our friends and followers need necessarily be sympathetic. Often they are also brutally savage. “The anonymity allows people to say exactly what they want without considering the implications. They don’t realise that it’s not just a handle but a human being they are talking to,” says Nikhil Pahwa, founder of medianama.com. Amitava compares it to drone warfare. “The technology of remote destruction has introduced a new experience of war, and a new logic of killing. You can kill with greater abandon; you can strike in unexpected places; you are confronted with few consequences of your fatal mistakes. Similarly, Twitter allows a mode of social exchange with less culpability. There are very few consequences for trolls, but disastrous ones for their victims,” he says.

But surely that doesn’t mean that you blur all the lines between the private and the public? How to exercise caution? How much to open up (or not) and how much of your core to keep to yourself? Life, after all, is too complex and fragile for blame games and finger-pointing at social media alone. It’s those using it who need to own up. “People need to take responsibility for what they say. It’s like someone telling me how he was abused for 15 minutes on the phone when he could have easily cut the call,” says Nikhil Pahwa. “It’s a modern form of communication which you have to embrace but there’s a line you must draw. For instance, my wife and I never interact on FB or Twitter. I keep the family to myself. Jokes are fine but I don’t abuse or use swear words,” says actor Ashwin Mushran. “There has to be a sense of decorum. I won’t put out what I gossip about with my friends. I have no strategy but am guarded by my own belief system,” says actor Rajat Kapoor.

“It’s normal human nature to express. Be it anger or frustration, as a counsellor I tell people to not suppress emotions but some moderation and etiquette need to apply in cyber space,” says Mukta Puntambekar deputy director of Pune-based Muktangan Rehabilitation Centre. “You have to accept that your followers and friends will have access to details about you. You have to exercise discretion in saving something of yourself for yourself. There are areas that need not be opened up for all,” says actor-comedian Vir Das, who recently posted an open letter on FB—‘Twitter Bad? Facebook Evil? or We Stupid?’—on the pointlessness of blaming social media for the Tharoor family tragedy. To extend the argument further, and add another layer to it, aren’t we also living in times when privacy itself is evolving, asks Rajesh Lalwani, CEO of blogworks and a self-confessed people-watcher. “My grandmother would not even eat in public. But we eat in restaurants, on the streets,” he says.

Privacy is also becoming an ambiguous, vague and complex entity. Getting tagged in a friend’s photo compromises your privacy without your involvement or participation. “The line between private and public has mostly dissolved because of the temporal persistence of digital traces in cyberspace, the global nature of the network and the ubiquitous and pervasive surveillance state,” says Abraham. “On Twitter and FB, things get circulated...what we put up, whether it’s a tweet, an update or a picture, is permanent unlike memory,” says Desai. The digital trail stays online. “We are leaving our digital footprints behind. What we post might be easy but the implications of it are complicated,” says writer, filmmaker and media observer Amit Khanna.

According to him, there is a gap between the progression of technology and society. “There are newer windows but our minds are not growing apace to handle the connected world in a mature way,” he says. So one needs to be additionally circumspect about what we do online, how much of us we put out there. The ‘creative minds’ don’t see it as cut and dried. Natasha thinks that sharing can make people vulnerable to ridicule. “Confronting and embracing that vulnerability is the only way forward. These are not real fears to cling to, these are fears to shed as we grow and realise the extent of our individual power.” Amitava says he has seen several careers destroyed because of a single tweet. But he’d hate to back down and be cautious. As he puts it, “You’ve got to push the envelope and experiment with expression. I hope that when my wrong moment comes, people will be forgiving.” Amen to that.

For more details visit https://cis-india.org/news/outlook-namrata-joshi-january-25-2014-dangers-of-birdsong

First Meeting of the Multistakeholder Advisory Group for India Internet Governance Forum

praskrishna — 2014-03-06T05:28:38Z

The Department of Electronics and Information Technology organized a meeting of the Multistakeholder Advisory Group (MAG) for India Internet Governance Forum (IIGF) at Electronics Niketan in New Delhi on February 10, 2014. Sunil Abraham participated in this meeting.

For more details visit https://cis-india.org/news/first-meeting-of-mag-india-internet-governance-forum

CIS joins the the Global Commission on Internet Governance Research Advisory Network

praskrishna — 2014-03-06T05:20:43Z

The Centre for Internet and Society (CIS) has joined the Research Advisory Committee for the Global Commission on Internet Governance.

Mark Raymond on behalf of Dr. Fen Osler Hampson and Dr. Patricia Lewis, as well as Dr. Laura DeNardis invited Sunil Abraham to join this network.

The Research Advisory Network for the Global Commission on Internet Governance (GCIG) is a joint project of the Centre for International Governance and Chatham House (the Royal Institute of International Affairs).

The GCIG, which is chaired by Swedish Foreign Minister Carl Bildt, is a two-year initiative that will present a comprehensive analysis and recommendations on the future of multi-stakeholder Internet governance. It was announced in conjunction with the World Economic Forum in Davos, Switzerland on 22 January 2014. The press release, list of commission members and Frequently Asked Questions can be found here.

The Research Advisory Network is an indispensable component of the GCIG. It will consist of a group of distinguished scholars and experts who provide input to the Commission in several ways:

Identify and prioritize Internet governance and Internet policy related issues within the GCIG mandate;
Provide expert briefings to the members of the Commission
Conduct research and analysis on a commissioned basis, both for GCIG meeting preparatory materials and for inclusion in the companion research volume that will be issued alongside the formal commission report;
Provide peer review of written materials produced in support of the Commission’s work.

The Research Advisory Network will be led by Dr. Laura DeNardis, who has agreed to serve as the Research Director for the GCIG; will be supported by Dr. Mark Raymond at CIGI and by Ms. Caroline Baylon at Chatham House.

If you would like further information or have any questions, please feel free to contact Mark Raymond at mraymond@cigionline.org

For more details visit https://cis-india.org/news/cis-joins-global-commission-on-internet-governance-research-advisory-network

Video Games: A Case Study of a Cross-cultural Video Collaboration

Larissa Hjorth and Nishant Shah — 2014-01-31T12:02:17Z

A new book focusing on Palestinian artists’ video, edited by Bashir Makhoul and published by Palestinian Art Court- al Hoash, 2013, includes a chapter co-authored by Larissa Hjorth and Nishant Shah.

This was published in a book on Palestinian art.

