The Centre for Internet and Society
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The Body in Cyberspace
https://cis-india.org/telecom/knowledge-repository-on-internet-access/body-in-cyberspace
<b>Perhaps one of the most interesting histories of the cyberspace has been its relationship with the body. Beginning with the meatspace-cyberspace divide that Gibson introduces, the question of our bodies’ relationship with the internet has been hugely contested. There have been some very polarized debates around this question. </b>
<p style="text-align: justify; ">Where are we when we are online? Are we the person in the chair behind an interface? Are we the avatar in a social networking site interacting with somebody else? Are we a set of data running through the atmosphere? Are we us? Are we dogs? These are tantalising and teasing questions.</p>
<p style="text-align: justify; ">Early debates around the body-technology questions were polarized. There were people who offered that the cyberspace is a virtual space. What happens in that make-believe, performative space does not have any direct connections with who we are and how we live. They insisted that the cyberspace is essentially a performance space, and just like acting in a movie does not make us the character, all our interactions on the internet are also performances. The idea of a virtual body or a digital self were proposed, thinking of the digital as an extension of who we are – as a space that we occupy to perform different identities and then get on with our real lives.</p>
<p style="text-align: justify; ">Sherry Turkle, in her book <i>Life on the Screen</i>, was the first one to question this binary between the body and the digital self. Working closely with the first users of the online virtual reality worlds called Multiple User Dungeons, Turkle notes how being online started producing a different way of thinking about who we are and how we relate to the world around us. She indicates three different ways in which this re-thinking happens. The first, is at the level of language. She noticed how the users were beginning to think of their lives and their social relationships through the metaphors that they were using in the online world. So, for instance, people often thought of life through the metaphor of windows – being able to open multiple windows, performing multiple tasks and identities and ‘recycling’ them in their everyday life. Similarly, people saying that they are ‘low on bandwidth’ when they don’t have enough time and attention to devote to something, or thinking about the need to ‘upgrade’ our senses. We also are quite used to the idea that memory is something that resides on a chip and that computing is what machines do. These slippages in language, where we start attributing the machine characteristics to human beings are the first sign of understanding the human-technological relationship and history.</p>
<p style="text-align: justify; ">The second slippage is when the user start thinking of the avatars as human. We are quite used to, in our deep web lives, to think of machines as having agency. Our avatars act. Things that we do on the internet perform more actions than we have control of – a hashtag that we start on twitter gets used and responded to by others and takes on a life of its own. We live with sapient technologies – machines that care, artificial intelligence algorithms that customise search results for us, scripts and bots that protect us from malware and viruses. We haven’t attributed these kinds of human agencies to machines and technologies in the past. However, within the digital world, there is a complex network of actors, where all the actors are not always human. Bruno Latour, a philosopher of science and technology, posits in his ‘Actor Network Theory’ that the emergence of these non-human actors has helped us understand that we are not only dependent on machines and technologies for our everyday survival, but that many tasks that we had thought of as ‘human’ are actually performed, and performed better by these technologies. Hence, we have come to care for our machines and we also think of them as companions and have intimate relationships with them. And the machines, even as they make themselves invisible, start becoming more personal.</p>
<p style="text-align: justify; ">The third slippage that Turkle points out is the way in which the boundaries between the interior and the exterior were dissolved in the accounts of the users’ narratives of their digital adventures. There is a very simplistic understanding that what is human is inside us, it is sacred and organic and emotional. Earlier representational technology products like cinema, books, TV etc. have emphasised this distinction between real life and reel life. No actor is punished for the crime they commit in the narrative of a film. It is not very often that an author claims to be the character in a book. We have always had a very strong sense of distinction between the real person and the fictional person. But within the virtual reality worlds, these distinctions seem to dematerialize. The users not only thought of their avatars as human but also experienced the emotions, frustrations, excitement and joy that their characters were simulating for them. And what is more important, they claimed these experiences for themselves.</p>
<p style="text-align: justify; ">Namita Malhotra, who is a legal scholar and a visual artist, in her monograph on Pleasure, Porn and the Law, looks at the way in which we are in a process of data-stripping – constant revelation of our deepest darkest secrets and desires, within the user generated content rubric. Looking at the low-res, grainy videos on sites like YouTube and Vimeo, which have almost no narrative content and are often empty of sexual content, produce all of us in a global orgiastic setting, where our bodies are being extended beyond ourselves. In the monograph, Malhotra argues that the Internet is not merely an extension but almost like a third skin that we wear around ourselves – it is a wrapper, but it is tied, through ligaments and tendons, to the flesh and bone of our being, and often things that we do online, even when they are not sexual in nature, can become pornographic. Conversely, the physical connections that we have are now being made photographically and visually available in byte sized morsels, turned into a twitpic, available to be shared virally, and disseminated using mobile applications, thus making our bodies escape the biological containers that we occupy but also simultaneously marks our bodies through all these adventures that we have on the digital infobahn.</p>
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<h3>Case Study: A Rape in Cyberspace</h3>
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<p style="text-align: justify; ">A contemporary of Sherry Turkle, Julian Dibbell, in his celebrated account of ‘A Rape in Cyberspace’<a href="#fn1" name="fr1">[1] </a>describes a case-study that corroborates many of the observations that Turkle posits. Dibbell analyses a particular incident that occurred one night in a special kind of MUD – LambdaMOO (MUD, Object-Oriented) – which was run by the Xerox Research Corporations. A MUD, is a text-based virtual reality space of fluid dimensions and purposes, where users could create avatars of themselves in textual representations. Actions and interactions within the MUD are also in long running scripts of texts. Of course, technically all this means that a specially designed database gives users the vivid impression of their own presence and the impression of moving through physical spaces that actually exists as descriptive data on some remotely located servers.</p>
<p style="text-align: justify; ">When users log into LambdaMoo, the program presents them with a brief textual description of one of the rooms (the coat closet) in the fictional database mansion. If the user wants to navigate, s/he can enter a command to move in a particular direction and the database replaces the original description with new ones, corresponding to the room located in the direction s/he chose. When the new description scrolls across the user’s screen, it lists not only the fixed features of the room but all its contents at that moment – including things (tools, toys, weapons), as well as other avatars (each character over which s/he has sole control). For the database program that powers the MOO, all of these entities are simply subprograms or data structures which are allowed to interact according to rules very roughly mimicking the laws of the physical world.</p>
<p style="text-align: justify; ">Characters may leave the rooms in particular directions. If a character says or does something (as directed by its user), then the other users who are located in the same ‘geographical’ region within the MOO, see the output describing the utterance or action. As the different players create their own fantasy worlds, interacting and socialising, a steady script of text scrolls up a computer screen and narratives are produced. The avatars, as in Second Life or even on Social Networking Sites like Orkut, have the full freedom to define themselves, often declining the usual referents of gender, sexuality, and context to produce fantastical apparitions. It is in such an environment of free-floating fantasy and role-playing, of gaming and social interaction mediated by digital text-based avatars, that a ‘crime’ happened.</p>
<p style="text-align: justify; ">Dibell goes on to give an account of events that unfolded that night. In the social lounge of LambdaMoo, which is generally the most populated of all the different nooks, corners, dimensions and rooms that users might have created for themselves, there appeared an avatar called Dr. Bungle. Dr. Bungle had created a particular program called Vodoo Doll, which allowed the creator to control avatars which were not his own, attributing to them involuntary actions for all the other players to watch, while the targeted avatars themselves remained helpless and unable to resist any of these moves. This Dr. Bungle, through his evil Vodoo Doll, took hold of two avatars – legba and Starsinger and started controlling them. He further proceeded to forcefully engage them in sexually violent, abusive, perverted and reluctant actions upon these two avatars. As the users behind both the avatars sent a series of invective and a desperate plea for help, even as other users in the room (# 17) watched, the Vodoo Doll made them enter into sexually degrading and extremely violent set of activities without their consent. The peals of his laughter were silenced only when a player with higher powers came and evicted Dr. Bungle from the Room # 17. As an eye-witness of the crime and a further interpolator with the different users then present, Dibbell affirms that most of the users were convinced that a crime had happened in the Virtual World of the digital Mansion. That a ‘virtual rape’ happened and was traumatic to the two users was not questioned. However, what this particular incident brought back into focus was the question of space.</p>
<p style="text-align: justify; ">Dibbell suggests that what we had was a set of conflicting approaches to understand the particular phenomenon:</p>
<p style="text-align: justify; ">Where virtual reality and its conventions would have us believe that legba and Starsinger were brutally raped in their own living room, here was the victim legba scolding Mr. Bungle for a breach of *civility* … [R]eal life, on the other hand, insists the incident was only an episode in a free-form version of Dungeons and Dragons, confined to the realm of the symbolic and at no point threatening any players life, limb, or material well-being…’</p>
<p style="text-align: justify; ">The meaning and the understanding of this particular incident and the responses that it elicited, lie in the ‘buzzing, dissonant gap’ between the perceived and experienced notion of Technosocial Space. The discussions that were initiated within the community asked many questions: If a crime had happened, where had the crime happened? Was the crime recognised by law? Are we responsible for our actions performed through a digital character on the cyberspaces? Is it an assault if it is just role playing?</p>
<p style="text-align: justify; ">The lack of ‘whereness’ of the crime, or rather the placelessness of the crime made it especially more difficult to pin it to a particular body. The users who termed the event as rape had necessarily inverted the expected notion of digital space as predicated upon and imitative of physical space; they had in fact done the exact opposite and exposed digital spaces as not only ‘bleeding into reality’ but also a constitutive part of the physical spaces. Their Technosocial Space was not the space of the LambdaMoo Room # 17 but the physical locations (and thus the bodies, rather than the avatars) of the players involved. However, this blurring was not to make an easy resolution of complex metaphysical questions. This blurring was to demonstrate, more than ever, that the actions and pseudonymous performances or narratives which are produced in the digital world are not as dissociated from the ‘Real’ as we had always imagined. More importantly, the notional simulation of place or a reference to the physical place is not just a symbolic gesture but has material ramifications and practices. As Dibell notes in his lyrical style.</p>
<p style="text-align: justify; ">‘Months later, the woman in Seattle would confide to me that as she wrote those words posttraumatic tears were streaming down her face — a real-life fact that should suffice to prove that the words’ emotional content was no mere playacting. The precise tenor of that content, however, its mingling of murderous rage and eyeball-rolling annoyance, was a curious amalgam that neither the RL nor the VL facts alone can quite account for.’</p>
<p style="text-align: justify; ">The eventual decision to ‘toad’ Dr. Bungle – to condemn him to a digital death (a death only as notional as his crime) and his reappearance as another character take up the rest of Dibbell’s argument. Dibbell is more interested in looking at how a civil society emerged, formed its own ways of governance and established the space of LamdaMOO as more than just an emotional experience or extension; as a legitimate place which is almost as much, if not more real, than the physical places that we occupy in our daily material practices. Dibbell’s moving account of the entire incident and the following events leading the final ‘death’ and ‘reincarnation’ has now been extrapolated to make some very significant and insightful theorisations of the notions of the body and its representations online.</p>
<b>Exercise</b>: Based on this case-study, break into small groups to determine whether a rape happened on cyberspace and how we can understand the relationship of our online personas with our bodies.</td>
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<h3 style="text-align: justify; ">Cyberspace and the State</h3>
<p style="text-align: justify; ">The history of body and technology is one way of approaching the history of the internet. However, as we realise, that more than the management of identity or the projection of our interiority, it is a narrative about governance. How does the body get regulated on the internet? How does it become the structure through which communities, networks, societies and collective can be imagined? The actions and transactions between the internet and the body can also help us to look at the larger questions of state, governance and technology which are such an integral part of our everyday experience of the internet. Questions of privacy, security, piracy, sharing, access etc. are all part of the way in which our practices of cultural production and social interaction are regulated, by the different intermediaries of the internet, of which the State is one.</p>
<p style="text-align: justify; ">Asha Achuthan, in her landmark work <i>Re:Wiring Bodies</i><a href="#fn2" name="fr2">[2]</a> that looks at the history of science and technology in India, shows that these are not new concerns. In fact, as early as the 1930s and 1940s, when the architects of India’s Independence movements were thinking about shaping what the country is going to look like in the future, they were already discussing these questions. It is more popularly known that Jawaharlal Nehru was looking to build a ‘scientific temperament’ for the country and hoping to build it through scientific institutions as well as infrastructure – he is famously credited to having said that ‘dams are the temples of modern science.’ Apart from Nehru’s vision of a modern India, there was a particular conversation between M.K. Gandhi and Rabindranath Tagore, that Achuthan analyses in great detail. Achuthan argues that the dialogue between Gandhi and Tagore is so couched in ideology, poetry and spirituality that we often forget that these were actually conversations about a technology – specifically, the charkha or the spinning wheel.</p>
<p style="text-align: justify; ">For both Gandhi and Tagore, the process of nation building was centred around this one particular charkha. The charkha was the mobile, portable, wearable device (much like our smart phones) that was supposed to provide spiritual salvation and modern resources to overcome the evils of both traditional and conservative values as well as unemployment and production. The difference in Gandhi and Tagore was not whether the charkha – as a metaphor of production and socio-economic organisation – should be at the centre of our discourse. The difference was that Gandhi thought that the usage of charka, complete immersion in the activity, and the devotion to it would help us weave a modern nation For Gandhi, the citizen was not somebody who used the charkha, but the citizen was somebody who becomes a citizen in the process of using the charkha. Tagore, meanwhile, was more concerned about whether we are building a people-centred nation or a technology-centred device. He was of the opinion that building a nation with the technology at its core, might lead to an apocalyptic future where the ‘danavayantra’ or demonic machine might take over and undermine the very human values and ideals that we are hoping to structure the nation through.</p>
