Centre for Internet and Society

Unpacking Algorithmic Infrastructures: Mapping the Data Supply Chain in the Healthcare Industry in India

2024-01-05T02:38:22Z

The Unpacking Algorithmic Infrastructures project, supported by a grant from the Notre Dame-IBM Tech Ethics Lab, aims to study the Al data supply chain infrastructure in healthcare in India, and aims to critically analyse auditing frameworks that are utilised to develop and deploy AI systems in healthcare. It will map the prevalence of Al auditing practices within the sector to arrive at an understanding of frameworks that may be developed to check for ethical considerations - such as algorithmic bias and harm within healthcare systems, especially against marginalised and vulnerable populations.

There has been an increased interest in health data in India over the recent years, where health data policies encourage sharing of data with different entities, at the same time, there has been a growing interest in deployment of Al in healthcare from startups, hospitals, as well as multinational technology companies.

Given the invisibility of algorithmic infrastructures that underlie the digital economy and the important decisions these technologies can make about patients' health, it's important to look at how these systems are developed, how data flows within them, how these systems are tested and verified and what ethical considerations inform their deployment.

The Unpacking Algorithmic Infrastructures project, supported by a grant from the Notre Dame-IBM Tech Ethics Lab, aims to study the Al data supply chain infrastructure in healthcare in India, and aims to critically analyse auditing frameworks that are utilised to develop and deploy AI systems in healthcare. It will map the prevalence of Al auditing practices within the sector to arrive at an understanding of frameworks that may be developed to check for ethical considerations - such as algorithmic bias and harm within healthcare systems, especially against marginalised and vulnerable populations.

Research Questions

To what extent organisations take ethical principles into account when developing AI , managing the training and testing dataset, and while deploying the AI in the healthcare sector.
What best practices for auditing can be put in place based on our critical understanding of AI data supply chains and auditing frameworks being employed in the healthcare sector.
What is a possible auditing framework that is best suited to organisations in the majority world.

Research Design and Methods

For this study, we will use a comprehensive mixed methods approach. We will survey professionals working towards designing, developing and deploying AI systems for healthcare in India, across technology and healthcare organizations. We will also undertake in-depth interviews with experts who are part of key stakeholder groups.

We hereby invite researchers, technologists, healthcare professionals, and others working at the intersection of Artificial Intelligence and Healthcare to speak to us and help us inform the study. You may contact Shweta Monhandas at shweta@cis-india.org

Research Team: Amrita Sengupta, Chetna V. M., Pallavi Bedi, Puthiya Purayil Sneha, Shweta Mohandas and Yatharth.

For more details visit https://cis-india.org/raw/unpacking-algorithmic-infrastructures

Understanding Feminist Infrastructures: An Exploratory Study of Online Feminist Content Creation Spaces in India

Puthiya Purayil Sneha and Saumyaa Naidu — 2024-03-25T13:02:28Z

This report explores the growth of feminist infrastructures (including the various interpretations of the term), through research on feminist publishing, content creation and curation spaces and how they have informed the contemporary discourse on feminism, gender, and sexuality in India. The rise of online feminist publications, and related digital media content creation and curation spaces, has engendered new forums for debate, networking, and community-building. This report looks at some of the challenges of developing such publications and platforms, and the role of digital infrastructures in mediating contemporary feminist work and politics.

Click here to download the full report.

The internet and digital media technologies have played an important role in contemporary feminist practice – in addition to social media activism, their growing prevalence in academia, advocacy, and creative expression illustrate how digital media contributes to efforts to question asymmetries of power and knowledge. In the last few years, the concept of a feminist internet and forms of feminist infrastructures have emerged as crucial entry points to understand the affordances of the digital and its many challenges, especially for women and other structurally disadvantaged communities.Feminist content creation has been integral to contemporary feminist work in India, and is an entry-point into discussions on what could be a feminist internet. The growth of online feminist publications, and related digital media content creation and curation spaces, has engendered new forums for debate, networking, and community-building. This study looks at the development of feminist infrastructures (including various interpretations of the term) through an exploration of online feminist publishing, content creation and curation spaces, and their impact on the contemporary discourse on feminism, gender, and sexuality in India.