The rise of mobile media is heralding new forms of networked visualities. These visualities see place, politics and images entangled in new ways: what can be called ‘emplaced visuality’. In the images disseminated globally of citizen uprising such as the Arab Spring, it was mobile phones that provided the frame and context for new forms of networked visual politics. In the growth in networked photo apps such as Instagram and Hipstamic, how, when and why we are representing a relationship between place and co-presence is changing. No longer the poorer cousin to professional cameras, camera phones have lead the rise of do-it-yourself (DIY) aesthetics flooding mainstream and subcultural media cultures. In networked visuality contexts such as YouTube and Flickr, the aesthetic of what Burgess has called ‘vernacular creativity’[1] has become all-pervasive—so much so that even mainstream media borrows the DIY style.

Now, with locative media added into the equation, these visualities are not only networked but also emplaced—that is, entangled within the temporal and spatial movements of everyday life.[2]

Emplaced visualities represent a new relationship between place (as a series of what Doreen Massey calls ‘stories so far’)[3] co-presence, subjectivity and visuality. This phenomenon is impacting upon video art. In this chapter we reflect upon how mobile media visualities are impacting upon a sense of place and displacement. With the added dimension of Big Data and location-based services (like Google Maps and Facebook Places) now becoming part of the everyday informational circuits, how a sense of place and privacy is experienced and represented is changing. This phenomenon is apparent in the Palestinian cross-cultural video project called Al Jaar Qabla al Daar (The Neighbour before the House) as we will discuss in detail later in this chapter.

With its history of displacement and disapora, Palestinine’s role in contemporary art is increasingly becoming pivotal. This is especially the case with video art as a key medium for reflecting upon representations of place and movement. When we think of Palestinan video art the first artist we think of is Mona Hatoum. Hatoum was a poineer in so many ways. In particular, she gave voice to Arab women. Her work unsetttled the poetics of the everyday by evoking a sense of displacement and entanglement. While born in Beirut of Palestinan parents and then moving to London, she never identified as Lebanese. Despite never living in Palestinian, Hatoum was like a number of Palestinian refugees in Lebanon post 1948 who were never able to gain Lebanese identity cards. Unsurprisingly, Hatoum’s experiences of exile permulate her work. In particular, exile, politics and the body have played a key role. This is epitomised in her iconic Measures of Distance (1988) whereby Hatoum superimposes images of her mother having a shower with letters by her mum written in Arabian.

However, Hatoum is not the only artist representing the oevre of Palestinian video art. Over the last two decades—with the rise of mobile media affording easy accessibility to new media tools and networked contexts like YouTube—a new breed of video artists has arisen. An example is Navigations: Palestinian Video Art, 1988 to 2011 (curated as part of the Palestine Film Festival) that explored artists working in Palestine and the diaspora over nearly a quarter of a century. Unsurprisingly, motifs of diaspora and displacement feature throughout the fifteen works by Hatoum, Taysir Batniji, Manar Zoabi, Larissa Sansour and Khaled Jarrar to name a few. In Navigations: Palestinian Video Art key themes include ‘mobility and fluidity: the virtual and the real, the past and the future, the spectacular and the quotidian, the near and the far’.

Another example of an event promoting Palestinian video art is the /si:n/ Festival of Video Art & Performance. Consisting of performances, video installations, lectures, talks, and workshops in various venues all over the West Bank and includes artists from all over the world. The name /si:n/ is meant to linked the words ‘scene’ with ‘seen’ and has been seen as making an innovative context for video artists to share and collaborate in public venue. With themes such as ‘poetical revolution comes before political revolution’, the /si:n/ Festival provides a context that reflects upon exile and place in one of the most contested and politucal spaces, the West Bank. Beginning in 2009, the /si:n/ Festival became the first festival of video art in Palestine.

Given this rich tapestry of video art emerging in Palestine, in this chapter we explore the relationship between emergent mobile visualities, diaspora and place through a specific project called The Neighbour before the House. A cross-cultural video collaboration between Indian artists Shaina Anand, Ashok Sukumaran and Nida Ghouse, with Palestinian and Israeli artists Mahmoud Jiddah, Shereen Brakat and Mahasen Nasser-Eldin, The Neighbour before the House is a video art project that explores quotidian practices of life in a ‘post-surveillance society’. The Neighbour before the House is set in the context of the much contested territories and the relentless re-occupation and re-appropriation of East Jerusalem. Working with cheap surveillance technologies which have become such a ubiquitous part of the landscape of East Jerusalem, the artists use a PTZ (pan-tilt-zoom) security camera to inquire into the affective dimensions of ‘mobile’ life in the time of turbulent politics. The images that they capture look at jest, memory, desire and doubt, as fragile conditions of trust and life shape the everyday experiences of the region. The camera is given to the residents of a neighbourhood torn asunder by political strife and conflicts, asking them to search for the nugget of truth or morsel of thickness in the otherwise familiar flatness of walls and closed doors, which have been completely depleted of all depth because of the increased distance in the social relations.

The images eschew the tropes of traditional documentary making by and adopting the grainy, lo-res, digital non-frame, DIY aesthetics constantly in search of an image that might become the site of meaning making, but increasingly only capturing the mundane, the inane, the opaque and the evanescent. The image leads the commentary. The live camera operator’s interest and experience shape the image, rendering the familiar or the insignificant as hugely affective and evocative. The project further initiates a dialogue between the neighbours—both from across the contested zones, but also from across picket fences and walls of surveillance—by introducing the images to them, by inviting them to capture the images, and instil in them, the narratives of hope, despair, nostalgia, memory, loss, love, and longing.

The Neighbour before the House reflects upon the relationship between between art, technologies of visual reproduction and political strife. Moving away from the documentary style that has been popular in capturing the ‘real’, The Neighbour before the House refigures the temporality and spatiality through new affective and metaphorical tropes, playing with the tension between the presence of surveillance technologies and the familiarity of these images that breeds new conditions of life and living, trust and belonging, safety and threat, for people in Palestine. In the process, it introduces key questions to the role of the artist, the function of art, the form of video art practice, and the new negotiations that digital video apparatus introduce to the art worlds, beyond the now main-stream ideas of morphing, digitization, remixing etc.

Moreover, The Neighbour before the House reflects upon a shift away from the dominant network society paradigm and towards more contingent and ambivalent mirconarratives of camera phone practices. It toys with the DIY ‘banality’ aesthetics of camera phones in order to consider the ways in which place is overlaid with different types of information—electronic, geographic, psychological and metaphoric. On the one hand, The Neighbour before the House evokes network society metaphors. On the other hand, it suggests a move away from this paradigm and towards a politics of both ‘emplaced’ and displaced visuality. In order to discuss this transformation of the relationship between image, place and information from network society metaphors towards ‘emplaced’ visualities we firstly describe The Neighbour before the House before then reflecting upon a few key themes the project explores: that is, the movement of the networked society to emplaced visualities and the rise of the politics of the phoneur.