<p style="text-align: justify; ">If you even cursorily look at this debate, you will realise that the way Gandhi was talking about the charkha is in resonance with how contemporary politicians talk about the powers of the internet and the way in which, through building IT Cities, through foreign investment, through building a new class of workers for the IT industry, and through different confluences of economic and global urbanisation, we are going to Imagine India<a href="#fn3" name="fr3">[3] </a>of the future. Similarly, the caution that Tagore had, of the charkha as superseding the human, finds its echoes in the sceptics who have been afraid that the human is being forgotten<a href="#fn4" name="fr4">[4]</a> in the e-governance systems that are being set up, which concentrate more on management of data and information rather than the rights and the welfare of people.</p>
<p style="text-align: justify; ">This historical continuity between technology and governance, also finds theorisation in Ashish Rajadhyaksha’s book <i>The Cultural Last Mile</i><a href="#fn5" name="fr5">[5] </a>that looks at the critical turns in India’s governance and policy history and how the technological paradigm has been established. Rajadhyaksha opens up the State-technology-governance triad to more concrete examples and looks at how through the setting up of community science centres, the building of India’s space and nuclear programmes, and through on-the-ground inventions like radio and chicken-mesh wire-loops, we have tried to reinforce a broadcast based model of governance. Rajadhyaksha proposes that the earlier technologies of governance which were at our disposal, helped us think of the nation state through the metaphor of broadcast. So we had the State at the Centre, receiving and transmitting information, and in fact managing all our conversation and communication by being the central broadcasting agency. And hence, because the state was responsible for the message of the state reaching every single person, but also responsible that every single person can hypothetically communicate with every other single person, the last mile became important. The ability to reach that last person became important. And the history of technology and governance has been a history of innovations to breach that last mile and make the message reach without noise, without disturbance, and in as clean and effective a way as possible.</p>
<p style="text-align: justify; ">With the emergence of the digital governance set up, especially with the building of the Unique Identity Project,<a href="#fn6" name="fr6">[6]</a> we now have the first time when the government is not concerned about breaching the last mile. The p2p networks that are supposed to manage the different flows of information mean that the State is not a central addressee of our communication but one of the actors. It produces new managers – internet service providers, telecom infrastructure, individual hubs and connectors, traditional media agencies – that help us think of governance in a new way. Which is why, for instance, with the UID authorities, we are no longer concerned about the relay of state information from the centre to the subject. Hence, we have many anecdotal stories of people enrolling for the Aadhaar card without actually knowing what benefits it might accrue them. We also have stories coming in about how there are people with Aadhaar numbers which have flawed information but these are not concerns. Because for once, the last mile has to reach the Government. The State is a collector but there are also other registrars. And there is a new regime here, where the government is now going to become one of the actors in the field of governance and it is more interested in managing data and information rather than directly governing the people.</p>
<p style="text-align: justify; ">This historical turn is interesting, because it means that we are being subjected to different kinds of governance structures and institutions, without necessarily realising how to negotiate with them to protect us. One of the most obvious examples is the Terms of Services<a href="#fn7" name="fr7">[7]</a> that we almost blindly sign off when using online platforms and services and what happens when they violate rights that we think are constitutionally given. What happens when Facebook removes some content from your profile without your permission because it thinks that it is problematic? Who do you complain to? Are your rights as a user or a citizen? Which jurisdiction will it fall under? Conversely, what happens when you live in a country that does not grant you certain freedoms (of speech and expression, for instance) and you commit an infraction using a social media platform. What happens when your private utterances on your social networks make you vulnerable [<a href="#fr8" name="fn8">8</a>]. to persecution and prosecution in your country?</p>
<p style="text-align: justify; ">These are all questions of the human, the technological, and the governmental which have been discussed differently and severally historically, in India and also at the global level. Asking these questions, unpacking the historical concerns and how they have leap-frogged in the contemporary governmental debates is important because it helps us realise that the focus of what is at stake, what it means to be human, what we recognise as fair, just and equal are also changing in the process. Instead of thinking of e-governance as just a digitization of state resources, we have to realise that there is a certain primacy that the technologies have had in the state’s formation and manifestation, and that the digital is reshaping these formulations in new and exciting, and sometimes, precarious ways.</p>
<h3 style="text-align: justify; ">Cyberspace and Criminality</h3>
<p style="text-align: justify; ">The history of the internet in India, but also around the world, is bookended between pornography and terrorism. While there has been an incredible promise of equity, equality, fairness, and representation of alternative voices on the internet, there is no doubt that what the internet has essentially done is turn us all into criminals – pornographers, pirates, terrorists, hackers, lurkers… If you have been online, let us just take for granted that you have broken some law or the other, no matter how safe you have been online, and where you live. The ways in which the internet has facilitated peer-2-peer connections and the one-one access means that almost everything that was governed in the public has suddenly exploded in one large grey zone of illegality.</p>
<p style="text-align: justify; ">Ravi Sundaram calls this grey zone of illegal or semi-legal practices the new ‘cyberpublics’. For Sundaram, the new public sphere created by the internet is not only in the gentrified, middle-class, educated people who have access to the cyberspaces and are using social media and user generated content sites to bring about active social and political change. More often than not, the real interesting users of the internet are hidden. They access the internet from cybercafés, in shared names. They have limited access to the web through apps and services on their pirated phones. They share music, watch porn, gamble, engage in illicit and surreptitious social and sexual engagements and they are able to do this by circumventing the authority and the gaze of the law.</p>
<p style="text-align: justify; ">On the other side are the more tech savvy individuals who create alternative currencies like Bitcoin, trade for weapons, drugs and sex on SilkRoute, form guerrilla resistance groups like Anonymous, and create viruses and malware that can take over the world. These cyberpublics are not just digital in nature. They erupt regularly in the form of pirate bazaars, data swaps, and the promiscuous USB drive that moves around the machines, capturing information and passing it on further. These criminalities are often the defining point of internet policy and politics – they serve as the subjects that need to be governed, as well as the danger that lurks in the digital ether, from which we need to be protected. For Sundaram, the real contours and borders of the digital world are to be tested in an examination of these figures. Because, as Lawrence Liang suggests, the normative has already been assimilated in the system. The normative or the good subject is no longer a threat and has developed an ethical compass of what is desirable and not. However, this ethical subject also engages in illicit activities, while still producing itself as a good person. This contradiction makes for interesting stories.</p>
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<h3>DPS MMS: Case Study</h3>
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<p>One of the most fascinating cases of criminality that captured both public and legal attention was the notoriously cases where the ideas of Access were complicated in the Indian context, was the legal and public furore over the distribution of an MMS (Multi-Media Message) video that captured two underage young adults in a sexual act. The clip, which was dubbed in popular media as ‘DPS Dhamaka’ became viral on the internet. The video clip was listed on an auction (peer-2-peer) website as an e-book and as ‘Item 27877408 – DPS Girl having fun!!! Full video + Bazee points’ for Rs. 125. This visibility of the clip on the auction site Bazee.com, brought it to the eyes of the State where its earlier circulation through private circuits and P2P networks had gone unnoticed. Indeed, the newspapers and TV channels had created frenzy around it, this video clip would have gone unnoticed. However, the attention that Bazee.com drew led to legal intervention.</p>
<p>Following the visibility of the video clip, there was an attempt to find somebody responsible for the crime and be held liable for the ‘crime’ that had happened. Originally, Ravi Raj, a student at IIT Kharagpur, who had put up the clip on Bazee was arrested for possessing and selling pornography. He was arrested and kept in police custody for at least three days and so was the male student who made the clip. They were both made to go through proceedings in juvenile court (though he was the last to be arrested). Both the students in the video were suspended from school after the incident. Eventually, the most high profile arrest and follow up from the DPS MMS incident was the arrest of the CEO of Bazee.com – Avnish Bajaj. However, Bajaj was released soon because as the host of the platform and not its content, he had no liability.</p>
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<p class="MsoNormal">This is the beginning of a series of slippages where a punishable body in the face of public outcry had to be identified. We witnessed a witch-hunt that sought to hold the boy who made the video clip responsible, the student of IIT who attempted to circulate the clip and eventually the CEO of Bazee. The string of failed prosecutions seems to indicate that the pornographer-as-a-person was slipping through the cracks of the legal system. As NamitaMalhotra argues, it is not the pornographic object which is ‘eluding the grasp of the court’ but that it seems to be an inescapable condition of the age of the internet -that the all transactions are the same transactions, and all users are pornographers.</p>
<p class="MsoNormal">We can see in the case that the earlier positions that were easily criminalised when it came to objects in mass media – producer, consumer, distributor of obscenity, were vacated rapidly in the DPS MMS case. We have a case where the bodies, when looked at through simplified ideas of Access, could not be regulated. The girl in the clip could not be punished because she was the victim in the case that could be read as statutory rape. In the case of the boy, a stranger argument was posed – ‘that in our fast urbanising societies where parents don’t have time for children, they buy off their love by giving them gadgets – which makes possible certain kinds of technological conditions...thus the blame if it is on the boy, is on the larger society’ (Malhotra, 2011).</p>
<p class="MsoNormal">Eventually, the court held that the description of the object and the context of its presence indicates that the said obscene object is just a click away and such a ‘listing which informed the potential buyer that such a video clip that is pornographic can be procured for a price’. There is a suggestion that there was nobody in particular that could be fixed with the blame. What was at blame was access to technology and conditions of technology within which the different actors in this case were embedded. Malhotra points out that in earlier cases around pornography, judgements have held pornography responsible for itself.</p>
<p class="MsoNormal">In the case of the DPS MMS, it seemed that technology – especially access to technology by unsupervised persons – has taken that role. The eventual directive that came out of this case was a blanket warning issued to the public that ‘anyone found in possession of the clip would be fined and prosecuted’. It is as if the attention of the court was on the ways in which the video clip was produced, circulated and disseminated, rather than the content. There was an anxiety around peoples’ unsupervised access to digital technologies, the networks that facilitated access to content without the permission of the state, and modes of circulation and dissemination that generated high access to audiences which cannot be controlled or regulated.</p>
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<p class="MsoNormal">The State’s interest in this case, is not in the sexual content of the material but in the way it sidesteps the State’s authorial positions and produces mutable, transmittable, and transferable products as well as conditions of access. Such a focus on practices and behaviours around the obscene object, rather than the content itself, seems not to disrupt the law’s neat sidestepping of the force of the image itself. These different tropes of access to technology informed the State’ attempt at control and containment of techno-social practices in the country, giving rise to imaginations of the User as being in conditions of technology which make him/her a potential criminal. This idea of access as transgression or overriding the legal regulatory framework does not get accounted for in the larger technology discourse. However, it does shape and inform the Information Technology regulations which are made manifest in the IT Act. The DPS MMS case complicated the notion of access and posited a potentially criminal techno-social subject who, because of access to the digital, will be able to consume information and images beyond the sanction of the law.</p>
<p class="MsoNormal">The DPS MMS case shows how the ways in which public discourse can accuse, blame and literally hang technology seems to diverge from how the court attempts to pin down an offence or crime and prosecute by constructing a techno-social subject as the pervert, while also accusing pornography as a phenomenon. The court is unable to hold technology to blame but the accused is technology-at-large and modernity, which subsumes practices around technology and separates out the good and ethical ways in which a citizen should access and use technologies to rise from the potentially criminal conditions of technology within which their Techno-social identity is formed.</p>
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<h3 style="text-align: justify; ">Summary</h3>
<p style="text-align: justify; ">We started by making a distinction between Internet and Cyberspace to see how the two are separate objects of focus and have a relationship that needs to be examined in greater detail. It was argued that while the Internet – in material, infrastructural and technological forms – is important to understand the different policies and politics at the local, regional and global level, it has an account that is easier to follow. Cyberspace, on the other hand, because it deals with human interactions and experiences, allows for a more complex set of approaches into understanding our engagement with the digital domain. We began with the original definitions and imaginations of cyberspace and the ways in which it founded and resolved debates about the real-virtual, the physical-digital, and the brain-mind divides which have been historically part of the cybercultures discourse.</p>
<p style="text-align: justify; ">It was proposed, hence, that instead of looking at the history of the Internet, we will look at the history of cyberspace, and see if we can move away from a straight forward historical narrative of the Internet which focuses largely on the institutions, numbers, names and technological advances. The ambition was not to just produce a similar history of cyberspace but think of conceptual frameworks through which cyberspace can be studied. The proposition was that instead of just looking at history as a neutral and objective account of events and facts, we can examine how and why we need to create histories. Also, that it is fruitful to look at the aspirations and ambitions we have in creating historical narratives. It was then suggested that instead of trying to create a definitive history, or even a personal history of the internet, it might be more fruitful to look at the intersections that cyberspace has with different questions and concerns that have historically defined the relationship between technologies and society. 3 different conceptual frameworks were introduced as methods or modes by which this historical mode of inquiry can be initiated.</p>