Through conversations with select online feminist publishing, content creation, and curation spaces, this study outlines motivations for choosing certain media, nature of content, languages and design, and how such choices inform practice and politics. In addition to the above, we also conducted two workshops on feminist infrastructure wishlists, and feminist principles of design and infrastructure. These conversations have offered several insights on the landscape of feminist content creation in India, and the affordances and challenges of digital technologies in facilitating contemporary feminist work. An overarching aim of the project is to unpack the term ‘feminist infrastructure’ and its interpretations in the context of the transition to digital content creation and publication. We aim to continue these conversations with a focus on the larger, often invisible role of digital infrastructures in the development of discourse on human rights, free speech and safety, to understand what are challenges to, and efforts being undertaken to create an inclusive, accessible and feminist internet.

Contributors

Research and Writing Puthiya Purayil Sneha and Saumyaa Naidu

Review Dr. Padmini Ray Murray, Design Beku

Design Saumyaa Naidu and Yatharth

Copy Editing The Clean Copy

For more details visit https://cis-india.org/raw/understanding-feminist-structures

The Task of the Translator after Google

praskrishna — 2011-10-07T05:36:43Z

Hans Verghese Mathews, a distinguished fellow with the Centre for Internet and Society (CIS) will give a public lecture on April 30, 2011.

The talk will consider again ― proceeding upon the increasing 'searchability' of literary corpora that the Web will presumably allow ― the special task assigned the translator by Walter Benjamin: which was the 'restitution' of 'originals' through the 'afterlives' given them by their 'traducings' into other languages. A reformulation of that task will be attempted: but the exercise will be conducted in an illustrative way, in the course of examining the approved translation into English of El Aleph, one of the more famous among the early ficciones of Borges.

Hans Varghese Mathews

Hans Varghese Mathews read philosophy as an undergraduate, at the University of Southern California, studying logic and aesthetics; and went on to obtain a doctorate in mathematics, from the University of Wisconsin, studying algebraic topology primarily, with mathematical logic and philosophy as subsidiary subjects. He has been a research associate with the Indian Statistical Institute, and has written extensively on visual art for Frontline; he currently directs mathematical modelling for an analytics firm, and is a contributing editor to the online journal Phalanx. He has an abiding interest in the formal understanding of painting and poetry; and a more recent and dominating interest in the mathematisation of the social sciences.

VIDEO

For more details visit https://cis-india.org/events/lecture-by-hans

The Spaces of Digital

sneha-pp — 2015-10-24T13:41:25Z

'The Spaces of Digital’ continues from the work done on the CIS-RAW monograph on the Internet, Society and Space in Indian Cities, by Pratyush Shankar at Center for Environmental Planning and Technology University, Ahmedabad. The premise of this monograph was the debates around making of IT Cities and public planning policies that regulate and restructure the city spaces in India with the emergence of internet technologies.

The Spaces of Digital begins from here to further explore the city as a unit of global development. The rise of digital technologies and the ways in which they produce new metaphors for the domains of life, labour and language, result in the city being reconfigured, reimagined and remapped through the techno-spatial narratives produced by information and network webs. The project will explore this in four stages, namely:

Stage 1: Knowledge Maps

The first phase of the project seeks to build a knowledge network that maps the different actors interested in questions of techno-social cities, generating a dialogue between them and building a knowledge repository that brings in different modes, formats and forms of knowledge to intersect with each other.

Stage 2: Spatial Patterns - Digital Project

The monograph “Internet, Society and Space in Indian Cities” refers to the spatial reconfiguration of many Indian cities that has occurred in the past two decades. An exercise to extract the key spatial patterns will be carried out in form of graphical representation using existing information from the monograph.

Stage 3: Knowledge Networking Building

The mapping and demonstration project will be followed by a curated workshop that invites a dialogue between the identified knowledge partners.