The Neighbour before the House 2012): A case study

As aforementioned, The Neighbor before the House is a collaborative video project between Indian, Israeli and Palestenian artists that appropriates, critically responds and insightfully rearranges the notion of art, politics and digital video technologies in its exploration of everyday practices of life in critical times in a networked post-surveillance society. The Neighbor before the House equips eight Palestenian families from East Jerusalem to be in control of PTZ (Pan Tilt Zoom) surveillance cameras mounted at strategic locations in the city, to observe the live feed on their TV sets, recording their reactions and live commentaries at what they see. Here the Big Brother, and its contemporary Big Data, is inverted through everyday citizens being given the omnipresent eye. It plays on the idea of the neighbour being both a friendly eye and when this watching shifts from being benevolent to malevolent.

As the artists write, ‘this footage shot with a security camera, takes us beyond the instrumental aspects of surveillance imaging, introducing us to the architecture of a deliberate and accelerated occupation of a city.’ Here the city is rendered into a cartography of informational circuits. Exploiting the conditions of networked spectacle, the project attempts to remap the real and the everyday through ‘inquisitiveness, jest, memory, fear, desire and doubt’. They use the surveillance cameras—symbols of suspicion and fear—to catalyse stories from Palestenians in different neighbourhoods about what can be seen: ‘messianic archeological digs; Israeli settlement activities; takeovers of Palestenian properties; the Old City, the Wall and the West Bank,’ among other mundane and marvellous details of living life in those precarious conditions.

Through the inversion of the politics of survellience from the Big Brother to the ubiquitous neighbour, The Neighbor before the House provides a rich, evocative and non-representational history of living in East Jerusalem. The networked media spectacles which have come to stand-in for the complex geo-political struggles of the region are displaced. As the low-res cameras reduce the deep geography into an alien flatness on the TV screens, as the camera captures glimpses of what could have been, records traces of blurred movements which require discussions and debates about their possible meaning, and engages the families to communicate their hopes, fears, desires and doubts, the art project also signals us to the new forms, functions and role of video art. Rather than the media event or spectacle,
The Neighbor before the House provides the micronarrative gestures of the everyday. The ways in which the place is a tapestery of subjectivities and experiences, not just a media spectacle.

As artist Shaina Anand mentions in an interview with Shah, this is a new kind of storytelling, where,

… a lot of the practice actually removes the filmmaker, the director, the auteur, and also therefore the cameraman, and also the lens... and offers these possibilities and privileges— of this look and gaze and all—to the subjects themselves[4]

And as the lens makes itself invisible, it also gives new importance to the apparatus of surveillance, seeing and its incorporation in our lives. As Florian Schenider mentions in the introduction to the project, the house upon which the camera is mounted, itself becomes a tripod made of stones. Instead of thinking of the video apparatus as out there, the private conditions of the home, the histories of the family, their relationships with neighbours and communities that they have lost, and strangers that they have inherited, all become the defining circumstances of this new crisis.

Borrowing from a Quranic saying, Al Jaar Qabla Al Daar, which is close to the idea of ‘loving they neighbour’ it explores how the presence of new digital video technologies establishes difference, distance, alienation, proximity, curiosity and surveillance which is not merely a function of governmental structures but also a condition of gamification and everyday engagement for the families in East Jerusalem. For the artists, this also takes up another connotation of ‘checking out your neighbour before you buy the house’ suggesting establishing bounded similarities to seek comfort. The edited footage of the video shows how and when the users got in control of the keyboard and a joy-stick, panning, tilting and zooming the camera, watching the live feeds on their Television sets as they speak live over the footage. These commentaries are personal as they are affective. Sometimes the commentary leads the person to probe the image, deeper, trying to find a meaning that can no longer be supported by the hyper-pixelated image on their screen, but becoming a site through which memories and interpretations

get generated. What begins as a playful probe soon takes up sinister shades, as some generate narratives of loss and death. Others take the opportunity to spy on the new settlers who have sometimes taken over their older houses, wondering what changes they are making to what was their own. There is a sense of rawness and urgency, as they look back, with fear, and anger, but also with resignation at the houses that they were evicted from, and the semblance of life that they can spot from their remote presence.

The final 5 cuts that the artist produce, give us a deep and evocative insight into geography, temporality, and the ways in which we can re-appropriate the network spectacle to look at things that are often forgotten, dropped out of, or rendered invisible in the neat and clean lines of network models and diagrams. The ‘footage’ quality of the probes, the long dwellings on insignificant images, and the panoptican nature of video as witness, video as spy, and video as affective engagement with territories and times that are lost, all give a new idea of what the future of video art would be like. Instead of looking at a tired old Foucauldian critique of surveillance, The Neighbor before the House posits the question of ‘Who watches the watchman?’ in ways that are both startling and assuring.

Visualising the Politics of the Network

One of the key themes of The Neighbour before the House is the changing role of the network society—especially in an age of Big Data and locative-based services (LBS)—whereby privacy and surveillance come to the forefront. The network society has often been cited as one of the defining frameworks of our heavily mediated times. From theorists such as Barry Wellman and Manuel Castells, the network metaphor has burgeoned in parallel with the all-pervasive rise of Information and Communication Technologies (ICTs) globally. According to Lee Raine and Wellman in Networked, the ‘new social operating systems of networked individualism liberates us from the restrictions of tightly knit groups.’[5]

Raine and Wellman argue that there has been a ‘triple revolution’: the rise of social networking, the capacity of the internet to empower individuals, and the always-on connectivity of mobile devices’.[6]

The ability of networks to explain a range of human personal and social relationships has afforded it great explanatory power, where everything (and hence, by association, everybody) can be understood and explained by the indexicalities and visual cartographies that networks produce. The network is simultaneously, and without any sense of irony, committed to both, examining sketchiness and producing clarity of any phenomena or relationality. The network presumes an externality which can be rich, chaotic and complex and proposes tools and models through which that diverse and discrete reality can be rendered intelligible by producing visualisations.

These visualisations are artefacts—in as much as all mapping exercises produce artefacts—and operate under the presumption of a benignity devoid of political interventions or intentions. The visualisations are non-representational, in terms that they do not seek to reproduce reality but actually understand it, and thereby shaping the lenses and tools to unravel the real nature of the Real. In this function, the network visualisations are akin to art, attaining symbolic value and attempting to decode a depth that the network itself defies and disowns, simulating conditions of knowing and exploring, emerging as surrogate structures that stand in for the real. Thus the rich set of actions, emotions, impulses, traces, inspirations, catalysts, memories, etc. get reified as transactions which can be sorted in indices, arranged in databases, and presented as an abstract, symbolic and hyper-visual reality which can now be consumed, accessed and archived within the network, thus obfuscating the reality that it was premised upon.