<p style="text-align: justify; ">The first framework examined how we can understand the boundaries and contours of the internet and cyberspace by looking at its relationship with our bodies. The ways in which we understand our bodies, the mediation by technologies, and the extensions and simulations that we live with, help us to understand the human-technology relationship in more nuanced fashions. Looking at the case-study of a rape that happened in cyberspace, we mapped out the different ways in which we can think of a technosocial relationship.</p>
<p style="text-align: justify; ">The second framework drew from historical debates around technology and governance to see how the current concerns of e-governance and digital subjectivity are informed by older debates about technology and nation building. Looking at the dialogues between Gandhi and Tagore, and then the imagination of a nation through the broadcast technologies, we further saw how the new modes of networked governance are creating new actors, new conditions and new contexts within which to locate and operate technologies.</p>
<p style="text-align: justify; ">The third framework showed how the technological is not merely at the service of the human. In fact, the presence of the technological creates new identities and modes of governance that create potential criminals of all of us. Through the case-study of the DPS MMS, and in an attempt to look at the grey zone of illegal cyberpublics, we saw how at new technosocial identities are created at the intersection of law, technology, governance and everyday practices of the web. The fact that the very condition of technology access can create us as potential criminals, in need to be governed and regulated, reflects in the development of internet policy and governance.</p>
<p style="text-align: justify; ">It was the intention of this module to complicate three sets of presumptions and common knowledge that exist in the discourse around Internet and Cyberspace. The first was to move away from thinking of the Internet merely as infrastructure and networks. The second was to suggest that entering the debates around human-technology everyday relationships would offer more interesting ways of looking at accounts of the technological. The third was to propose that the history of the internet does not begin only with the digital, but it needs larger geographical and techno-science contexts in order to understand how the contemporary landscape of internet policy and governance is shaped.</p>
<p style="text-align: justify; ">The module was not designed to give a comprehensive history and account of the internet. Instead, it built a methodological and conceptual framework that would allow us to examine the ways in which we approach Internet and Society questions – in the process, it would also help us reflect on our own engagement, intentions and expectations from the Internet and how we create the different narratives and accounts for it.</p>
<h2 style="text-align: justify; ">Additional Readings</h2>
<ol> </ol><ol>
<li>Johnny Ryan,“A History of the Internet and the Digital Future”, <i>University of Chicago Press</i>, <a href="http://press.uchicago.edu/ucp/books/book/distributed/H/bo10546731.html">http://press.uchicago.edu/ucp/books/book/distributed/H/bo10546731.html</a></li>
<li>John Naughton,“A Brief History of the Future”, <i>Overlook</i>, <a href="https://www.kirkusreviews.com/book-reviews/john-naughton/a-brief-history-of-the-future/">https://www.kirkusreviews.com/book-reviews/john-naughton/a-brief-history-of-the-future/</a></li>
<li>Christos J.P. Moschovitis et al.,“History of the Internet”, <i>Barnes & Noble</i>, <a href="http://www.barnesandnoble.com/w/history-of-the-internet-christos-j-p-moschovitis/1100883985?ean=9781576071182">http://www.barnesandnoble.com/w/history-of-the-internet-christos-j-p-moschovitis/1100883985?ean=9781576071182</a></li>
<li>Katie Hafner and Matthew Lyon, “Where Wizards Stay up Late”, <i>Barnes & Noble</i>, <a href="http://www.barnesandnoble.com/w/where-wizards-stay-up-late-katie-hafner/1113244151?ean=9780684812014">http://www.barnesandnoble.com/w/where-wizards-stay-up-late-katie-hafner/1113244151?ean=9780684812014</a></li>
<li>Janet Abbate,“Inventing the Internet”, <i>MIT Press</i>, <a href="http://mitpress.mit.edu/books/inventing-internet">http://mitpress.mit.edu/books/inventing-internet</a></li>
<li>Tim Berners-Lee,“Weaving the Web: The Original Design and Ultimate Destiny of the World Wide Web”,<a href="http://en.wikipedia.org/wiki/Weaving_the_Web:_The_Original_Design_and_UltimateDestiny_of_the_World_Wide_Web_by_its_inventor">http://en.wikipedia.org/wiki/Weaving_the_Web:_The_Original_Design_and_UltimateDestiny_of_the_World_Wide_Web_by_its_inventor</a></li>
<li>Peter Salus,“Casting the Net: From ARPANET to INTERNET and Beyond”, <i>Pearson</i>, <a href="http://www.pearson.ch/1471/9780201876741/Casting-the-Net-From-ARPANET-to-INTERNET.aspx">http://www.pearson.ch/1471/9780201876741/Casting-the-Net-From-ARPANET-to-INTERNET.aspx</a></li>
</ol>
<hr />
<p style="text-align: justify; ">[<a href="#fr1" name="fn1">1</a>]. Julian Dibbell “A Rape in Cyberspace”, available at http://www.juliandibbell.com/articles/a-rape-in-cyberspace/, last accessed on January 24, 2014.</p>
<p style="text-align: justify; ">[<a href="#fr2" name="fn2">2</a>]. Asha Achuthan, “Re:Wiring Bodies”, Centre for Internet and Society, available at http://cis-india.org/raw/histories-of-the-internet/rewiring-bodies.pdf, last accessed on January 25, 2014.</p>
<p style="text-align: justify; ">[<a href="#fr3" name="fn3">3</a>]. Nandan Nilekani, “Imagining India: The Idea of a Renewed Nation”, <i>Penguin</i>, available at <a href="http://www.penguin.ca/nf/Book/BookDisplay/0,,9780670068449,00.html">http://www.penguin.ca/nf/Book/BookDisplay/0,,9780670068449,00.html</a>, last accessed on January 24, 2014.</p>
<p style="text-align: justify; ">[<a href="#fr4" name="fn4">4</a>]. Jahnavi Phalkey, “Focus: Science, History, and Modern India”, <i>The University of Chicago Press</i>, <a href="http://www.jstor.org/stable/10.1086/670950">http://www.jstor.org/stable/10.1086/670950</a>, last accessed on January 24, 2014.</p>
<p style="text-align: justify; ">[<a href="#fr5" name="fn5">5</a>]. Ashish Rajadhyaksha, “The Last Cultural Mile”, <i>The Centre for Internet and Society</i>, available at <a href="https://cis-india.org/raw/histories-of-the-internet/last-cultural-mile.pdf">http://cis-india.org/raw/histories-of-the-internet/last-cultural-mile.pdf</a>, last accessed on January 24, 2014.</p>
<p style="text-align: justify; ">[<a href="#fr6" name="fn6">6</a>]. Ashish Rajadhyaksha, “In the Wake of Aadhar: The Digital Ecosystem of Governance in India”, <i>Centre for Study of Culture and Society</i>, available at <a href="http://eprints.cscsarchive.org/532/">http://eprints.cscsarchive.org/532/</a>, last accessed on January 23, 2014.</p>
<p style="text-align: justify; ">[<a href="#fr7" name="fn7">7</a>]. Terms of Service, Didn’t Read, available at <a href="http://tosdr.org/">http://tosdr.org/</a>, last accessed on January 26, 2014.</p>
<p style="text-align: justify; ">[<a href="#fr8" name="fn8">8</a>]. Siva Vaidyanathan, “The Googlization of Everything: (And Why Should We Worry)”, <i>University of California Press</i>, available at <a href="http://www.ucpress.edu/book.php?isbn=9780520258822">http://www.ucpress.edu/book.php?isbn=9780520258822</a></p>
<p>
For more details visit <a href='https://cis-india.org/telecom/knowledge-repository-on-internet-access/body-in-cyberspace'>https://cis-india.org/telecom/knowledge-repository-on-internet-access/body-in-cyberspace</a>
</p>
No publishernishantCyborgsCyberspace2014-05-13T10:13:22ZPageWe Are All Cyborgs
https://cis-india.org/digital-natives/we-are-cyborgs
<b>The cyborg reminds us that who we are as human beings is very closely linked with the technologies we use.</b>
<p><a class="external-link" href="http://www.indianexpress.com/news/we-are-all-cyborgs/942874/0">Nishant Shah's article was published in the Indian Express on April 29, 2012</a></p>
<p>If you look at any illustrated
history of human civilisation, you will quickly realise that it is also a
history of technology. From the discovery of fire by Homo sapiens to
the contemporary homo digitalis, there is no escaping that technologies
of different kinds have not only changed the way we live but also helped
us realise what it means to be human. Often, we treat these
technologies as external to us, thinking of them as tools that we deploy
to perform a particular task. However, as our technologies become more
transparent, intimate and customised, we realise that we are developing
relationships with the technological devices that surround us. So, if
your laptop crashes, you feel crippled. There are people who proclaim
that they feel amputated without their cellphone. It is quite reasonable
to feel lost without the information compass of the internet.</p>
<p>This
relationship between human beings and technologies has been very
concisely defined in the idea of a cyborg. A cyborg is a
human-technology synthesis which enhances our capacities to live as
human beings. While it might seem like a slightly new idea, once you
realise that we constantly live with technologies and often internalise
them in our bodies, it is not difficult to wrap our head around it.
Think of people with pacemakers or prosthetic limbs or different
implants in their bodies, who experience technologies as an integral
part of their everyday life. Similarly, think of the wide range of
technology apparatus that you depend on to live a “regular” human life.
We have also seen iconic cyborg representations in popular movies — from
the absolutely unforgettable Arnold Schwarzenegger in Terminator 2 to
our very own dimpled Shah Rukh Khan as Ra.One — there has been a
persistent imagining of the human being as we know it, evolving to
become some sort of a super man, enhanced by advancements in digital
technologies of virtual reality.</p>
<p>There
has been a growing anxiety, almost a moral panic, about how
technologies are alienating us, replacing face-time with inter-face time
so that we are all growing “alone together”. There is also, across
generations and users, a growing separation of those who work with
technologies and those who don’t. There is much concern about the human
becoming corrupt because of the ubiquitous presence of the pervasive and
invasive technologies around us. In the face of these anxieties, the
cyborg stands as a culturally significant and timely reminder that we,
as human beings, are very closely linked with the technologies that we
use. And that we need to stop thinking of technologies as merely gadgets
and tools that surround us. The different objects that remind us of the
presence of technology are not the same thing as technology itself.
Technology is a way of thinking about things, a way of relating to the
world around us. The most intrinsic forms of technologies are the ones
that we don’t even recognise as a part of our innate mental make up.</p>
<p>Do
this simple experiment. Right now, while you are reading this, do not
look at any clock or time-measuring device and guess what time it is.
Chances are that you will be, give or take a few minutes, more or less
accurate. Even if you are temporally challenged, you will at least know
what part of the day it is, morning, afternoon, evening or night. The
point is that we are absolutely and completely creatures of time. We
cannot think of ourselves outside of it and even when we might be
dramatically wrong about it, there is no escaping the fact that we are
always thinking of ourselves and the world around us through time.</p>
<p>We
experience our lives and our relationships in cyclical notions of the
clock’s face, thinking of our actions as borrowed from the future, lived
in the present, and relegated to the archives of the past. It then,
must come as a bit of a shock (it certainly did to me, the first time I
was made to realise it) that time is not natural. Time is a human way of
measuring a passage of actions. Time is a technology which has now
become such a potent metaphor of life that we have forgotten to make the
separation of the human and the technological.</p>
<p>And
thus, whether you might be a tech-savvy digital native or a
byte-fearing luddite, there is no denying the idea that when it comes to
technologies of time, you are already a natural born cyborg. This
ability of technologies to become transparent and an inalienable part of
who we are forms cyborgs. The process through which they become
transparent is not easily accessible, but it does begin by an
internalisation of the technology’s processes in our everyday
vocabulary. So the next time you think of yourself as a system that
needs to be upgraded, or unable to pay attention because you don’t have
enough bandwidth, remember that you are engaging in a flirtatious
relationship with the digital. And slowly, but surely, we are all
turning into cyborgs, as the new technologies rearrange patterns of our
life and living.</p>
<p><em>digitalnative@expressindia.com</em></p>
<p>
For more details visit <a href='https://cis-india.org/digital-natives/we-are-cyborgs'>https://cis-india.org/digital-natives/we-are-cyborgs</a>
</p>
No publishernishantCyborgsResearchers at WorkDigital Natives2015-04-24T12:00:54ZBlog EntryWe, the Cyborgs: Challenges for the Future of being Human
https://cis-india.org/raw/digital-humanities/blogs/we-cyborgs/challenges-for-future-of-human
<b>The Cyborg - a cybernetique organism which is a combination of the biological and the technological – has been at the centre of discourse around digital technologies. Especially with wearable computing and ubiquitous access to the digital world, there has been an increased concern that very ways in which we understand questions of life, human body and the presence and role of technologies in our worlds, are changing. In just the last few years, we have seen extraordinary measures – the successful production of synthetic bacteria, artificial intelligence that can be programmed to simulate human conditions like empathy and temperament, and massive mobilisation of people around the world, to fight against the injustices and inequities of their immediate environments. </b>
<p><strong>Rationale</strong></p>
<p>All of these, in some way or the other, hint at new models of
cyborgification which we need to unpack in order to understand a few
questions which have been at the helm of all philosophical inquiry and
practical design around Internet and Society:</p>
<ul><li>How do we understand ourselves as human? What are the technologies that define being human?</li><li>How
do conceptualise the technological beyond prosthetic imaginations? How
do we understand technology (especially the digital) as a condition?</li><li>What are the new challenges we shall face in law, ethics, life and social sciences as we increasingly live in Cyborg societies?<br /></li></ul>
<em>We , the Cyborgs</em>, is a first of its kind research inquiry that
locates these questions in a quickly digitising India to see the
challenges of being human in the time of technological futures. In her
seminal body of work on Cyborgs, Donna Haraway had posited the cyborg as
a creature of fiction and ironies; a monster, a trickster, a boundary
creature that is irreducible to the existing binaries of
human-technology, technology-nature, nature-regulation.
In imagining the cyborg as simultaneously fictitious and embodied in
practices of care and labour, Haraway was further hinting at a set of
questions that have never really entered discourse on cyborgs: Who are
we when we become cyborgs? What do we do with the cyborgs we have
produced? What are the other kinds of cyborgs? What are the new places
them? What are the other ways of understanding cyborgs? Asha Achuthan in
her monograph Re:Wiring Bodies, maps these questions along the axes of
Presence, Access, Inclusion and Resistance to understand ‘attitudes to
technology’.
Achuthan talks about a moment of elision where technology is separated
from the human body in the space of policy and critique. In those
moments of separation, there is the production of a cyborg body that is
suddenly vulnerable because it does not have the support of the
technological which was an essential part of its bodily experience. How
does this body get assimilated in our technology practices? What are the
axes of discrimination and inequity that are attributed to these bodies
in the process of cyborg making? Who are the actors that play a part in
designing these cyborg bodies and selves? In the Indian context, where
there has been a legacy of being technosocial subjects and cyborg
citizens in the nation’s own technoscience imagination of itself, we
need to locate the cyborg in new sites and contexts to see what the
regulation of technology and its integration in everyday life.
<strong><br /><br />Methodology</strong>
<p>Building upon her work, We, The Cyborgs, seeks to locate the cyborg
in India, on 3 interdisciplinary but connected sites to examine how
bodies, in their interaction with the design and practice of different
processes of regulation and control, are in the process of becoming
cyborgs. The inquiry locates the cyborg at intersections of Health Care,
Planning and Gender, to start unpacking the different futures of the
body-technology relationships that have been posited in terms like
post-human, techno-social, simulated bodies, bodies as traffic, etc. In
the process, it hopes to unravel the questions of methods, frameworks,
ethics and practices of bodies in conditions of technology.