Stage 4: Knowledge Exhibition / Publication

The Knowledge Exhibition will be a hybrid space of online and offline curation and knowledge consolidation, and will be the final product of the project.

Some of the updates on this project may be accessed here.

For more details visit https://cis-india.org/raw/the-spaces-of-digital

The new language of Internet: A report on the Chutnefying Hinglish Conference

nishant — 2011-04-02T15:10:19Z

The Centre for Internet and Society, Bangalore, was an institutional partner to India's first Global Conference on Hinglish - Chutnefying English, organised by Dr. Rita Kothari at the Mudra Institute of Communications, Ahmedabad. A photographic report for the event is now available here.

In January of 2009, Dr. Rita Kothari, at the Mudra Institute of Communications, Ahmedabad, organised the first global conference called “Chutneyfying English”, calling in various stakeholders from different walks of life – academics, scholars, researchers, actors, cultural producers, authors and consumers to critically examine the growing phenomenon of Hinglish and how it intersects with our globalised lives. The two day conference brought together a series of presentations, ranging from academic papers to lively round table discussions to panels that looked at the different manifestations of Hinglish and the political and aesthetic potential of this particular form. Scholars like Rita Kothari, Harish Trivedi, Nishant Shah, Daya Thussu, Shanon Finch and Rupert Snell were complemented by cultural producers like Nandita Das, R. Raj Rao, and Shuchi Kothari. Literary stakeholders like Urvashi Bhutalia, Bachi Karkaria, and Tej Bhatia rubbed shoulders with more mainstream practitioners like Prasoon Joshi, Mahesh Bhatt and Cyrus Broacha.

The Centre for Internet and Society was an institutional partner for the event, and supported the panel on New Media, which saw four paper presentations and a discussion moderated by Nishant Shah, Director Research at the CIS. The panel explored diverse presentations from Mattangi Krishnamurthy, Pramod Nair and Supriya Gokarn, who looked at the diverse ways in which the rise of Internet and digital technologies is not only changing the ways in which people express themselves, but they are also leading to complex ways in which new conditions of identity, consumption and politics are manifesting themselves. Nishant Shah responded to the panel by positing the idea of Hinglish as a paradigm, rather than a set of characteristics, which goes beyond the questions of language and actually resides in the aesthetic conditions of the internet technologies.

A photographic documentation of the event with an introduction by Dr. Rita Kothari, the chief organiser and curator for the conference is now available for a free download here

For more details visit https://cis-india.org/news/Hinglish

The Mother and Child Tracking System - understanding data trail in the Indian healthcare systems

ambika — 2019-12-30T17:18:05Z

This article was first published by Privacy International, on October 17, 2019

Case study of MCTS: Read

On October 17th 2019, the UN Special Rapporteur (UNSR) on Extreme Poverty and Human Rights, Philip Alston, released his thematic report on digital technology, social protection and human rights. Understanding the impact of technology on the provision of social protection – and, by extent, its impact on people in vulnerable situations – has been part of the work the Centre for Internet and Society (CIS) and Privacy International (PI) have been doing.

Earlier this year, PI responded to the UNSR's consultation on this topic. We highlighted what we perceived as some of the most pressing issues we had observed around the world when it comes to the use of technology for the delivery of social protection and its impact on the right to privacy and dignity of benefit claimants.

Among them, automation and the increasing reliance on AI is a topic of particular concern - countries including Australia, India, the UK and the US have already started to adopt these technologies in digital welfare programmes. This adoption raises significant concerns about a quickly approaching future, in which computers decide whether or not we get access to the services that allow us to survive. There's an even more pressing problem. More than a few stories have emerged revealing the extent of the bias in many AI systems, biases that create serious issues for people in vulnerable situations, who are already exposed to discrimination, and made worse by increasing reliance on automation.