This phenomenon is what Shah calls the spectacle imperative of the network. Especially with the proliferation of ubiquitous image and video recording digital devices, this ability to create subjective, multiple, fractured spectacles that feed into the network’s own understanding of itself (rather than an engagement with a reality outside) has become the dominant aesthetic that travels from Reality TV programming to user generated content production on video distribution channels on the internet. This networked spectacle, without a single auteur or a concentrated intention—so the videos from the Arab Spring on YouTube, for example, range from small babies in prams to women forming barricades against a marching army, and from people giving out free food and water to acts of vandalism and petty thefts—has become the new aesthetic of video interaction, consumption and circulation. It invites an engagement, divesting our energies and attentions from the physical and the political, to the aesthetic and the discursive. Which is to say that when we consume these spectacles (or indeed, produce them, not necessarily only through the images but also through texts), we produce a parallel universe that demands that we understand the world ‘out there’ through these cultural artefacts which require an immense amount of decoding and meaning making. The network, in its turn, offers us better and more exhaustive tools of mining and sifting through this information, sorting and arranging it, curating and managing it, so that we build more efficient networks without essentially contributing to the on-the-ground action.

This peculiar self-sustaining selfish nature of the network, to become the only reality, under the guise of attempting to explain reality, is perhaps the most evident in times and geographies of crises. Where (and when) the conditions of politics, circumstances of everyday survival, and the algebra of quotidian life becomes too precarious, too wearisome, too unimaginable to cope with, the network spectacle appears as both the tool for governance as well as the site of protest. Hence, the same technologies are often used by people on different sides of the crises, to form negotiations and get a sense of control, on a reality that is quickly eluding their lived experiences. Surveillance cameras storing an incredible amount of visual data, forming banal narratives of the everyday, appear in critical times and geographies as symbols of control and containment, by authorities that seek to establish their sovereignty over unpredictable zones of public life and dwelling. The gaze of the authority is often criss-crossed by the cell-phone, the webcam, the tiny recording devices of everyday life that people on the streets and in their houses use, to record the nothingness of the crisis, the assurance of normalcy and the need to look over the shoulder and beyond the house, to know that whether or not god is in the heavens, all is well with the world.

The Place of the Visual: Towards a theory of emplaced visuality

However, with the rise of mobile media and its micronarrative capacity, the politics of network, and its relationship to a sense of place changes. Far from eroding a sense of place in the growing unboundness of home, mobile technologies reinforce the significance locality.[7] Mobile media also signal a move away from earlier depictions of the network society. Through the growth in camera phone practices overlaid with location-based services, we see new forms of visuality that reflect changing relations between place and information. With the rise of technologies in an increasingly mobile—physically and technologically—place has become progressively more contested. As Rowan Wilken and Gerard Goggin note in Mobile Technologies and Place, place is one of the most contested, ambiguous and complex terms today.[8] Viewing it as unbounded and relational, Wilken and Goggin observe, ‘place can be understood as all-pervasive in the way that it informs and shapes everyday lived experience—including how it is filtered and experienced via the use of mobile technologies’.[9] As social geographer Doreen Massey notes, maps provide little understanding into the complex elusiveness of place as a collection of ‘stories-so-far’:

One way of seeing ‘places’ is as on the surface of maps… But to escape from an imagination of space as surface is to abandon also that view of place. If space is rather a simultaneity of stories-so-far, then places are collections of those stories, articulations within the wider power-geometries of space. Their character will be a product of these intersections within that wider setting, and of what is made of them… And, too, of the non-meetings-up, the disconnections and the relations not established, the exclusions. All this contributes to the specificity of place.[10]

For anthropologist Sarah Pink, place is increasingly being mapped by practices of emplacement.[11] With location based media like Google Maps and geotagging becoming progressively part of everyday media practice, how place is imagined and experienced across geographic, psychological, online and offline spaces is changing. This impacts upon the role of ethnography and its relationship to geography and place. As Anne Beaulieu notes, ethnography has moved from co-location to co-presence.[12] In this shift, we see the role of ethnography to address the complex negotiations between online and offline spaces growing.

In The Neighbour before the House, we are made to consider the changing role of visuality in how place is experienced and practiced. By deploying a surveillant and multivalent gaze, The Neighbour before the House asks us to reconsider privacy and surviellance in an age of locative media. The rise of the network society has witnessed numerous tensions and ambivalence, especially around the the relationship between agency, information and place. This is epitomised by the second generation camera phones practices whereby with the added layer of LBS—where and when images were taken—becomes automatic by default. Whereas first generation of camera phone practices noted gendered differences.[13] through LBS, these differences take on new dimensions—particularly in terms of its potential ‘stalker’ elements.[14] While notions of privacy differ subject to socio-cultural context, LBS do provide more details about users and thus allow them to be victims of stalking (Cincotta, Ashford, & Michael 2011).

The shift towards second generation camera phone images sees a movement away from networked towards emplaced visualities (Pink & Hjorth 2012; Hjorth 2013; Hjorth & Arnold 2013). On the one hand, this overlaying of the geographic with the social highlights that place has always mattered to mobile media (Ito 2002; Hjorth 2005). Far from eroding place, mobile media amplify the complexities of place as something lived and imagined, geographic and yet psychological. LBS enable mobile media users to create and convey more complex details about a locality. On the other hand, LBS create new motivations for narrating a sense of place and the role of amateur and vernacular photography.

Shifts in contemporary amateur photography highlight the changes in how place, co-presence and information is navigated, performed and represented. This issues are particularly prevalent in contested location like Palestine. Last century it was the Kodak camera that epitomized amateur photography and played an important role in normalizing notions of the family as well as ritualizing events such as holidays.[15]

As Lisa Gye notes, personal photography is central to the process of identity formation and memorialization.[16] The shift towards camera phones not only changes how we capture, store, and disseminate images but also has ‘important repercussions for how we understand who we are and how we remember the past’.[17]

Moreover, with the rise in possibilities for sharing via social media like microblogs and Twitter, camera phone photography not only magnifies UCC, but also provides filters and lenses to enhance the “professional” and “artistic” dimensions of the photographic experience.[18]

For Daniel Palmer, smartphone photography is distinctive in various ways, with one key feature being the relationship between touch and the image in what he calls an ”embodied visual intimacy” (2012: 88). With the rise of high quality camera phones, along with the growth in distribution services via social and locative media, new forms of visuality are emerging (Pink & Hjorth 2012). The added dimensions of movement and touch becoming important features of the camera phone with the emphasis on networked is shifting to “emplaced” visuality. Images as emplaced in relation to what human geographer Tim Ingold has called a “meshwork” and entanglement of lines (2008). Images themselves are part of such lines as they are inextricable from the camera and person who took them. In this sense camera phone images are not simply about what they represent (although they are also about that) but are additionally about what is behind, above, below, and to either side.