<em>We, The Cyborgs</em>, aims to bring together a wide range of
researchers and practitioners from different disciplinary locations
including but not limited to – Art, Anthropology, Law, Planning,
Architecture and Design, Gender and Sexuality studies, Cultural Studies,
Life Sciences, Medicine, New Media Studies, etc. – to start a debate
around some of the key issues around cyborgs and cyborg-making in their
fields.</p>
<p>
For more details visit <a href='https://cis-india.org/raw/digital-humanities/blogs/we-cyborgs/challenges-for-future-of-human'>https://cis-india.org/raw/digital-humanities/blogs/we-cyborgs/challenges-for-future-of-human</a>
</p>
No publisherashaCyborgsNet CulturesResearchers at WorkResearch2015-10-24T13:42:16ZBlog EntryMaterial Cyborgs; Asserted Boundaries: Formulating the Cyborg as a Translator
https://cis-india.org/raw/material-cyborgs-asserted-boundaries-formulating-the-cyborg-as-a-translator
<b>In this peer reviewed article, Nishant Shah explores the possibility of formulating the cyborg as an author or translator who is able to navigate between the different binaries of ‘meat–machine’, ‘digital–physical’, and ‘body–self’, using the abilities and the capabilities learnt in one system in an efficient and effective understanding of the other. The article was published in the European Journal of English Studies, Volume 12, Issue 2, 2008. [1]</b>
<p> </p>
<p><em>Download the paper <a href="https://cis-india.org/publications-automated/cis/nishant/material%20cyborgs%20ejes.pdf/at_download/file" class="external-link">here</a></em>.</p>
<p><em>Read the original paper published by Taylor & Francis <a class="external-link" href="http://www.tandfonline.com/doi/abs/10.1080/13825570802151504">here</a></em>.</p>
<hr />
<h2>I, the cyborg</h2>
<p>The cyborg, a combination of hardware, software and wetware, stands as one of the most visible figures of the cybernetic age. A portmanteau of two words: cybernetic and organism, the term cyborg refers to a biological being with a kinetic state that can be transferred with ease from one environment to another, able to adapt to changing environments through technological augmentation. The first living Cyborg to find its way into the human family tree was a rat. Manfred Clynes and Nathan Kline – two astrophysicists, in 1960, thought of a ‘hybrid-organism’ system (a rat with an osmotic pump) that provided biological stability to an organism in response to its constantly changing environment. In their paper in Astronautics they wrote:</p>
<blockquote>For the exogenously extended organizational complex ... we propose the term ‘cyborg’. The Cyborg deliberately incorporates exogenous components extending the self-regulating control function of the organism in order to adapt it to new environments. (Clynes and Kline, 1960: 1)</blockquote>
<p>Notwithstanding this, the cyborg is most commonly thought of in a futuristic vein, escaping the confines of the physical body and recreated through various digital forms like databases, networks and archives.</p>
<p>With the emergence of the WorldWide Web, the cyborg has strategically evolved in our imaginations as a metaphor of our times.We are already in the age where the ‘first living cyborg’ (Warwick, 2000: 15) has announced his arrival. In his autobiography I, Cyborg, Stephen Warwick, a professor of cybernetics and robotics, unveils how he became the first human cyborg through a series of path-breaking experiments. He begins his narrative by saying, ‘I was born human. But this was an accident of fate – a condition of time and place. I believe it’s something we have the power to change’ (Warwick, 2000: 5). Cybercultures theorist David Bell, on the other hand, especially with the proliferation of new digital technologies, in his preface to The Cybercultures Reader, locates the cyborg in ‘the crucial mechanics of urban survival’ (Bell, 2000: xxi) that produce everyday cyborgs through digital transactions and technologically augmented practices. Sherry Turkle, looking at the experiments in genetic engineering and reproductive practices, traces the processes of ‘cyborgification’ in the production of ‘techno-tots’ (Turkle, 1992: 154) – a new generation of designer babies who have been augmented by technology to have the perfect genetic composition.</p>
<p>In this paper, I seek to explore the possibility of formulating the cyborg as an author or translator, who is able to navigate between the different binaries of ‘meat– machine’, ‘digital–physical’, ‘body–self’, using the abilities and the capabilities learnt in one system in an efficient and effective understanding of the other. What does the cyborg as a translator add to our understanding of the processes of translation? If we were to examine the formation of a cyborg identity embedded in the digital circuits of the World Wide Web, what is the text of translation? What are the translated objects? Who performs these translations? Is the user the omnipotent translator who brings to this site, her special knowledge of distinct systems to make meaning? When inflected by technology, does the process of translation, performed by the cyborg, enter into realms of incomprehensibility which get translated as illegality? How does the figure of the translating cyborg enable an analysis of the cyborg as materially bound and geographically contained, rather than the earlier ideas of the cyborg as residing in a state of ‘universal placelessness’ (Sorkin, 1992: 217)?</p>
<h2>Configuring the cyborg as a translator</h2>
<p>The cyborg, as fashioned by science fiction narratives, cinema and cartoons, conjures images of human–machine hybrids and the physical merging of flesh and electronic circuitry. Different representations of the cyborg abound in science fiction narratives in print, film, animation and games, from reengineered human bodies showcasing fin de millennia nostalgia for large robotic machines of power and strength to sleek and suave microchip-implanted silicon-integrated human beings who work in their artificially mutated enhancements. The cyborg has covered a wide imaginative range from looking at a happy human–machine synthesis to a degenerate human body made grotesque by machinistic implants to a rise of a potent cyborg community that threatens to overcome the human world of biological certainty and mortality. Some of the most famous instances of cyborgs in popular narratives illustrate this wide spectrum; from Maria the robot in Metropolis (Fritz Lang, 1927) to Lara Croft in the The Tomb Raider series (Toby Gard, 1996); from Case in William Gibson’s Neuromancer (1984) to Mr Anderson a.k.a. Neo in The Matrix Trilogy (The Wachowski Brothers, 1999–2003); from Johnny Quest (Hannah-Barbara Cartoons, 1996–7) in the eponymous animated series to avatars created on social networking sites and MMORPGs <a name="fr2" href="#fn2">[2]</a> like Second Life.</p>
<p>However, with the popularization and democratization of new digital technologies of information and communication (ICTs), we see a certain evolutionary production of the cyborg as an increasing number of people interact with digital spaces and sites and adopt mobile gadgets of computation and information dissemination as an extension of their bodies. The cyborg, as imagined within the digital realms of cyberspace, is imagined differently from the more hyper-real, hypervisible constructs within the fictional narratives.</p>
<p>Arjun Appadurai (1996), in his formulation of post-electronic modernity, explores how electronic media offer new everyday resources and disciplines for the imagination of the self and the world. He argues that the individual body and its ownership are wedded to the logic of capitalism and the notion of ownership that characterized most of the twentieth century. Appadurai suggests that the body becomes a site of critical inquiry and contestation because a capitalist state grants the individual the rights to his/her body and the choice to fashion that body through consumption patterns. When talking of Technoscapes <a name="fr3" href="#fn3">[3]</a>, Appadurai posits the idea of a technologically enhanced sphere of activities and identity formation that defy the processes of capitalism and produce new instabilities in the creation of subjectivities.</p>
<p>Cyberspace has become such a site where the individual body, marked in its being (genetically, biologically, socially and culturally) and circumscribed by the (physical, reluctant and cumbersome) space, can free itself from the relentless materiality of a capitalist set of reference points, to create a truly global self and a universally accessible space. Katie Hafner and Matthew Lyon, in their comprehensive history of the origins of the web, mention how in 1968 Joseph Carl Robnett Licklider and Robert Taylor, who were research directors of the United States of America’s Department of Defense’s Advanced Research Projects Agency (ARPA) and who also set in place the first online community (ARPANET), prophesied that online interactive communities ‘will consist of geographically separated members, sometimes grouped in small clusters and sometimes working individually. They will be communities not of common location but of common interest’ (Hafner and Mathew, 1996: 44). This prophesy was realised by the end of the twentieth century, as scholars announce the construction of the ‘discontinuous, global agoras’ (Mitchell, 1996: 27) and the arrival of the new commons shaped within the technoscapes of the internet. The imagination of the internet as the new public sphere of communication, interaction and collaboration also brought into focus the skills that a cyborg requires in order to materially exist on the intersections of various domains. Donna Haraway, in her seminal essay ‘A cyborg manifesto’ (1991), posited one of the most influential imaginations of the cyborg as residing in the ‘optical illusion between social reality and science fiction’ (Haraway, 1991: 151) Haraway’s cyborg hints at the possibility of imagining the cyborg as a translator:</p>
<blockquote>The cyborg is resolutely committed to partiality, irony, intimacy, and perversity. It is oppositional, utopian and completely without innocence. No longer structured by the polarity of public and private, the cyborg defines a technological polis based partly on a revolution of social relations in the oikos, the household.<br />(Haraway, 1991: xxii)</blockquote>
<p>This cyborg, in the blurring of the public and the private, in the diffusion of the physical and the virtual, and in the yoking together of economic practices and social identities, becomes an agential subjectivity that translates one system into another, using the referents of meaning making and processes of knowledge production in one system for deciphering and navigating through the other system. Haraway’s cyborg is a willing and conscious extension; an illustration of what Judith Butler, in Bodies That Matter (1993) calls the ‘performative’, thus infusing the figure of the cyborg with the ability to negotiate with its immediate environment and shape it through the material practices it engages with. The cyborg as a translator, thus has an interesting role as a mediator between the two systems. The cyborg no longer makes the distinction between an original and a translated text – the two systems occupy equal and often contesting zones of reality and authenticity for the cyborg.</p>
<p>Sandy Stone, in her anthropological study on technosociality – the technologised social order that emerges with ICTs and the social order of the technologised communities – emphasizes this very critical role of the cyborg:</p>
<blockquote>In technosociality, the social world of virtual culture, technics is nature. When exploration, rationalisation, remaking, and control mean the same thing, then nature, technics, and the structure of meaning have become indistinguishable. The technosocial subject is able successfully to navigate through this treacherous new world. S/he is constituted as part of the evolution of communication and technology and of the human organism, in a time in which technology and organism are collapsing, imploding, into each other.<br />(Stone, 1991: 81)</blockquote>
<p>Stone’s idea of the cyborg as collapsing the binary between the organism and technology is indicative of how the cyborg, in its processes of translation, reproduces both the worlds, and in fact allows for a dual process of translation between the two so that systems implode to form a complex set of references that determine the meanings of the text. This dual process of translation produces a critical episteme to revisit the notion of translation where the skills of the translator and the figure of the translator are generally looked upon as residing in a nuanced and close reading of the original text and the interpretative techniques by which it is reproduced in the ‘new’ or translated text, making sure that the original gets suffused with the meaning and ironies of the other language. Stone also adds to Haraway’s conception of the cyborg as she recognizes another distinction that the cyborg as a translator blurs in its being – the distinction between technique and the structure of meaning.</p>
<p>The cyborg as a translator, because it produces its identities through the same techniques that it produces the translated texts, internalizes the very techniques of translation. However, this process of internalization, instead of making the techniques invisible, foregrounds them as essential to the comprehension and understanding of the meanings which have been produced in this dual process of translation. The next section of this paper does a close reading of an instance of particular cyberspatial form – the social networking systems – to illustrate the dual processes of translation and the textuality of the texts involved.</p>
<h2>Lost in translation</h2>
<p>Both Haraway and Stone imagine the cyborg in a process of self-authorship through the interaction with the digital technologies. However, both of them only deal with the conceptual category of the cyborg and do not really examine the specific practices that this cyborg produces. Within cyberspaces, social networking systems, blogs, MMORPGs, multiple user dungeons (MUD), discussion boards, media sharing platforms, p2p networks <a name="fr4" href="#fn4">[4]</a>, etc., all create different conditions within which the physical users, through their digital avatars, interact with each other and form complex models of social networking and personal narratives. In this section I look at the notion of this self-authoring cyborg, embedded in the social networking system of ‘Orkut’, to illustrate and examine the discussions in the preceding section.</p>
<p>Orkut, a Google project, is one of the most thriving social networking systems that allows people to reacquaint themselves with people they have known in the past – friends, colleagues, acquaintances, family – who might be distributed across geography and lifestyles. Orkut also enables people with similar interests to form communities and interact, network and form new relationships with strangers in an unprecedented fashion. Orkut follows the AmWay <a name="fr5" href="#fn5">[5]</a> Economic model for its social networking, whereby an individual person inherits the friends of friends, thus often connecting themselves down more than 50 levels of friendship. Such a connection, such possibilities of networking, and the overall feeling of belonging to a dynamic, ever-growing network, gives the users a heady rush of emotions, using Orkut for various personal and professional reasons – from dating to holding meetings, from public performances to professional networking.</p>
<p>Most users within Orkut find themselves members of communities which are created around themes, hobbies, issues, ideas, movies, heroes, idols, books, religions, universities and schools, organizations, institutions, subjects, disciplines and music. One of the pre-requisites for using the various services on Orkut to their full potential is the creation of a profile. The profile, unlike a personal ad, is a concentrated effort at translating the ‘physical’ self of the person into ‘digital’ avatars that refer to the ‘original’ user behind the profile. Because of the pseudonymous nature of cyberspatial interactions, there is also an extra effort at making these avatars more verifiable, more real and more trustworthy. As an increasing number of users use social networking systems to find friends, to connect with partners and form communities that often translate back into the physical world, they spend a lot of effort on their profiles, trying to simulate (or translate) their personal identities and ideas into the digital world.</p>
<p>Most users put pictures of their face, along with populating their own virtual photo album with pictures of their pets, partners, friends, family and places they have visited. Profiles often change, adding ‘new pictures uploaded’ as a caption, to invite friends to visit their space and find out what is new about their virtual lives. Users can also keep track of all the changes that the people in their networks are making to their profiles, thus giving the sense of a fluid and a changing persona rather than a static description. Applications which allow the users to track birthdays, special dates, online calendars and the important events in their friends’ lives, add to the nature of communication and interaction. Most profiles have a fairly detailed narrative, using poetic imagery, exaggerated style, witticisms and pop philosophy to translate the person behind the screen. The profiles are also filled with their favourite activities, TV shows, music and books. This process of mapping a virtual body and producing texts of the physical body is the first level of translation that the users perform. The model of cyborgs that Haraway and Stone posit look upon the possibility of role playing, of fantasy, of adaptation and of authoring the self, in this process of cyborgification, as extremely liberating and subversive.</p>