Beyond the issue of AI, we think it is important to look at welfare and automation with a wider lens. In order for an AI to function it needs to be trained on a dataset, so that it can understand what it is looking for. That requires the collection large quantities of data. That data would then be used to train and AI to recognise what fraudulent use of public benefits would look like. That means we need to think about every data point being collected as one that, in the long run, will likely be used for automation purposes.

These systems incentivise the mass collection of people's data, across a huge range of government services, from welfare to health - where women and gender-diverse people are uniquely impacted. CIS have been looking specifically at reproductive health programmes in India, work which offers a unique insight into the ways in which mass data collection in systems like these can enable abuse.

Reproductive health programmes in India have been digitising extensive data about pregnant women for over a decade, as part of multiple health information systems. These can be seen as precursors to current conceptions of big data systems within health informatics. India’s health programme instituted such an information system in 2009, the Mother and Child Tracking System (MCTS), which is aimed at collecting data on maternal and child health. The Centre for Internet and Society, India, undertook a case study of the MCTS as an example of public data-driven initiatives in reproductive health. The case study was supported by the Big Data for Development network supported by the International Development Research Centre, Canada. The objective of the case study was to focus on the data flows and architecture of the system, and identify areas of concern as newer systems of health informatics are introduced on top of existing ones. The case study is also relevant from the perspective of Sustainable Development Goals, which aim to rectify the tendency of global development initiatives to ignore national HIS and create purpose-specific monitoring systems.

After being launched in 2011, 120 million (12 crore) pregnant women and 111 million (11 crore) children have been registered on the MCTS as of 2018. The central database collects data on each visit of the woman from conception to 42 days postpartum, including details of direct benefit transfer of maternity benefit schemes. While data-driven monitoring is a critical exercise to improve health care provision, publicly available documents on the MCTS reflect the complete absence of robust data protection measures. The risk associated with data leaks are amplified due to the stigma associated with abortion, especially for unmarried women or survivors of rape.

The historical landscape of reproductive healthcare provision and family planning in India has been dominated by a target-based approach. Geared at population control, this approach sought to maximise family planning targets without protecting decisional autonomy and bodily privacy for women. At the policy level, this approach was shifted in favour of a rights-based approach to family planning in 1994. However, targets continue to be set for women’s sterilisation on the ground. Surveillance practices in reproductive healthcare are then used to monitor under-performing regions and meet sterilisation targets for women, this continues to be the primary mode of contraception offered by public family planning initiatives.

More recently, this database - among others collecting data about reproductive health - is adding biometric information through linkage with the Aadhaar infrastructure. This data adds to the sensitive information being collected and stored without adhering to any publicly available data protection practices. Biometric linkage is aimed to fulfill multiple functions - primarily authentication of welfare beneficiaries of the national maternal benefits scheme. Making Aadhaar details mandatory could directly contribute to the denial of service to legitimate patients and beneficiaries - as has already been seen in some cases.

The added layer of biometric surveillance also has the potential to enable other forms of abuse of privacy for pregnant women. In 2016, the union minister for Women and Child Development under the previous government suggested the use of strict biometric-based monitoring to discourage gender-biased sex selection. Activists critiqued the policy for its paternalistic approach to reduce the rampant practice of gender-biased sex selection, rather than addressing the root causes of gender inequality in the country.

There is an urgent need to rethink the objectives and practices of data collection in public reproductive health provision in India. Rather than continued focus on meeting high-level targets, monitoring systems should enable local usage and protect the decisional autonomy of patients. In addition, the data protection legislation in India - expected to be tabled in the next session in parliament - should place free and informed consent, and informational privacy at the centre of data-driven practices in reproductive health provision.

This is why the systematic mass collection of data in health services is all the more worrying. When the collection of our data becomes a condition for accessing health services, it is not only a threat to our right to health that should not be conditional on data sharing but also it raises questions as to how this data will be used in the age of automation.

This is why understanding what data is collected and how it is collected in the context of health and social protection programmes is so important.