By using different smartphone photo apps, respondents tried to inscribe a sense of place with emotion. This practice is what anthropologist Sarah Pink identifies as the “multisensorality of images.” That is, they are located in “the production and consumption of images as happening in movement, and consider them as components of configurations of place” (Pink 2011: 4). Drawing on Tim Ingold’s conceptualization of place as “entanglement” (Ingold 2008), Pink notes, “Thus, the ‘event’ where photographs are produced and consumed becomes not a meeting point in a network of connections but an intensity of entangled lines in movement… a meshwork of moving things” (Pink 2011: 8).

While the surveillant eye of Big Brother now takes the form of Big Data, the emplaced nature of camera phone images can help to contribute to a changing relationship between performativity, memory and place that is user-orientated. Rather than operating to memorialize place, camera phone practices, especially through LBS networks, are creating playful performances around the movement of co-presence, place and placing (Richardson & Wilken 2012). As noted elsewhere, Pink and Hjorth argue that camera phone practices are highlighting a move away from the network society towards emplaced visualities and socialities (2012). Emplaced visuality means understanding camera phone practices and the socialities that create and emerge through them in ways corresponding with non-representational (Thrift, 2008) or ‘more-than-representational’ approaches in geography which according to Hayden Lorimer encompass:

… how life takes shape and gains expression in shared experiences, everyday routines, fleeting encounters, embodied movements, precognitive triggers, affective intensities, enduring urges, unexceptional interactions and sensuous dispositions (Lorimer, 2005: 84).

Thus we see camera phone photography as a part of the flow of everyday life, an increasingly habitual way of being that is sensed and felt (emotionally and physically). Yet, because camera phone photography involves the production and sharing of images, it also compels us to engage with the relationship between the representational and the non-representational. Emplaced visualities see images as embedded with the movements of everyday life. Tim Cresswell has suggested that we consider ‘three aspects of mobility: the fact of physical movement—getting from one place to another; the representations of movement that give it shared meaning; and, finally, the experienced and embodied practice of movement’ (Cresswell, 2010: 19). These three aspects of mobility are deeply interwoven and entangled. In camera phone photography the experience and representation of camera phone photography is enacted in the ‘flow’ of everyday life at the interface where digital and material realities come together. These emplaced visualities are often abstracted through the mechanics of Big Data mega surveillance. But as The Neighbour before the House demonstrates, the perpetual movement of emplaced visualities is in sharp contrast with the unmoving, omipresent Big Data eye.

This contrast between the moving and unmoving, micro and macro information overlaid onto place can also be reflected as part of the shift from the flâneur to the phoneur. The notion of mobility—as a technology, cultural practice, geography and metaphor—has impacted upon the ways in which twenty-first century cartographies of the urban play out. Through the trope of mobility, and immobility, rather than overcoming all difference and distance, the significance of local is reinforced. While nineteenth-century narrations of the urban were symbolised by the visual economics of the flâneur, the twenty-first century wanderer of the informational city has been rendered what Robert Luke calls the phoneur. [19] The conceptual distance, and yet continuum, between the flâneur and the phoneur is marked by the paradigmatic shift of the urban as once a geospatial image of, and for, the bourgeoisie, as opposed to the phoneur which sees the city transformed into informational circuit in which the person is just a mere node with little agency. Beyond dystopian narrations about the role of technology in maintaining a sense of intimacy, community and place, we can find various ways in which the tenacity of the local retains control. In particular, through the tension between mobile media and Big Data, we can see how the local and the urban can be re-imagined in new ways.

The flâneur (or the wanderer of the modern city), best encapsulated by German philosopher Walter Benjamin’s discussion of Baudelaire’s painting, has been defined as an important symbol of Paris and modernity as it moved into nineteenth century urbanity. Thanks to the restructuring of one third of the small streets into boulevards by Baron Hausmann, Paris of the nineteenth century took a new sense of place and space.

Luke’s phoneur, on the other hand, is the ‘user’ as as part of the informational network flows constituting contemporary urbanity. If the flâneur epitomised modernism and the rise of nineteenth-century urban, then for Luke, the phoneur is the twenty-first-century extension of this tradition as the icon of modernity. As Luke observes, in a networked city one is connected as part of circuit of information in which identity and privacy is at the mercy of system. The picture of the urban city today painted by Luke is one in which the individuals have minimal power in the rise of corporate surveillance.

Neighbour before the House problematises Luke’s dystopian view of the phoneur. The picture painted by Neighbour before the House is much more ambivalent. However it does make the audience reflect upon the changing nature of surveillance in an age of Big Data.[20]

These tensions around the dystopian phoneur and a more embodied and emplaced version can be found running as an undercurrent in the work of Neighbour before the House.

Conclusion

In this chapter we have explored the cross-cultural video collaboration, The Neighbour before the House, to consider the changing relationship between a sense of place, information and the politics of visuality. As we have suggested, with the rise of location-based camera phone practices and Big Data we are seeing new forms of visuality that are best described as emplaced rather than networked. The notion of emplaced reflects some of the tensions around contemporary representations of mobility and movement, particularly prevalent in the often displaced and diasporic experiences of Palestine.

Filmed in Palestine,The Neighbour before the House explores the notion of place as entangled and embedded at the same time as displaced through the rise of ICTs. By providing some of the paradoxes and ambivalences surrounding contemporary media practices and its relationship between information and place, it allows for a space for reflection and contemplation about the surveillence and privacy.

[1]. Jean Burgess, Vernacular creativity and new media (Doctoral dissertation), 2007. Retrieved from http://eprints.qut.edu.au/16378/

[2]. Sarah Pink and Larissa Hjorth Emplaced Cartographies: Reconceptualising camera phone practices in an age of locative media’, Media International Australia, 145 (2012): 145-156.

[3]. Doreen Massey

[4]. Shaina Anand interviewed by Nishant Shah, December 2012.

[5]. Raine, L. and B. Wellman 2012, Networked, Cambridge, Mass, MIT Press.

[6]. Ibid.