<p>The social networking system and the related profiles also draw our attention to the dynamic interactions of the translated self within the digital domains. Through a metonymic process, the digital profile – the translated self – comes to stand in for the bodies of the users who not only create the translated self but also mark it with desires and aspirations. The translated self is largely under the control of the physical body. And yet, there are several ways in which the translated self does not allow for the physical body to emerge as the original, the authentic or the primary self within the dynamics of this site. On the one hand, it is the physical body of the user that authors the digital self, and hence it should be looked upon as the primary or the authentic text. On the other hand, the interactions that happen within the social networking system are interactions of the authored/translated self. The responses that the profile receives, the way in which the self is represented, the techniques used to engage with more people or invite strangers to communicate, are all the practices of the digital self.</p>
<p>Within Orkut, the profile of the person is bound to the physical body of the user behind the profile. While it is of course necessary to invoke a virtual avatar, because of the nature of social networking with people one already knows or has known, there is a certain disinvestment of fantasy within Orkut. Several users select pseudonyms which allow them to remain totally anonymous, but most of them have a visible face which tries to approximate their real-life persona online. Unlike the circuits of blogging or role playing games, Orkut emphasizes the need to be a ‘real’ person, thus validating its unique feature of ‘scrapping’. By employing it, users are encouraged to publicly perform their intimacies and relationships, which can be easily documented and tracked by others outside the one-to-one interaction. Thus, there seems to be a specific need to narrativize the self though the profile and the various functionalities available on Orkut. Members of the Orkut community are encouraged to think of themselves as part of a larger database – transmutable, transferable sets of data which they have authored for themselves – and can mobilize their virtual self across different networks to enhance their sense of social interaction and networking.</p>
<p>Also, the digital self is not translated solely by the physical user. Orkut has a feature of testimonials where the people in the networks of the translated self, also author opinions, observations and endorsements for the profile. Moreover, the public nature of communication and the archiving of this, add to the meaning and the functioning of this translated self. This production of the meta-data introjects the translated self into a circuit of meaning making and producing narratives that is beyond the scope of the physical body. Thus, there is a strange tension between the physical body of the user and the translated self that the user produces, which leads to the emergence of a cyborg identity. The cyborg is neither the physical body nor the translated digital self. It resides in the interface between the two, each constantly referring to the other, creating an interminable loop of dependence. The cyborg, because it is produced by the very technologies of the two systems that it is straddling, makes these techniques or the technologisation of the self synonymous with the processes of producing the narratives or making meaning.</p>
<p>This production of narratives of the self through different multimedia environments is not simply a process of writing biography or making self-representations. The users on Orkut (as well as other social networking sites like MySpace or blogging communities like Livejournal) are authoring avatars or substitute selves which are intricately and extensively a part of who they are. These translated selves do not live independent lives, but are firmly entrenched in the physical body and practices of the users. While there is a certain flexibility in the scripting of the avatar, the projections are more often than not premised upon the possibility of a Real. The avatars are also scripted as engaging in extremely mundane and daily activities to create verisimilitude and to map the physical body on to the avatar. To leave status messages like ‘stepped out for lunch’ or ‘Working really hard’ or ‘I am bored, entertain me’ is common practice for the users. As increasingly more users stay connected but are not always present on these digital platforms, they also let the avatars ‘sleep’ or ‘eat’ or ‘go away for some time’, synchronizing the avatar’s actions with their own.</p>
<p>A look at many other similar sites like blogging communities on ‘Livejournal’, or dating communities like ‘Friendster’, can give us an idea that the first stage in authoring a cyborg rests in creating these profiles, or avatars. Users spend an incredible amount of time trying to create for themselves the best avatars, which will be continued projections of the self. These tend to rely mainly on the visual component, as in games like ‘Second Life’ and chatting platforms like ‘Yahoo!’, but they can also rely on a combination of visual and verbal elements. Thus, the cyborg starts a process of translation whereby both the physical body and the translated self are distilled into data sets that get distributed across different practices and platforms, changing continuously and feeding into each other. Thus, just the first step of translation – the translation of the physical body into the digital avatar – is already a complex state, where we it is not as if the cyborg exists ex-nihilo and then translates from one system to the other but that the cyborg is produced in this very process of translation. Moreover, the translated text is not simply the sole authorship of the cyborg but has other players, who are a part of either of the systems, adding meanings and layers to the text.</p>
<p>The second step in this process is a reverse translation. Even within role playing games, where the alienation of the avatar from the body reaches its highest levels, there is an invested effort on the part of the gamer to provide physical and material contexts to the imagined bodies which they have created. Mizuki Ito (1992), in her work about online gamers, looks at how, with an increased investment in the digital lives, users tend to shape their own physical selves around their projected avatars. Many chronic users of cyberspaces have their language, their social interaction and even the way they dress and behave affected by their practices online. Sherry Turkle, in her analysis of the MUD world in Life on the Screen (1996), points out that an increasing number of users start looking upon their screen lives as a constitutive part of their reality rather than an escape from it.</p>
<blockquote>A computer’s ‘windows’ have become a potent metaphor for thinking about the self as a multiple and distributed system. The hypertext links have become a metaphor for a multiplicity of perspectives. On the internet, people who participate in virtual communities may be ‘logged on’ to several of them (open as several open-screen windows) as they pursue other activities. In this way, they may come to experience their lives as a ‘cycling through’ screen worlds in which they may be expressing different aspects of self.<br />(Turkle, 1996: 43)</blockquote>
<p>In another essay, titled ‘Playblog: Pornography, Performance and Cyberspace’ (Shah, 2005), I illustrate how the process of ‘reverse embodiment’ takes place in the lifecycle of bloggers. This process entails a mapping of the translated avatar on to the physical body of the users. This process of reverse translation often leads to the users abandoning their avatars, cutting down on their public presence or sometimes actually committing ‘digital suicides’, killing their own selves to start new identities and networks. Julian Dibbell, in his celebrated essay, ‘A Rape Happened in Cyberspace’ (1994) looks at the dynamics of this reverse mapping or inverted translation as well. Dibbell was witness to one of the most popular cases of ‘digital violence’ in the late 1990s, when in an MUD, a particular user called Dr Bungle, devised a ‘voodoo doll’ on the Lambda MOO MUD, which gained control over two of the other users, making them enter into a series of involuntary sexual acts of deviousness and perversion, in a public ‘room’ where all the other users could see them. What might be looked upon as a simple gaming aesthetic of a more powerful player taking over the avatars of two players with lesser power became a topic of huge discussion as the physical users behind the translated avatars complained of feeling violated and ‘raped’. This claim had very serious consequences because it no longer allowed for a linear notion of the physical body being translated into a digital avatar but insisted that the translated avatar is always, because of the users’ emotional involvement but also because of the practices that the avatar initiates, mapped back on to the body of the physical user. This is a process of reverse embodiment where the presumed ‘original’ is now re-shaped and re-configured to suit the translated object. Such a phenomenon is perhaps possible only in the domains of the cyberspace. Also, the cyborg, generally presumed as residing in the physical body, is now relocated in this two-way process, at the borders where it not only facilitates meaning but also realizes itself in the process of facilitation.</p>
<p>The digital transactions in which the users within such spaces engage have huge social, economic and cultural purport. The authoring of these selves, of these digital avatars, leads to the idea of the cyborg as not simply a synthesis – a site upon which the synthesis happens – but as a dynamic situation in which all subjects participate, producing and supporting its own identity. The cyborg exists in the interstices of the different oppositions of the real and the virtual, the physical and the digital, the temporal and the spatial, the biological and the technological. Moreover, the cyborg does not reside simply within the digital domains but becomes and embodied technosocial being, with a material body that enters into other realms of authorship and subjectification. It is necessary to recognize that the cyborg is not simply a self authored identity but is also subject to various other realms of governance. These material cyborgs, then, assert the need for the body as central to their imagination.</p>
<p>This bounded cyborg is also subject to the territories that it resides within. The last section of the paper looks at the State as a critical part of the production of these material cyborg identities and analyses how the incomprehensibility of this particular identity reproduces it in a condition of illegality, rescuing it from the boundless universal imagination and reasserting the geographical and the territorial boundaries that the cyborg exists within. In this particular analysis, because of my own familiarity with the context and also because new digital technologies are still emerging and unfolding into new forms in India, I shall speak specifically of the Indian State but hope that the particular case that I analyse shall have resonances for other geo-cultural and socio-political contexts as well.</p>
<h2>The state of the cyborg</h2>
<p>The cyborg, thus residing on the interstices of so many different paradigms, can no longer be limited to aesthetized representations and narratives, but is becoming a part of everyday practices of global urbanism. The range of human–machine relationships is diverse and increasingly varied. We might not be complete cyborgs but we do deal with ‘intimate machines’ (Turkle, 1996: 142) and live in ‘cyborg societies’ (Haraway, 1991: 179). The cities where we we live constantly remind us of the machinations we are dependent on; sometimes they blind us of our dependence on the technology, sometimes they make it starkly visible. Different organizations like the Military, Space Studies, Medicine, Human Research and Education are using new forms of organism–technology interactions in the increasingly urbanised world. Just like the interactions of the translated avatara and the physical users, David Bell and Barbara Kennedy, in their introduction to The Cybercultures Reader, look at the interactions with various different technologies of communication and transport, and posit the notion of an ‘Everyday Cyborg’ that gets produced in everyday practices:</p>
<blockquote>Taking Viagra, or [using] a pacemaker, or riding a bike, or withdrawing cash from an ATM, or acting out [our] fantasies as Lara Croft in the latest Tomb Raider game or as a Nato bomber pilot blitzing Kosovo, or anyone watching footage from Kosovo live on the late-night news.<br />(Bell, 2000: ix)</blockquote>
<p>In their list, the authors are more interested in looking at human–machine interaction and making historical continuities to the production of a technosocial identity or a cyborg self. This ‘naturalized’ cyborg robs the cyborg of its criticality or importance. It seems to posit the cyborg as simply a coupling of organism and machine, and hence a benign cultural formulation which can now be decontextualized and analysed in the digital domains. The cyborg as a translator – initiating a complex and intricate set of relationships between the different systems of meaning making that it</p>
<p>straddles – questions this trvialization of the cyborg and instead helps produce the cyborg identity as an epistemological category which needs to be analysed to see the processes that produce it and the crises it produces in the pre-digital understanding of text and textuality.</p>
<p>It is with these questions that I begin the analysis of what has popularly been dubbed as the ‘Lucknow Gay Scandal’ in India. In India, under the Section 377 of the Indian Penal Code, as a part of larger ‘Unnatural Sex Acts’, homosexual activity is a punishable offence <a name="fr6" href="#fn6">[6]</a>. However, the reading of this particular act has always been invoked in dealing with the act of same-sex sexual behaviour and not to punish a particular identity. However, when the queer rights and gay collectives started gaining momentum because of the rise of digital technologies (Singh, 2007), the production of the queer cyborg produced an anxiety about the fantasies, the digital avatars and the material practices of the users behind the avatars. In January 2006, policemen in the city of Lucknow, masquerading as gay men, registered with a popular queer dating website called ‘Guys4men’. Explicitly a gay dating site, it allows users to create their profiles, add pictures and text, translate their personal data in a scripted space, exchange messages and chat. Like the earlier discussed social networking sites, Guys4men also allows users to search and befriend each other, encouraging public discussions and arranging for physical encounters at a personal or a collective level.</p>
<p>These policemen created profiles and listed themselves as gay men, to start interacting with the members of the site. They solicited sex and meetings and finally invited five men to come and meet them in a public garden in Lucknow. When four of the five men turned up for the rendezvous, they were arrested on charges of obscenity, of soliciting sex in public and engaging in homosexual fantasies. The media reported this as ‘Gay Club Running on the Net Unearthed’ (The Times of India, 5 January 2006). The website was looked upon as a physical space where people indulged in ‘unnatural sex acts’.</p>
<p>The four men were punished, not for anything that they did in public or in the physical world but for their projected fantasies online. They were publicly humiliated, exhibited to the media as a ‘homosexual coup’ and put under arrest by the police. While a large part of the political society in India erupted in fury at the gross violation of the human rights and the punishment of fantasies, leading to a raging court case which still has not found resolution, what this paper hopes to glean from this particular case are four interesting points. Firstly, three of the four men, in their physical existence, were married and had children. They were not suspected to have homosexual inclinations by their family or friends, to whom this came as a huge shock. The evidence of the material practices of their physical bodies was not looked upon as strong enough to acquit them. Secondly, the policemen who were luring these men towards a homosexual encounter were themselves projecting similar fantasies. However, as theirs were sanctioned by some high authority, they gained validity and were not to be punished. It was almost as if the fantasies and the avatars that the policemen had were legitimate, sanctified translations of their selves, which made them different. Thirdly, while the men were caught in the physical meeting space, the charges against them were all based on their online activities. What was being produced was not even the act of translating their physical bodies into digital avatars. What was at stake in the particular case was the fact that, in the processes of translation, a reverse translation was also set into place, where the digital avatars and the circuits of consumption and interaction that these avatars entered into were mapped on to the physical bodies, reconfiguring them and marking them as queer. The men were punished not because they claimed a queer identity or because they had fantasies online which did not subscribe to the State’s directive. These men were being punished for the production of a cyborg self – a self which on the one hand was contained by the physical bodies of the users, thus subject to the processes of governance and administration applicable in the geography that they are located in, and on the other hand produced by the imagined selves – the translated avatars which reside outside of the geo-territorial regimes. It is this production of the queer cyborg, residing on the boundaries of sexuality, of nationality and subjectivity that was sought to be punished in this particular case.</p>
<p>On the whole, this case seems to prove that there is a very definite move, on the part of the State, towards the recognition of online avatars as not only extensions of the self but as more powerful identities than the physical self. The State imagines the users of cyberspace as ‘real’ cyborgs and conceives their online activities, fantasies and role-plays as punishable offences. The State also recognizes their translated selves – their datasets that they authored – as verifiable proof of their existence and actions online. The story of the Lucknow incident brings to the fore the possibility that there might also be reluctant cyborgs. The notion of the translator is always somebody who is in a conscious condition of deploying knowledge in order to bridge the gap between different paradigms. However, as the digital world becomes more democratic and becomes a part of our daily transactions, an increasing number of users enter into conditions of translation which they might not recognize as translation. It is also imaginable that a large number of users might resort to the cyberspace to reach a particular aim, without wishing to produce any elaborate narratives of themselves. They might be completely unaware of the processes of reverse translation which follow. However, because of the State’s investment in digital technologies and its infrastructures, individuals get authored as cyborgs, having to take responsibility for their actions and fantasies online, against their will and outside of their knowledge.</p>
<p>The implication of the State or other State-like bodies in the production of these cyborg identities and texts makes us aware of the fact that processes of translation are not simply about the intention and the effort of the translator, but are also severely embedded in the techniques used for translation and the contexts within which the translator and the translated identities are produced. In earlier discussions of testimonials and scraps on Orkut or commentating and editing on blogging platforms, we had already looked upon how the translated text, even when it is a self-narrative, on the digital interfaces, is already a product of multiple authorships and can no longer be attributed to a single individual translator. Similarly, the cyborg identity that is produced in the processes of translation – the cyborg as a translator – is also not a product of individual desire or intention but is often brought into being through the various other players within the internet as well as within the physical contexts of the users.</p>
<h2>Why cyborg?</h2>
<p>The everyday embodied cyberspace cyborg thus becomes subject to the state as well as the technology. People who enter the digital matrices are made accountable for their actions and travels in cyberspaces. There is an increased anxiety around monitoring these processes of translation, of reverse translation and production of translated cyborg identities that are becoming such an integral part of cyberspatial platforms.</p>
<p>The virtual avatars are re-mapped onto the body of the user, thus reconfiguring the notion of the self and the body. The state, through its efforts, becomes a major player in the authoring of the cyberspace cyborg. Other surveillance technologies like Close Circuit Television (CCTV) for instance, also produce unwilling or unwitting technologized narratives of the users caught under the camera. It is possible to use CCTV in public spaces and capture users in different actions which they can be held responsible for later. However, the cyberspace cyborg differs significantly from this model because the users of cyberspace are willing participants of the spaces which they occupy.</p>
<p>The positing of the cyborg as a translator and as an identity that emerges out of translation practices defines a clearer role for translation and a larger definition for translation as it gets inflected by digital technologies. Instead of the universal hyperreal agent, the cyborg as a translator emphasizes one of the fundamental principles of understanding translation – the context of the translator, the agential negotiations of the translator with the original text, the processes by which the self of the translator get produced and the importance of the technologies within which the translation occurs. The collaborative nature of digital technologies and cyberspatial forms illustrates how the process of translation is not singular and that the relationship between the presumed original and the translated text also need to be re-visited. However, more that anything else, the cyborg as a translator makes it clear that the translated text is not produced in isolation or by a single author. There are various contributions that emerge from the networks within which the cyborg translator operates and from the different technologies of governance that the cyborg translators as well as the translated texts are subject to. On the other hand, to the body of cybercultures which has sustained interest in the production and imagination of the cyborg, the cyborg as a translator offers a different way of locating the cyborg identity – not as an identity produced through cyberspaces, but as an embodied cyborg that emerges as an epistemological category to explain the processes of collaboration, sharing, collective authoring and possession of the new digital spaces.</p>
<h2>Notes</h2>
<p>[<a name="fn1" href="#fr1">1</a>] This paper owes huge intellectual and emotional debt to Rita Kothari who first invited me to contribute to this issue, helping me formulate the germ of the idea and to Elena Di Giovanni who has been an extremely patient editor, guiding me through the many drafts that gave shape to this final version.</p>
<p>[<a name="fn2" href="#fr2">2</a>] MMORPG – Massively Multiple Online Role – playing game is a genre of gaming in which a large number of players interact with one another in a virtual world. The MUDs that Sherry Turkle studied can be looked upon as the direct antecedents to MMORPGs like Second Life and War of Warcraft – two of the most popular gaming platforms in current times.</p>
<p>[<a name="fn3" href="#fr3">3</a>] Technoscapes are the landscapes of technology. They refer to technology as both high and low, informational and mechanical, and the speed at which it travels between previously impassible boundaries. Appadurai uses the idea of Technoscape to imagine a fluid and transmittable topography of technology, where the different transactions and the identities formed online have material consequences in economic flows and societal formations. The cyborg thus produced actively chooses and negotiates its identity. Identities are no longer solid, but become fractured, in that we no longer have to choose the identities or accept the ideas of the local community. We are actively choosing our programming based on that which is available to us. While the cyborg may choose to act in a manner most appropriate or relative to the cultures and geographies it is embedded within, that is no longer the only programming option available to it and many are choosing to look beyond their own cultural arenas.</p>
<p>[<a name="fn4" href="#fr4">4</a>] P2P networks – peer-to-peer networks – inherit the cyberspatial aesthetics of decentralized networks; of nodes being distributed across the circuits of the internet and talking to each other, collaborating in projects, sharing information and exchanging digital material. The p2p networks have been under severe focus because they allow for unmonitored piracy and exchange of information</p>
<p>[<a name="fn5" href="#fr5">5</a>] AmWay emerged in the 1960s as the first of its kind of multi-level marketing company where the individuals inherit each other’s customers and profits through a simple system of multi-directional networking.</p>
<p>[<a name="fn6" href="#fr6">6</a>] The Wikipedia entry for IPC Section 377 reads: ‘Homosexual relations are technically still a crime in India under an old British era statute dating from 1860 called Section 377 of the Indian Penal Code which criminalises ‘‘carnal intercourse against the order of nature.’’ Since this is deliberately vague in the past it has been used against oral sex (heterosexual and homosexual), sodomy, bestiality, etc. The punishment ranges from ten years to lifelong imprisonment’. The relevant section reads: ‘Whoever voluntarily has carnal intercourse against the order of nature with any man, woman or animal, shall be punished with imprisonment for life, or with imprisonment of either description for a term which may extend to ten years, and shall also be liable to fine’.</p>
<h2>References</h2>
<p>Appadurai, Arjun (1996). <em>Modernity At Large</em>. New Delhi: Oxford UP.</p>
<p>Bell, David (2000). ‘Introduction I Cybercultures Reader: a User’s Guide’. <em>The Cybercultures Reader</em>. Eds David Bell and Barbara M. Kennedy. London and New York; Routledge.</p>
<p>Butler, Judith (1993).<em> Bodies That Matter: On the Discursive Limits of ‘Sex</em>’. New York: Routledge.</p>
<p>Clynes, Manfred and Nathan Kline (1960). ‘Cyborgs in Outerspace’ 20 November 2002. <a href="http://search.nytimes.com/library/cyber/surf/022697surf-cyborg.html">http://search.nytimes.com/library/cyber/surf/022697surf-cyborg.html</a>.</p>
<p>Dibbell, Julian (1994). ‘A Rape in Cyberspace, or How an Evil Clown, a Haitan Trickster Spirit, Two Wizards, and a Cast of Dozens Turned a Database into a Society’.<em> The Village Voice</em>.</p>
<p>‘Gay Club Running on Net Unearthed’. <em>The Times of India</em>. 5 January 2006. <a href="http://timesofindia.indiatimes.com/Cities/Lucknow/Gay_club_running_on_Net_unearthed/articleshow/msid-1359203,curpg-2.cms">http://timesofindia.indiatimes.com/Cities/Lucknow/Gay_club_running_on_Net_unearthed/articleshow/msid-1359203,curpg-2.cms</a>.</p>
<p>Gibson, William (1994). <em>Neuromancer</em>. New York: Ace Books.</p>
<p>Hafner, Katie and Mathew Lyon (1996). <em>Where Wizards Stay up Late: The Origins of the Internet</em>. New York: Simon and Shuster.</p>
<p>Haraway, Donna (1991). ‘A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century’. <em>Simians, Cyborgs, and Women</em>. New York: Routledge, 149–81.</p>
<p>Ito, Mizuko (1992). ‘Inhabiting Multiple Worlds: Making Sense of SimCity2000TM in the Fifth Dimension’. <em>Cyborg Babies: From Techno-Sex to Techno-Tots</em>. Eds Robbie Davis-Floyd and Joseph Dumit. New York: Routledge.</p>
<p>Licklider, C. R. and Robert Taylor (1968) ‘The Computer as Communication Device’. <em>Science and Technology</em>, 21–31 April. <a href="http://www.cc.utexas.edu/ogs/alumni/events/taylor/licklider-taylor.pdf">http://www.cc.utexas.edu/ogs/alumni/events/taylor/licklider-taylor.pdf</a>. Accessed 5 November 2005.</p>
<p>Mitchell, William (1996). <em>City of Bits: Space, Place and the Infobahn</em>. Cambridge: MIT.</p>
<p>Shah, Nishant (2005). ‘Playblog: Pornography, Performance and Cyberspace’. <a href="http://networkcultures.org/blog/publication/the-art-and-politics-of-netporn/">http://networkcultures.org/blog/publication/the-art-and-politics-of-netporn/</a>.</p>
<p>Singh, Pawan Deep (2007). ‘Inside Virtual Queer Subcultures’. MA Thesis. Hyderabad Central University.</p>
<p>Sorkin, Michael (1992). ‘See you in Disneyland’. <em>Variations on a Theme Park: The New American City and the End of Public Space</em>. New York: Noonday Press.</p>
<p>Stone, Sandy (1991). Cyberspace: First Steps. Ed. Michael Benedikt. Cambridge, MA: MIT Press. 81–118.</p>
<p>Turkle, Sherry (1992). ‘Cyborg Babies and Cy-dough-plasm’. <em>Cyborg Babies: From Techno-Sex to Techno-Tots</em>. Eds Robbie Davis-Floyd and Joseph Dumit. New York: Routledge.</p>
<p>Turkle, Sherry (1996). <em>Life on the Screen: Identity in the age of the internet</em>. London: Weidenfeld and Nicolson.</p>
<p>Warwick, Stephen (2000). <em>I, Cyborg</em>. London: University of Reading Press.</p>
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For more details visit <a href='https://cis-india.org/raw/material-cyborgs-asserted-boundaries-formulating-the-cyborg-as-a-translator'>https://cis-india.org/raw/material-cyborgs-asserted-boundaries-formulating-the-cyborg-as-a-translator</a>
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No publishernishantBodyResearchCyborgsNet CulturesPublicationsResearchers at Work2015-10-25T05:57:08ZBlog EntryWe, the Cyborgs: Challenges for the Future of being Human
https://cis-india.org/raw/histories-of-the-internet/the-cyborgs
<b>The Cyborg - a cybernetique organism which is a combination of the biological and the technological – has been at the centre of discourse around digital technologies. Especially with wearable computing and ubiquitous access to the digital world, there has been an increased concern that very ways in which we understand questions of life, human body and the presence and role of technologies in our worlds, are changing. In just the last few years, we have seen extraordinary measures – the successful production of synthetic bacteria, artificial intelligence that can be programmed to simulate human conditions like empathy and temperament, and massive mobilisation of people around the world, to fight against the injustices and inequities of their immediate environments. </b>
<p><strong>Rationale</strong></p>
<p>All of these, in some way or the other, hint at new models of
cyborgification which we need to unpack in order to understand a few
questions which have been at the helm of all philosophical inquiry and
practical design around Internet and Society:</p>
<ul><li>How do we understand ourselves as human? What are the technologies that define being human?</li><li>How
do conceptualise the technological beyond prosthetic imaginations? How
do we understand technology (especially the digital) as a condition?</li><li>What are the new challenges we shall face in law, ethics, life and social sciences as we increasingly live in Cyborg societies?<br /></li></ul>
<em>We , the Cyborgs</em>, is a first of its kind research inquiry that
locates these questions in a quickly digitising India to see the
challenges of being human in the time of technological futures. In her
seminal body of work on Cyborgs, Donna Haraway had posited the cyborg as
a creature of fiction and ironies; a monster, a trickster, a boundary
creature that is irreducible to the existing binaries of
human-technology, technology-nature, nature-regulation.
In imagining the cyborg as simultaneously fictitious and embodied in
practices of care and labour, Haraway was further hinting at a set of
questions that have never really entered discourse on cyborgs: Who are
we when we become cyborgs? What do we do with the cyborgs we have
produced? What are the other kinds of cyborgs? What are the new places
them? What are the other ways of understanding cyborgs? Asha Achuthan in
her monograph Re:Wiring Bodies, maps these questions along the axes of
Presence, Access, Inclusion and Resistance to understand ‘attitudes to
technology’.
Achuthan talks about a moment of elision where technology is separated
from the human body in the space of policy and critique. In those
moments of separation, there is the production of a cyborg body that is
suddenly vulnerable because it does not have the support of the
technological which was an essential part of its bodily experience. How
does this body get assimilated in our technology practices? What are the
axes of discrimination and inequity that are attributed to these bodies
in the process of cyborg making? Who are the actors that play a part in
designing these cyborg bodies and selves? In the Indian context, where
there has been a legacy of being technosocial subjects and cyborg
citizens in the nation’s own technoscience imagination of itself, we
need to locate the cyborg in new sites and contexts to see what the
regulation of technology and its integration in everyday life.
<strong><br /><br />Methodology</strong>
<p>Building upon her work, We, The Cyborgs, seeks to locate the cyborg
in India, on 3 interdisciplinary but connected sites to examine how
bodies, in their interaction with the design and practice of different
processes of regulation and control, are in the process of becoming
cyborgs. The inquiry locates the cyborg at intersections of Health Care,
Planning and Gender, to start unpacking the different futures of the
body-technology relationships that have been posited in terms like
post-human, techno-social, simulated bodies, bodies as traffic, etc. In
the process, it hopes to unravel the questions of methods, frameworks,
ethics and practices of bodies in conditions of technology.
<em>We, The Cyborgs</em>, aims to bring together a wide range of
researchers and practitioners from different disciplinary locations
including but not limited to – Art, Anthropology, Law, Planning,
Architecture and Design, Gender and Sexuality studies, Cultural Studies,
Life Sciences, Medicine, New Media Studies, etc. – to start a debate
around some of the key issues around cyborgs and cyborg-making in their
fields.</p>
<p><br /><strong></strong></p>
<p>
For more details visit <a href='https://cis-india.org/raw/histories-of-the-internet/the-cyborgs'>https://cis-india.org/raw/histories-of-the-internet/the-cyborgs</a>
</p>
No publisherkaeruCyborgsHistories of InternetResearchers at WorkInternet Histories2015-04-06T15:48:35ZBlog EntryMeet the Web 2.0 Suicide Machine
https://cis-india.org/digital-natives/blog/dn1
<b>Digital Natives live their lives differently. But sometimes, they also die their lives differently! What happens when we die online? Can the digital avatar die? What is digital life? The Web 2.0 Suicide machine that has now popularly been called the 'anti-social-networking' application brings some of these questions to the fore. As a part of the Hivos-CIS "Digital Natives with a Cause?" research programme, Nishant Shah writes about how Life on the Screen is much more than just a series of games. </b>
<p>
In the new year, 2010, one of the most startling stories was of mass
suicides. About 50,000 people were affected. Legal cases were filed. The
interwebz were abuzz with the tale of how they did it. There was talk
about a website that was responsible for this. The blogosphere went into
a frenzy discussing the ‘new lease of life’ that these suicides
provided. Videos of people caught in the act found their way onto
popular video distributing spaces. And for everybody who talked about
it, it was partly a joke and partly a gimmick. However, for a
significant population, across the globe, the news came as a shock and a
moment of self-reflection.</p>
<p>
Meet the Web 2.0 Suicide Machine. It is a simple online machine which
helps people commit digital suicide by destroying their digital
identities on popular social networking sites like Facebook, Twitter,
LinkedIn and Myspace. It is software that deletes every single
transaction which you may have ever performed in your digital avatar.