[7]. Mizuko Ito, ‘Mobiles and the Appropriation of Place’. Receiver 8, 2002, (consulted 5 December 2012) http://academic.evergreen.edu/curricular/evs/readings/itoShort.pdf ; Hjorth, L. (2005) ‘Locating Mobility: Practices of Co-Presence and the Persistence of the Postal Metaphor in SMS/MMS Mobile Phone Customization in Melbourne’, Fibreculture Journal, 6, (consulted 10 December 2006) http://journal.fibreculture.org/issue6/issue6_hjorth.html.

[8]. Rowan Wilken and Gerard Goggin, ‘Mobilizing Place: Conceptual Currents and Controversies’, in R. Wilken and G. Goggin (Eds) Mobile Technology and Place, New York, Routledge, 2012, pp. 3-25 (5).

[9].Ibid 6.

[10]. Doreen Massey,For Space, London, Sage, 2005 (130).

[11]. Sarah Pink, Doing Sensory Ethnography, London, Sage, 2009.

[12]. Anne Beaulieu, ‘From Co-location to Co-presence: Shifts in the Use of Ethnography for the Study of Knowledge’. Social Studies of Science, 40 (3) 2010: June. 453-470.

[13]. Dong-Hoo Lee, ‘Women’s creation of camera phone culture’. Fibreculture Journal 6, 2005, URL (consulted 3 February 2006) http://www.fibreculture.org/journal/issue6/issue6_donghoo_print.html; Larissa Hjorth, ‘Snapshots of almost contact’. Continuum, 21 (2) 2007: 227-238.

[14]. Alison Gazzard, ‘Location, Location, Location: Collecting Space and Place in Mobile Media’. Convergence: The International Journal of Research into New Media Technologies, 17 (4) 2011: 405-417.

[15]. Lisa Gye, ‘Picture this: the impact of mobile camera phones on personal photographic practices,’ Continuum: Journal of Media & Cultural Studies 21(2) 2007: 279–288.

[16]. Ibid 279.

[17]. Ibid 279.

[18]. Søren Mørk Petersen,Common Banality: The Affective Character of Photo Sharing, Everyday Life and Produsage Cultures, PhD Thesis, ITU Copenhagen.

[19]. Robert Luke, ‘The Phoneur: Mobile Commerce and the Digital Pedagogies of the Wireless Web’, in P. Trifonas (ed.) Communities of Difference: Culture, Language, Technology, pp. 185-204, Palgrave, London, 2006.

[20]. Sites such as www.pleaserobme.com, that seek to raise awareness about over-sharing of personal data, highlight not only the localised nature of privacy but also that privacy is something we do rather than something we possess.

For more details visit https://cis-india.org/internet-governance/blog/palestinian-video-art-larissa-hjorth-nishant-shah-video-games-a-case-study-of-cross-cultural-video-collaboration

India's Central Monitoring System (CMS): Something to Worry About?

maria — 2014-02-22T13:50:37Z

In this article, Maria Xynou presents new information about India's controversial Central Monitoring System (CMS) based on official documents which were shared with the Centre for Internet and Society (CIS). Read this article and gain an insight on how the CMS actually works!

The idea of a Panoptikon, of monitoring all communications in India and centrally storing such data is not new. It was first envisioned in 2009, following the 2008 Mumbai terrorist attacks. As such, the Central Monitoring System (CMS) started off as a project run by the Centre for Communication Security Research and Monitoring (CCSRM), along with the Telecom Testing and Security Certification (TTSC) project.

The Central Monitoring System (CMS), which was largely covered by the media in 2013, was actually approved by the Cabinet Committee on Security (CCS) on 16th June 2011 and the pilot project was completed by 30th September 2011. Ever since, the CMS has been operated by India's Telecom Enforcement Resource and Monitoring (TERM) cells, and has been implemented by the Centre for Development of Telematics (C-DOT), which is an Indian Government owned telecommunications technology development centre. The CMS has been implemented in three phases, each one taking about 13-14 months. As of June 2013, government funding of the CMS has reached at least Rs. 450 crore (around $72 million).

In order to require Telecom Service Providers (TSPs) to intercept all telecommunications in India as part of the CMS, clause 41.10 of the Unified Access Services (UAS) License Agreement was amended in June 2013. In particular, the amended clause includes the following:

“But, in case of Centralized Monitoring System (CMS), Licensee shall provide the connectivity upto the nearest point of presence of MPLS (Multi Protocol Label Switching) network of the CMS at its own cost in the form of dark fibre with redundancy. If dark fibre connectivity is not readily available, the connectivity may be extended in the form of 10 Mbps bandwidth upgradeable upto 45 Mbps or higher as conveyed by the Governemnt, till such time the dark fibre connectivity is established. However, LICENSEE shall endeavor to establish connectivity by dark optical fibre at the earilest. From the point of presence of MPLS network of CMS onwards traffic will be handled by the Government at its own cost.”

Furthermore, draft Rule 419B under Section 5(2) of the Indian Telegraph Act, 1885, allows for the disclosure of “message related information” / Call Data Records (CDR) to Indian authorities. Call Data Records, otherwise known as Call Detail Records, contain metadata (data about data) that describe a telecomunication transaction, but not the content of that transaction. In other words, Call Data Records include data such as the phone numbers of the calling and called parties, the duration of the call, the time and date of the call, and other such information, while excluding the content of what was said during such calls. According to draft Rule 419B, directions for the disclosure of Call Data Records can only be issued on a national level through orders by the Secretary to the Government of India in the Ministry of Home Affairs, while on the state level, orders can only be issued by the Secretary to the State Government in charge of the Home Department.

Other than this draft Rule and the amendment to clause 41.10 of the UAS License Agreement, no law exists which mandates or regulates the Central Monitoring System (CMS). This mass surveillance system is merely regulated under Section 5(2) of the Indian Telegraph Act, 1885, which empowers the Indian Government to intercept communications on the occurence of any “public emergency” or in the interest of “public safety”, when it is deemed “necessary or expedient” to do so in the following instances:

the interests of the sovereignty and integrity of India
the security of the State
friendly relations with foreign states
public order
for preventing incitement to the commission of an offense

However, Section 5(2) of the Indian Telegraph Act, 1885, appears to be rather broad and vague, and fails to explicitly regulate the details of how the Central Monitoring System (CMS) should function. As such, the CMS appears to be inadequately regulated, which raises many questions with regards to its potential misuse and subsequent violation of Indian's right to privacy and other human rights.

So how does the Central Monitoring System (CMS) actually work?

We have known for quite a while now that the Central Monitoring System (CMS) gives India's security agencies and income tax officials centralized access to the country's telecommunications network. The question, though, is how.

Well, prior to the CMS, all service providers in India were required to have Lawful Interception Systems installed at their premises in order to carry out targeted surveillance of individuals by monitoring communications running through their networks. Now, in the CMS era, all TSPs in India are required to integrate Interception Store & Forward (ISF) servers with their pre-existing Lawful Interception Systems. Once ISF servers are installed in the premises of TSPs in India and integrated with Lawful Interception Systems, they are then connected to the Regional Monitoring Centres (RMC) of the CMS. Each Regional Monitoring Centre (RMC) in India is connected to the Central Monitoring System (CMS). In short, the CMS involves the collection and storage of data intercepted by TSPs in central and regional databases.

In other words, all data intercepted by TSPs is automatically transmitted to Regional Monitoring Centres, and subsequently automatically transmitted to the Central Monitoring System. This means that not only can the CMS authority have centralized access to all data intercepted by TSPs all over India, but that the authority can also bypass service providers in gaining such access. This is due to the fact that, unlike in the case of so-called “lawful interception” where the nodal officers of TSPs are notified about interception requests, the CMS allows for data to be automatically transmitted to its datacentre, without the involvement of TSPs.

The above is illustrated in the following chart:

The interface testing of TSPs and their Lawful Interception Systems has already been completed and, as of June 2013, 70 ISF servers have been purchased for six License Service Areas and are being integrated with the Lawful Interception Systems of TSPs. The Centre for Development of Telematics has already fully installed and integrated two ISF servers in the premises of two of India's largest service providers: MTNL and Tata Communications Limited. In Delhi, ISF servers which connect with the CMS have been installed for all TSPs and testing has been completed. In Haryana, three ISF servers have already been installed in the premises of TSPs and the rest of currently being installed. In Chennai, five ISF servers have been installed so far, while in Karnataka, ISF servers are currently being integrated with the Lawful Interception Systems of the TSPs in the region.

The Centre for Development of Telematics plans to integrate ISF servers which connect with the CMS in the premises of service providers in the following regions:

Delhi
Maharashtra
Kolkata
Uttar Pradesh (West)
Andhra Pradesh
Uttar Pradesh (East)
Kerala
Gujarat
Madhya Pradesh
Punjab
Haryana

With regards to the UAS License Agreement that TSPs are required to comply with, amended clause 41.10 specifies certain details about how the CMS functions. In particular, the amended clause mandates that TSPs in India will provide connectivity upto the nearest point of presence of MPLS (Multi Protocol Label Switching) network of the CMS at their own cost and in the form of dark optical fibre. From the MPLS network of the CMS onwards, traffic will be handled by the Government at its own cost. It is noteworthy that a Memorandum of Understanding (MoU) for MPLS connectivity has been signed with one of India's largest ISPs/TSPs: BSNL. In fact, Rs. 4.8 crore have been given to BSNL for interconnecting 81 CMS locations of the following License Service Areas:

Delhi
Mumbai
Haryana
Rajasthan
Kolkata
Karnataka
Chennai
Punjab

Clause 41.10 of the UAS License Agreement also mandates that the hardware and software required for monitoring calls will be engineered, provided, installed and maintained by the TSPs at their own cost. This implies that TSP customers in India will likely have to pay for more expensive services, supposedly to “increase their safety”. Moreover, this clause mandates that TSPs are required to monitor at least 30 simultaneous calls for each of the nine designated law enforcement agencies. In addition to monitored calls, clause 41.10 of the UAS License Agreement also requires service providers to make the following records available to Indian law enforcement agencies:

Called/calling party mobile/PSTN numbers
Time/date and duration of interception
Location of target subscribers (Cell ID & GPS)
Data records for failed call attempts
CDR (Call Data Records) of Roaming Subscriber
Forwarded telephone numbers by target subscriber

Interception requests from law enforcement agencies are provisioned by the CMS authority, which has access to the intercepted data by all TSPs in India and which is stored in a central database. As of June 2013, 80% of the CMS Physical Data Centre has been built so far.

In short, the CMS replaces the existing manual system of interception and monitoring to an automated system, which is operated by TERM cells and implemented by the Centre for Development of Telematics. Training has been imparted to the following law enforcement agencies:

Intelligence Bureau (IB)
Central Bureau of Investigation (CBI)
Directorate of Revenue Intelligence (DRI)
Research & Analysis Wing (RAW)
National Investigation Agency (NIA)
Delhi Police

And should we even be worried about the Central Monitoring System?

Well, according to the brief material for the Honourable MOC and IT Press Briefing on 16th July 2013, we should not be worried about the Central Monitoring System. Over the last year, media reports have expressed fear that the Central Monitoring System will infringe upon citizen's right to privacy and other human rights. However, Indian authorities have argued that the Central Monitoring System will better protect the privacy of individuals and maintain their security due to the following reasons:

The CMS will just automate the existing process of interception and monitoring, and all the existing safeguards will continue to exist
The interception and monitoring of communications will continue to be in accordance with Section 5(2) of the Indian Telegraph Act, 1885, read with Rule 419A
The CMS will enhance the privacy of citizens, because it will no longer be necessary to take authorisation from the nodal officer of the Telecom Service Providers (TSPs) – who comes to know whose and which phone is being intercepted
The CMS authority will provision the interception requests from law enforcement agencies and hence, a complete check and balance will be ensured, since the provisioning entity and the requesting entity will be different and the CMS authority will not have access to content data
A non-erasable command log of all provisioning activities will be maintained by the system, which can be examined anytime for misuse and which provides an additional safeguard

While some of these arguments may potentially allow for better protections, I personally fundamentally disagree with the notion that a centralised monitoring system is something not to worry about. But let's start-off by having a look at the above arguments.

The first argument appears to imply that the pre-existing process of interception and monitoring was privacy-friendly or at least “a good thing” and that existing safeguards are adequate. As such, it is emphasised that the process of interception and monitoring will “just” be automated, while posing no real threat. I fundamentally disagree with this argument due to several reasons. First of all, the pre-existing regime of interception and monitoring appears to be rather problematic because India lacks privacy legislation which could safeguard citizens from potential abuse. Secondly, the very interception which is enabled through various sections of the Information Technology (Amendment) Act, 2008, and the Indian Telegraph Act, 1885, potentially infringe upon individual's right to privacy and other human rights.

May I remind you of Section 69 of the Information Technology (Amendment) Act, 2008, which allows for the interception of all information transmitted through a computer resource and which requires users to assist authorities with the decryption of their data, if they are asked to do so, or face a jail sentence of up to seven years. The debate on the constitutionality of the various sections of the law which allow for the interception of communications in India is still unsettled, which means that the pre-existing interception and monitoring of communications remains an ambiguous matter. And so, while the interception of communications in general is rather concerning due to dracodian sections of the law and due to the absence of privacy legislation, automating the process of interception does not appear reassuring at all. On the contrary, it seems like something in the lines of: “We have already been spying on you. Now we will just be doing it quicker and more efficiently.”