Messages sent to and received from friends, stored notes, results of
viral quizzes, pictures of the last party that you attended, status
messages describing state of mind, high scores and social assets on
social networking games, links shared, videos uploaded – everything gets
deleted, allowing you one last chance to re-live your digital life
before it locks you out of the 2.0 web for once and for all. To many
this might sound funny, but for the people, whose lives are lived,
stored, shared and experienced in the online spaces that Web 2.0 has
developed.</p>
<p>
We find them in universities and colleges, multitasking, preparing a
classroom presentation while chatting with friends and keeping track of
their online gaming avatars. We encounter them in offices, glued with
equal passion, to dating or social networking sites, and moderating geek
mailing lists. We chance upon them in homes and bedrooms, sharing the
most private and intimate details of their lives using live cam feeds
and audio/video podcasts. If these images are familiar to you, you have
encountered a digital native. It might have, recently, been a ‘child’
who knows how to use the mobile phone more effectively than you do, or a
teenager who can connect your machine online while thumb typing on the
cell phone, in a language which is not very familiar to you. It could
also be the saucy colleague in office, who is always on the information
highway, making jazzy presentations and animations or playing games with
their virtual avatars, or the taxi driver who has learned the power of
GPS maps or even the <em>chaiwallah</em> around the corner who uses his
mobile phone to download new music and conduct a romantic affair.</p>
<p>
These techno-mutants are slowly, but surely taking over the world. By
the end of 2010, the global youth population will be about 1.2. Billion
and 85 per cent of it will be in the developing countries of the world,
growing up with digital and Internet technologies as an integral part of
their life. They might not be a significant number now, but they are
going to be the citizens of the future, taking important decisions about
the destinies of nations and states, creating businesses and running
economies, educating young learners and shaping public opinions. And
they are learning the fundamentals of these actions in their online
interactions on Web 2.0 spaces using digital tools to morph, mobilise,
mutate, and manage their social, cultural and political lives and
identities. It is of these people that this column writes of – people
who are marked by digital and Internet technologies in strange and
unprecedented ways.</p>
<p>Originally published at http://www.hivos.net/Hivos-Knowledge-Programme/Themes/Digital-Natives-with-a-Cause/News as a part of the Knowledge Programme: "Digital Natives with a Cause?"</p>
<p>
For more details visit <a href='https://cis-india.org/digital-natives/blog/dn1'>https://cis-india.org/digital-natives/blog/dn1</a>
</p>
No publishernishantCyberspaceDigital NativesAgencyCyborgsCybercultures2011-08-04T10:34:22ZBlog EntryRe:wiring Bodies: Call for Review
https://cis-india.org/raw/histories-of-the-internet/blogs/rewiring-bodies/rewiring-call-for-review
<b>Dr. Asha Achuthan's research project on "Rewiring Bodies" is a part of the Researchers @ Work Programme at the Centre for Internet and Society, Bangalore. From her vantage position, straddling the disciplines of medicine an Cultural Studies, through a gendered perspective. Dr. Achutan historicises the attitudes, imaginations and policies that have shaped the Science-Technology debates in India, to particularly address the ways in which emergence of Internet Technologies have shaped notions of gender and body in India.</b>
<p>The Researchers At Work Programme, at the Centre for Internet and Society, advocates an Open and transparent process of knowledge production. We recognise peer review as an essential and an extremely important part of original research, and invite you, with the greatest of pleasures, to participate in our research, and help us in making our arguments and methods stronger.</p>
<p>Dr. Asha Achuthan's research project on "Rewiring Bodies" is a part of the Researchers @ Work Programme at the Centre for Internet and Society, Bangalore. From her vantage position, straddling the disciplines of medicine an Cultural Studies, through a gendered perspective. Dr. Achutan historicises the attitudes, imaginations and policies that have shaped the Science-Technology debates in India, to particularly address the ways in which emergence of Internet Technologies have shaped notions of gender and body in India. Her work at the Centre for Contemporary Studies (IISC, Bangalore) gives a further context to unpack Internet Technologies in a larger context of Technology-Society interface. This original monograph draws from Gender studies, STS research, extand policies, empirical data, Cultural Studies and Feminist epistemological of Sciences, to build a new knowledge framework to address the Internet questions which popular cybercultures or mainstream media studies have ignored.</p>
<p>The monograph by Dr. Asha Achuthan, has emerged out of the "Rewiring Bodies" project which started nine months ago. The project has involved many public entries available at http://www.cis-india.org/research/cis-raw/histories/rewiring. The first draft of the monograph is now available for public review and feedback. Please click on the links below to choose your own format for accessing the document.</p>
<ul><li><a href="https://cis-india.org/raw/histories-of-the-internet/blogs/re-wiring-bodies.docx" class="internal-link" title="Re:wiring Bodies Word">Word</a> [word file, 339 kb]<br /></li><li><a href="https://cis-india.org/raw/histories-of-the-internet/blogs/re-wiring-bodies.pdf" class="internal-link" title="Re:wiring Bodies PDF">PDF</a> [PDF, 712 kb]<br /></li></ul>
<p>We appreciate your time, engagement and feedback that will help us to bring out the monograph in a published form. Please send all comments or feedback to nishant@cis-india.org or you can use your Open ID to login to the website and leave comments to this post.</p>
<p>
For more details visit <a href='https://cis-india.org/raw/histories-of-the-internet/blogs/rewiring-bodies/rewiring-call-for-review'>https://cis-india.org/raw/histories-of-the-internet/blogs/rewiring-bodies/rewiring-call-for-review</a>
</p>
No publishernishantCyborgsHistories of InternetResearchers at WorkInternet Histories2015-04-03T10:50:15ZBlog EntryChina's Generation Y : Youth and Technology in Shanghai
https://cis-india.org/research/grants/the-promise-of-invisibility-technology-and-the-city/GenerationY
<b>Within the context of internet technologies in China, Nishant Shah, drawing from his seven month research in Shanghai, looks at the first embodiment of these technologies in the urbanising city. In this post, he gives a brief overview of the public and academic discourse around youth-technology usage of China's Generation Y digital natives. He draws the techno-narratives of euphoria and despair to show how technology studies has reduced technology to tools and usage and hence even the proponents of internet technologies, often do a disservice to the technology itself. He poses questions about the politics, mechanics and aesthetics of technology and offers the premise upon which structures of reading resistance can be built. The post ends with a preview of the three stories that are to appear next in the series, to see how youth engagement and cultural production can be read as having the potentials for social transformation and political participation for the Digital Natives in China.</b>
<p>
For more details visit <a href='https://cis-india.org/research/grants/the-promise-of-invisibility-technology-and-the-city/GenerationY'>https://cis-india.org/research/grants/the-promise-of-invisibility-technology-and-the-city/GenerationY</a>
</p>
No publishernishantCyberspaceSocial mediaShanghaiCyborgsCyberculturesDigital Natives2009-09-21T14:09:16ZBlog EntryPleasure and Pornography: Impassioned Objects
https://cis-india.org/raw/histories-of-the-internet/blogs/law-video-technology/impassioned-objects-unraveling-the-history-of-fetish
<b>In this post, a third in the series documenting her CIS-RAW project, Pleasure and Pornography, Namita Malhotra explores the idea of fetish as examined by Anne McClintock (i) . This detour is an exploration of the notion of fetish, its histories and meanings, and how it might relate to the story of Indian porn. </b>
<p><br />The etymology of fetish derives from the word fetico (Portuguese) which means sorcery or magic arts. In 1760, it was used to refer to primitive religions, especially in relation to the growing project of imperialism. In 1867, Marx coined the term commodity fetishism – using the implied meaning of primitive magic to express the central social form of modern industrial economy, whereby the social relation between people metamorphoses into the relation between things. It was only after this, in 1905, that Freud transferred the word, with all these meanings still clinging to it, to the realm of sexuality and perversions. As Anne McClintock points out, in her useful account and re-understanding of the fetish in the book <em>Imperial Leather</em> (ii), psychoanalysis, philosophy, and Marxism all take shape around the invention of the primitive fetish, which conveniently displaces what the modern mind cannot accommodate onto the invented domain of the primitive. She states that the not-so-concealed rationale of imperialism is fetishism. Fetishists (racial, sexual and other) became a mode of warranting and justifying conquest and control -- whether it was the policing of sexual fetishism for control of classes in Europe and colonies, or the invention of racial fetishism central to the regime of imposing sexual surveillance in the colonies.<strong> The imperial discourse on fetishism became a discipline of containment</strong> (iii) .</p>
<p>On the other hand in the realm of sexuality, fetish becomes a question of male sexuality alone -- male perversion par excellence. There are no female fetishists, either for Freud or Lacan, for to speak of female fetishism would involve displacing the basic precepts of psychoanalysis -- namely the scene of castration leading to phallic fetishism. However, McClintock points to the usefulness of studying female fetishism, as it allows for certain things to happen. First, it dislodges the centrality of the phallus in this discourse, which surprisingly makes way for the presence and legitimacy of a multiplicity of pleasures, needs, and contradictions that can’t be resolved or reduced merely to the desire to preserve the phallus. Very often, feminists such as McClintock read the Lacanian insistence on the centrality of the phallus as itself a fetishistic nostalgia for a single, male myth of origins and fetishistic disavowal of difference. Such a notion of fetish, embedded in phallic theory, gets easily reduced to sexual difference and does not allow/admit race or class as crucially formative categories as well; thus, race and class remain continuously of secondary status in the primarily sexually signifying chain.</p>
<p>“The racist fetishizing of white skin, black fetishizing gold chains, the fetishizing of black dominatraces, lesbians, cross dressing as men the fetishizing of national flags, slave fetishism, class cross-dressing, fetishes such as nipple clips and bras in male transvestism, leather bondage, PVC fetishism, babyism and so on -- these myriad different deployments of fetishistic ambiguity cannot be categorized under a single mark of desire, without great loss of theoretical subtlety and historical complexity.” Also McClintock points to racist, nationalistic and patriotic fetishes -- such as flags, crowns, maps, swastikas (or for instance chaddis) -- that can’t be simply rendered equivalent to the disavowal of male castration anxiety. <br /><br />McClintock calls for a renewed investigation of fetishism -- to open it up to a more complex and valuable history in which racial and class hierarchies would play as formative a role as sexuality. Rejecting the Lacanian and Freudian fixation on the phallus as central to psychoanalysis would call for a mutually transforming investigation into the disavowed relations of psychoanalysis and social history. In a way, it would be the bringing together of the varied ways in which fetish has been used -- by Freud (in the domain of psychoanalysis) in the realm of domesticity and the private, and by Marx (in the domain of male socio-economic history) in the realm of the market and possibly in the public. If these meanings were to speak to each other, what we discover is that fetish is in fact the historical enactment of ambiguity itself.</p>
<p>Fetishism involves the displacement onto an object of contradictions that the individual cannot resolve at a personal level. These contradictions could indeed be social, though lived with profound intensity in the imagination and flesh of the person. The fetish -- rather than being a merely an insignificant sexual or personal practice -- inhabits both personal and historical memory. It marks a crisis in social meaning -- the embodiment of an impossible resolution. This crisis/contradiction is displaced onto and embodied in the fetish object, which is thus destined to recur in compulsive ways. By displacing this power onto the fetish, then manipulating or controlling the fetish, the individual gains symbolic control over what might otherwise be terrifying ambiguities.</p>
<p>The fetish then can be called an impassioned object; something that emerges from a variety of social contradictions, rather than merely from the scene of castration or phallic centric domains. Hence they are neither universal, nor are they entirely about personal histories alone, but are about personal and historical memory or a social contradiction that is experienced at an intensely personal level. “As composite symbolic objects, fetishes thus embody the traumatic coincidence not only of individual but also of historical memories held in contradiction” (McClintock). This reading of fetishism gives rise to far richer possibilities of cultural analysis.</p>
<p>Fetish was neither proper to African or Christian European culture, but sprang into being from an abrupt encounter between two heterogeneous worlds during an era of mercantile capitalism and slavery. At this point it clearly embodies the problem of contradictory social value -- whether it is gold as valuable, or gold as warding off bad luck. Though initially just about heathen customs and rituals, it later also becomes a marking of certain groups of people for conquest. It is from this context that Freud transports the word, laden with meanings of conquest and violence, to the realm of sexuality. Obviously these meanings stain future connotations of fetish, the word fetish itself becoming prey to contradictory meanings of race and sex and difference.</p>
<p>For Freud, the fetish is the embodiment in one object of two positions -- castration and its denial. Though this does capture some sense of the ambiguity that McClintock also refers to, here the meanings oscillate between two, and only two, fixed options (a recurring male economy). The fetish becomes both a permanent memorial to the horror of castration, embodied not in the male but in the female -- as well as a token of triumph, and safeguard against the threat of castration. This has, of course, been critiqued by feminists quite severely. McClintock’s basic argument is that it is indeed hard, considering the varied nature of fetish objects, to find a single originary explanation in the psychic development of the individual -- in a single originary trauma. What is important here, however is to take on this notion of the fetish as an historical enactment of ambiguity itself, and see if as a theoretical concept it has any value to the study of the loose category of Indian porn, especially MMS porn. <br /><br /><strong>Soap in these strange days: fetish objects</strong><br /><br /><em>“Such spectacle creates the promise of a rich sight: not the sight of particular fetishized objects, but sight itself as richness, as the grounds for extensive experience.”