The second argument appears inadequate too. Section 5(2) of the Indian Telegraph Act, 1885, states that the interception of communications can be carried out on the occurence of a “public emergency” or in the interest of “public safety” when it is deemed “necessary or expedient” to do so under certain conditions which were previously mentioned. However, this section of the law does not mandate the establishment of the Central Monitoring System, nor does it regulate how and under what conditions this surveillance system will function. On the contrary, Section 5(2) of the Indian Telegraph Act, 1885, clearly mandates targeted surveillance, while the Central Monitoring System could potentially undertake mass surveillance. Since the process of interception is automated and, under clause 41.16 of the Unified License (Access Services) Agreement, service providers are required to provision at least 3,000 calls for monitoring to nine law enforcement agencies, it is likely that the CMS undertakes mass surveillance. Thus, it is unclear if the very nature of the CMS falls under Section 5(2) of the Indian Telegraph Act, 1885, which mandates targeted surveillance, nor is it clear that such surveillance is being carried out on the occurence of a specific “public emergency” or in the interest of “public safety”. As such, the vagueness revolving around the question of whether the CMS undertakes targeted or mass surveillance means that its legality remains an equivocal matter.

As for the third argument, it is not clear how bypassing the nodal officers of TSPs will enhance citizen's right to privacy. While it may potentially be a good thing that nodal officers will not always be aware of whose information is being intercepted, that does not guarantee that those who do have access to such data will not abuse it. After all, the CMS appears to be largely unregulated and India lacks privacy legislation and all other adequate legal safeguards. Moreover, by bypassing the nodal officers of TSPs, the opportunity for unauthorised requests to be rejected will seize to exist. It also implies an increased centralisation of intercepted data which can potentially create a centralised point for cyber attacks. Thus, the argument that the CMS authority will monopolise the control over intercepted data does not appear reassuring at all. After all, who will watch the watchmen?

While the fourth argument makes a point about differentiating the provisioning and requesting entities with regards to interception requests, it does not necessarily ensure a complete check and balance, nor does it completely eliminate the potential for abuse. The CMS lacks adequate legal backing, as well as a framework which would ensure that unauthorised requests are not provisioned. Thus, the recommended chain of custody of issuing interception requests does not necessarily guarantee privacy protections, especially since a legal mechanism for ensuring checks and balances is not in place.

Furthermore, this argument states that the CMS authority will not have access to content data, but does not specify if it will have access to metadata. What's concerning is that metadata can potentially be more useful for tracking individuals than content data, since it is ideally suited to automated analysis by a computer and, unlike content data which shows what an individuals says (which may or may not be true), metadata shows what an individual does. As such, metadata can potentially be more “harmful” than content data, since it can potentially provide concrete patterns of an individual's interests, behaviour and interactions. Thus, the fact that the CMS authority might potentially have access to metadata appears to tackle the argument that the provisioning and requesting entities will be seperate and therefore protect individual's privacy.

The final argument appears to provide some promise, since the maintenance of a command log of all provisioning activities could potentially ensure some transparency. However, it remains unclear who will maintain such a log, who will have access to it, who will be responsible for ensuring that unlawful requests have not been provisioned and what penalties will be enforced in cases of breaches. Without an independent body to oversee the process and without laws which predefine strict penalties for instances of misuse, maintaining a command log does not necessarily safeguard anything at all. In short, the above arguments in favour of the CMS and which support the notion that it enhances individual's right to privacy appear to be inadequate, to say the least.

In contemporary democracies, most people would agree that freedom is a fundamental human right. The right to privacy should be equally fundamental, since it protects individuals from abuse by those in power and is integral in ensuring individual liberty. India may literally be the largest democracy in the world, but it lacks privacy legislation which establishes the right to privacy, which guarantees data protection and which safeguards individuals from the potentially unlawful interception of their communications. And as if that is not enough, India is also carrying out a surveillance scheme which is largely unregulated. As such, it is highly recommended that India establishes a privacy law now.

If we do the math, here is what we have: a country with extremely high levels of corruption, no privacy law and an unregulated surveillance scheme which lacks public and parliamentary debate prior to its implementation. All of this makes it almost impossible to believe that we are talking about a democracy, let alone the world's largest (by population) democracy! Therefore, if Indian authorities are interested in preserving the democratic regime they claim to be a part of, I think it would be highly necessary to halt the Central Monitoring System and to engage the public and the parliament in a debate about it.

After all, along with our right to privacy, freedom of expression and other human rights...our right to freedom from suspicion appears to be at stake.

How can we not be worried about the Central Monitoring System?

The Centre for Internet and Society (CIS) is in possession of the documents which include the information on the Central Monitoring System (CMS) as analysed in this article, as well as of the draft Rule 419B under the Indian Telegraph Act, 1885.

For more details visit https://cis-india.org/internet-governance/blog/india-central-monitoring-system-something-to-worry-about

UAS License Agreement Amendment regarding the Central Monitoring System (CMS)

maria — 2014-01-30T12:43:56Z

For more details visit https://cis-india.org/internet-governance/blog/uas-license-agreement-amendment

New Document on India's Central Monitoring System (CMS) - 2

maria — 2014-01-30T12:40:31Z

For more details visit https://cis-india.org/internet-governance/blog/new-cms-doc-2

Is Bhutan selling its soul to Google?

praskrishna — 2014-01-30T12:27:33Z

Migrating Bhutan government’s communications to Google servers, allowing the United States access to confidential data, raises questions

"Bhutan’s adoption of Google Apps is a disastrous decision, and I wouldn’t advocate for it even if it were free," Pranesh Prakash, Policy Director of the Bangalore-based Centre for Internet and Society said.

He added that the project would end up tying Bhutan to a single vendor, Google, since there is no easy way to migrate from Google Apps to another system. "That means that even if in the future some other system is found to be far better than Google, the migration costs would deter the adoption of that system," said Pranesh Prakash, who is also a fellow with the Information Society Project, Yale Law School.

The article by Lucky Wangmo from Thimphu and Pema Seldon form Bangalore was published in Business Bhutan on January 25, 2014. Download Volume 5, Issue 4, NU 15 published by Business Bhutan here.

For more details visit https://cis-india.org/news/business-bhutan-vol-5-issue-4-lucky-wangmo-pema-seldon-is-bhutan-selling-its-soul-to-google