<br />Dana Polan (iv)</em><br /><br />Anne McClintock’s work on fetish also looks at the seemingly ubiquitous object of soap as the carrier of many ambiguous meanings around gender, class, imperialism -- both the cult of domesticity (the running of the empire of home with servants, sweepers, cleaners, women, maids etc.) and the cult of new imperialism found in soap in its exemplary mediating form. The story of soap, for McClintock, reveals that fetishism rather than a quintessentially African propensity (belonging in the realm of lands and peoples that were being discovered through imperialism) was in fact central to industrial modernity; fetishism was not original either to industrial capitalism or precolonial economies, but was from the outset the embodiment and record of an incongruous and violent encounter (between two or more heterogenous cultures) and about rapid changes of modernity, rather than about the ‘primitive’. <br /><br />Marx says that the mystique of the commodity fetish lies not in its use value, but in its exchange value and its potency as a sign: “So far as (a commodity) is a value in use, there is nothing mysterious about it”. This could be linked to the idea of a mobile phone that is supposed to achieve so much beyond mere communication, at least according to the advertising -- they should mend ruptured relations and homes, get all the hot chicks, grow beautiful gardens, change the boring routine of life. For some time, the Samsung mobile phone ad with Estella Warren played in India, which probably moves the mobile phone with camera out of merely its symbolic use as enhancing attractiveness, to actually ‘getting’ or rather capturing girls by clicking. Magically in the ad, the act of clicking photographs make the girl not just willing, but she also takes the phone and photographs herself. Barring one scary moment when it looks like she might turn into an avenging warrior like Xena or The Bride, but instead she simpers into a loving sexy pose, she is willing. The ad can’t be easily dismissed as misogynistic, but it does give an intriguing glimpse of the intimate pictures and moments that can be captured with a mobile phone. <br /><br />That a mobile phone is fetishized as a commodity is probably evident, from the rush to get the more enhanced phone with the better camera and features, though mobile phones are also a ubiquitous element of one’s life, in some ways exactly like soap. Probably in a country like India, having a mobile phone can be read as opening up sexual possibilities in a way that wouldn’t be obvious in a more developed country. If the fetish is a social contradiction that is experienced at an intensely personal level, then the mobile phone, especially after the DPS MMS clip, is precariously located between the zones of the private and personal, and that which is entirely in the public domain beyond any control of the person(s). This ability of the mobile phone to occupy simultaneous universes because of its interconnectedness in a network, and that it is (for most people now) an entirely personal object with messages, numbers, conversations, images, videos, is what makes it unpredictable. <br /><br /><strong>Looking at MMS porn</strong><br /><em>“Memories were meant to fade. They were built that way for a reason”<br />Mace, Strange Days</em><br /><br />When looking at MMS porn, I’m irresistibly reminded of the movie <em>Strange Days</em>, in which Angela Basset’s character Mace expresses her frustration with Lenny (played by Ralph Fiennes). Lenny is obsessed with preserving memory and accessing other people’s experiences, through what in the movie are called playbacks. Playbacks are recordings of events in the brain that were fed back into brain waves to reproduce the earlier event -- the feelings, the sensations of touch, the smells and not just the visual. Playbacks haven’t been invented yet, but the obsessiveness with which Lenny wheels and deals (he’s also a dealer and collector of playbacks) gives a peculiar insight into how mobile phones are becoming fetish objects of sorts -- particularly MMSs recorded on mobile phones where other people are able to occupy the space of an unknown character that conveniently rarely ever appears on the screen. The famous pornographic ones are the DPS MMS clip and other MMS scandals, including the hidden voyeuristic ones taken without permission, and a precursor of this is Mysore Mallige where the man appears rarely on the screen and only at the end, almost like a signature. In a peculiar way MMS porn becomes like playback from Strange Days, a movie that is attempting to unravel the unknown future mired in technological changes that are messily intertwined with human desire and frailty. A future (set on the date of turning the millennium) that we’ve hopelessly gone past without even asking many of the questions that the characters in the movie pose.<br /><br />Indian websites advertise MMS scandals as a specific category of pornography. This category also includes genuine MMS clips of celebrities kissing (Kareena Kapoor), wardrobe malfunctions from Fashion Week, and also fake ones with celebrity look-alikes bathing, changing, having sex (Preity Zinta, Mallika Sherawat). Mostly what is being talked about are videos made on mobile phones by men, who record themselves having sex with ‘gullible’ women. The alleged gullibility of these women is probably essential to the erotic charge of such videos. They are shaky videos, especially when sex is underway, and have a grainy quality that makes them eerily real. Their perspective is usually that of the man who is holding the phone camera and rarely enters the frame himself, whereas the woman is definitely the desirable object that is being captured. Maybe this phenomenon can be understood better if one looks at McClintock’s idea of fetish and whether MMS/images on mobile phones can be located within that category -- whether the ambiguous nature of the video or image recorded on the mobile phone and its ability to be an intensely personal and private object and also to be so easily transmitted into networks signifies a crisis in social meanings around private and public. The mobile phone then merely becomes an object onto which this anxiety is displaced, and the recording of images repeatedly (and anxieties and fears triggered when they accidentally slip into the public domain) are ways of trying to control terrifying ambiguities over the private and the public (where aspects of sexuality, family and selfhood could be calamitously disrupted by a slip between the two categories). (v)<br /><br />In a strange way this is a parable for a larger phenomenon of pornographic circulation and the law, as well. The mass circulation of pornography is perceived as a private secret that is kept by all, and whenever there is slip between the two categories, the law and public discourse are barely able to deal with the furore of anxieties. And if not, then the law and public discourse proceed to deal with the banal unbuttoning of Akshay Kumar’s jeans by his wife as obscenity in courtrooms, as if we hadn’t all imagined an MMS that allowed us to be doing the same. <br /><br /> i. Anne Mcclintok’s work on sadomasochism illuminates some of the arguments that I make in relation to sexual subjectivity and the state’s interests and desires in policing it. (unpublished article for book on queer issues and the law). Her work borrows from notions developed by Foucault. “Sadomasochism plays social power backwards, visibly and outrageously staging hierarchy, difference and power, the irrational, ecstasy or alienation of the body, placing these ideas at the centre of western reason.” The analysis of sexual subjectivity and State’s interest in it also looks at the judgment on sadomasochism by the House of Lords, England that declares such activities that cause severe injuries and maim the body, as illegal, regardless of consent of parties. <br />ii. Anne Mcclintok, Imperial Leather: Race, gender and sexuality in the colonial contest, Routledge, 1995.<br />iii. Ibid<br />iv. Cited from Laura Mulvey, Some Thoughts on Theories of Fetishism in the Context of Contemporary Culture, October, Vol. 65 (Summer, 1993), pp. 3-20. </p>
<p>v. As in the story of Chanda in Dev.d loosely inspired from the DPS MMS clip incident<br /><img src="https://cis-india.org/raw/histories-of-the-internet/blogs/law-video-technology/uploads/kalkichanda.jpg/image_preview" alt="Chanda from Dev.d" class="image-inline image-inline" title="Chanda from Dev.d" /><br /><br /><br /></p>
<p>
For more details visit <a href='https://cis-india.org/raw/histories-of-the-internet/blogs/law-video-technology/impassioned-objects-unraveling-the-history-of-fetish'>https://cis-india.org/raw/histories-of-the-internet/blogs/law-video-technology/impassioned-objects-unraveling-the-history-of-fetish</a>
</p>
No publishernamitahistories of internet in IndiaCyberspaceinternet and societyObscenitywomen and internetYouTubeCyborgsCyberculturesDigital subjectivities2011-08-02T08:35:20ZBlog EntryPleasure and Pornography: Initial Encounters with the Unknown
https://cis-india.org/raw/histories-of-the-internet/blogs/law-video-technology/xxx-files-initial-encounters-with-the-unknown
<b>This blog entry is the first in a series by Namita Malhotra on her CIS-RAW project that is about pornography, Internet, sexuality, law, new media and technology. She aims for this to be a multi media and research project/journey which is able to cite and draw on various sources including legal studies, film studies and philosophy, academic and historical work on sexuality, art, film and pornography itself. </b>
<p>There are few dilemmas that one is faced with when working on the vague and over extended category of pornography. The first is the very familiar feminist dilemma over pornography, and the position of radical feminists such as Andrea Dworkin and Catherine McKinnon--pornography is violence or sexually explicit subordination of women. This is more popularly encapsulated in Robin Morgan’s words--pornography is the theory and rape is the practice. Even if this can be collapsed into the positions of pro-sex and anti-sex feminists, it does initially haunt any research agenda on pornography, especially for a guilty quasi-feminist like myself.</p>
<p>However, some of my previous writings have attempted to deal with the position of the women’s movement, specifically in India, on pornography (the details are given below) and here I hope to move beyond either the moral or feminist positions on pornography, to examine what the pervasive phenomenon does. One of the strands that I hope to continue to explore is the relation of body to film. Though film studies is mostly focused on the visual sense, few scholars have looked on film as a bodily experience and attempted to understand the mimetic relation between the body of the 'viewer' and the body of the film. A more tactile understanding of the experience of film and media would be a useful place to start exploring pornography.<br /><br />The second has arisen from many conversations that I have had – when I say I’m working on pornography, the response is either a withdrawal or over-enthusiasm bordering on insistence to share personal collections of erotica and pornography. Though these conversations are often insightful, I have now realized that it is hard for me to actually examine pornography in all its totality – from spliced moments in mainstream films in shady theatres to specificities of hentaii and tentacle porn. Personal tastes, preferences, and access make it hard to be able to be interested in everything. Which is precisely my fascination with pornography – that it is in fact an intensely personal relation or rather a space in which different people have kept very varied and specific material, words, and media--that it also is not entirely about the media/words themselves, but also about how and in what setting they are consumed, how they are bought, downloaded or searched for. <br /><br />The third is the legal conundrum posed by pornography – that it is not recognized in Indian law as a specific category but that there exist, nonetheless, stringent conditions for obscenity. Obscenity is determined on the basis of the Hicklin test, which originated in England in 1868 and has continued as an integral part of Indian law though it has been discredited in English common law and American law. Here, the legal scholarship of Nussbaum is an interesting starting point as it sets up a useful framework that refuses to look at the law as a rational system of rules that is devoid of emotions. Nussbaum analyses the cognitive content of emotions that work within law – in the case of determining obscenity, she points to how emotions of disgust and revulsion play a significant role (the other emotions that she examines in detail are shame, fear and anger in the law). In Nussbaum’s analysis of the cognitive content of disgust, she remarks that in most cultures, disgust is about discomfort humans have with 'our own bodies and decaying selves', and concludes that disgust is an unreliable indicator for obscenity. She refers to McKinnon’s and Dworkin’s work to state that the indicator should be harm done by the material, rather than disgust. I would disagree with Nussbaum on whether harm can be a useful indicator to determine whether something is obscene, but before that it is necessary to examine whether Indian case law actually relies on the notion of disgust. Within Indian law, there seem to be other factors at work including notions of cultural purity vis-à-vis contamination from Western culture. An interesting and rather progressive judgment to look at is the recent High Court judgment on Hussain’s painting of nude Mother India that held that the painting is not obscene. <br /><br />These are a few of the scattered aspects of this project and some of the strands that it will explore. I would also like to share two comics on internet pornography. The first is from the famou <a class="external-link" href="http://imgs.xkcd.com/comics/rule_34.png">xkcd comic</a> series and the second from the relatively new comic series <a class="external-link" href="http://deviswithbabies.blogspot.com/2008/10/brown-girls-equal-opportunity-porn.html">Brown Girls</a>. Both capture how lusty desires will find their objects anywhere – in the explosion of the polymorphous perverse on the internet or presidential debates on television. <br /><br /><br /></p>
<p><strong>Previous material </strong><br /><a class="external-link" href="http://www.apc.org/en/pubs/issue/gender/all/world-wide-web-desire-content-regulation-internet"><strong>The World Wide Web of Desire: Content Regulation on the Internet</strong></a><br />This article attempts to understand the dynamics of pushing the child pornography question to the forefront of any debate around censorship and pornography, especially in contexts of internet regulation, both nationally and in international forums such as the Internet Governance Forum. This is often done at the expense of a more nuanced understanding that would be possible if the focus were on issues related to gender, the prevalence of draconian censorship regimes in most countries in Asia and concerns related to free speech.</p>
<p><a class="external-link" href="http://www.genderit.org/en/index.shtml?apc=r90501-e95021-1"><strong>Do Not Look at Porn</strong></a><br />This is a short video titled "Do not look at porn" which is a remix video or a collage of different materials taken from television and other videos, famous art works, photographs and books. The video is almost boringly pedagogic in its attempt to illustrate the slippery-slope argument which is that obscenity laws generally lead to the ban of progressive material rather than only offensive material. The video features Sarah Jones' song 'Your revolution will not happen between these thighs', and the popular Warcraft character based machinema video 'The internet is for porn'.</p>
<p><a class="external-link" href="http://www.genderit.org/en/index.shtml?apc=r90480-e95146-1"><strong>Search History: Examining Pornography on the Internet</strong></a><br />This article explores some of the dilemmas of the women's movement in India when faced with the question of pornography. It also is a very basic historical look at the category of pornography itself, as it emerged to describe the array of objects and artefacts discovered in the ancient city of Pompeii. These finds were kept at the Secret Museum; only men of a certain upper class were allowed and ‘trusted’ to have access to these objects, and not the ‘easily corruptible rabble or women’. Such distinctions would often arise in the case of pornography and be the reasoning behind censorship and regulation of many media in the next few centuries. Whether it was the birth of photography, cinema, video, and in recent times the internet and new media (CD,VCD, DVD), each technology has been greeted with suspicion of its possible harm to society. <br /><br /><br /><br /><br /></p>
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For more details visit <a href='https://cis-india.org/raw/histories-of-the-internet/blogs/law-video-technology/xxx-files-initial-encounters-with-the-unknown'>https://cis-india.org/raw/histories-of-the-internet/blogs/law-video-technology/xxx-files-initial-encounters-with-the-unknown</a>
</p>
No publishernamitahistories of internet in IndiaObscenityinternet and societywomen and internetresearchCyborgsdigital subjectivitiesHistory2011-08-02T08:37:27ZBlog EntryCollaborative Projects Programme
https://cis-india.org/research/grants/collaborative-projects-programme
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<p>The Centre for Internet and Society recognises collaboration and
consultation as its primary mode of engaging with research and
intervention. The <strong>Collaborative Projects Programme (CPP)</strong> is CIS’
platform for partnering (intellectually, logistically, financially,
and administratively) with other organisations, individuals and
practitioners in projects which are of immediate concern to the work
that CIS is committed to.</p>
<p>The Collaborative Projects Programme also expands the scope of
research to produce a synergy between research and praxis. The
CPP is, in many ways, the in-house research that CIS undertakes, in
collaboration and consultation with other organisations, institutions
and individuals who have a stake and a say in the field of Internet
and Society. The CPP is not bound by any theme of programmatic
modalities and is envisioned more as a way for CIS to extend its
field and establish a strong network with other exciting spaces in
the Global South.</p>
<p>The Collaborative Projects Programme can include, but is not
limited to, organising of large conferences or workshops; developing
tools for better research and advocacy; data mining towards a
specific goal that complements CIS’ vision; producing original
monographs/publications/books targeted at different audiences;
experimenting with new technologies to affect policy and usage;
implementing pilot studies and instances of existing ideas;
developing schemes to integrate education and technology; public
intervention and awareness campaigns geared towards particular
outcomes; celebrating certain aspects of internet technologies;
engaging with digital natives; and creating new environments of
learning and participation online.</p>
<p>The CPP is <strong>NOT</strong> a grant making programme. However, we are
interested in partnering on new and innovative ideas and would
welcome conversations with people and organisations in the field. If
you have an interesting idea that you think fits our larger vision,
please contact us and we can begin the discussions.</p>
<p> </p>
<p><strong>List of Projects under the Collaborative Projects Programme:</strong></p>
<p>1. The Promise of Invisibility: Technology and the City - A seven month research project initiated by Nishant Shah, in collaboration with the Centre for Contemporary Cultural Studies, Shanghai University, enabled by a grant from the Asia Scholarship Foundation, Bangkok.</p>
<p>2. Disability, Learning and Digital Participation - in partnership with <a class="external-link" href="http://www.inclusiveplanet.org/">Inclusive Planet</a></p>
<p>
For more details visit <a href='https://cis-india.org/research/grants/collaborative-projects-programme'>https://cis-india.org/research/grants/collaborative-projects-programme</a>
</p>
No publishernishantCyberspaceFamilyDigital NativesPublic AccountabilityObscenitye-governanceCyborgsCyberculturesProjectsNew PedagogiesCommunitiesDigital subjectivitiesDigital Pluralism2011-08-23T03:04:56ZPageRe:wiring Bodies - Dr. Asha Achuthan
https://cis-india.org/raw/rewiringdoc
<b>First draft of the monograph on "Rewiring Bodies" by Dr. Asha Achutan; format for Microsoft Office users</b>
<p>
For more details visit <a href='https://cis-india.org/raw/rewiringdoc'>https://cis-india.org/raw/rewiringdoc</a>
</p>
No publishernishantPublished under a Creative Commons LicenseCyborgsCyberculturesArchivesDigital subjectivitiesResourcesHistory2011-09-21T07:23:44ZFile