For more details visit https://cis-india.org/internet-governance/blog/privacy-international-ambika-tandon-october-17-2019-mother-and-child-tracking-system-understanding-data-trail-indian-healthcare

The Infrastructure Turn in the Humanities

sneha-pp — 2016-06-30T05:07:06Z

An extended survey of digital initiatives in arts and humanities practices in India was undertaken during the last year. Provocatively called 'mapping digital humanities in India', this enquiry began with the term 'digital humanities' itself, as a 'found' name for which one needs to excavate some meaning, context, and location in India at the present moment. Instead of importing this term to describe practices taking place in this country - especially when the term itself is relatively unstable and undefined even in the Anglo-American context - what I chose to do was to take a few steps back, and outline a few questions/conflicts that the digital practitioners in arts and humanities disciplines are grappling with. The final report of this study will be published serially. This is the fourth among seven sections.

Sections

01. Digital Humanities in India?

02. A Question of Digital Humanities

03. Reading from a Distance – Data as Text

04. The Infrastructure Turn in the Humanities

05. Living in the Archival Moment

06. New Modes and Sites of Humanities Practice

07. Digital Humanities in India – Concluding Thoughts

In an article in the Digital Humanities Quarterly describing the emergence of the term cyberinfrastructure, Patrik Svensson speaks of an ‘infrastructure turn’ in the humanities, pointing towards a seemingly new found interest and investment in resources and tools for humanities research, pedagogy and publication in many universities and other knowledge institutions (Svensson 2011). Though the term has not been significantly used otherwise, it is interesting to note the implications of such a statement in the context of other such important ‘turns’ in the history of ideas, such as the linguistic or cultural turn. Particularly in the predominant debates around digital humanities, which are largely Anglo-American, infrastructure is an important and inherent component of any thinking around this area, as it derives many of its theoretical and practical concerns from a history of humanities computing. A lot of early work in DH was done in in the area of digital archives and knowledge repositories, such as The Walt Whitman Archive, Rossetti and Blake archives (Gold and Groom 2011, Drucker 2011), where digitization and algorithmic querying were important developments in terms of imagining and opening up the archive. From there to seemingly complex projects on data mapping, visualization, distant reading and cultural analytics, which require parsing through a huge corpora of humanities data, the growth of infrastructure has been a key aspect of these developments, although this many not be emphasized in the early literature about the field. The use of computational methods and the move towards the use of big data in the humanities has been an important change in terms of objects of the enquiry and methodology, and infrastructure is an essential condition of both these changes.

Like with other disciplines the nature of infrastructure and resources available to the humanities – in the form of galleries, archives, libraries, museums and now online repositories, language laboratories, and bibliographic, writing and editing tools and software – have also in some manner influenced the nature or scope of questions that could be asked of an object or text. It is therefore useful to explore the influence of infrastructure at a very conceptual level, in terms of what new ways of enquiry have been made possible with digital technologies and the internet. Now with new tools that can parse many pages of text at a go, or an algorithm that can derive patterns from a data set of images, video or other cultural artifacts, the scope of the enquiry seems to have increased exponentially, as much literature around DH suggests (Berry 2011). Indeed this point is also a bone of contention for many traditional humanities scholars, as it not only seems to be a technologically deterministic notion, but also one that takes away from more conventional methods of humanities research, which are based on close reading and interpretation of texts. In the Indian context however, these possibilities still seem distant owing to several gaps in terms of requirements of infrastructure, resources and material. In many institutions, the lack of basic infrastructure and resources in the form of libraries, classroom teaching-learning resources and access to the internet and other digital tools for the humanities continues to remain a problem. Existing institutional infrastructure is lesser that what is required, and mostly outdated.

This conflict over whether new tools and resources for the humanities is taking away or adding to humanities research is better understood in the light of how the concept of infrastructure has been understood, and specifically in the context of communication and research. Brian Larkin (2008) describes infrastructures as “institutionalized networks that facilitate the flow of goods in a wider cultural as well as physical sense”. He talks about both technical (such as transport, telecommunications, urban planning, energy and water) and ‘soft’ infrastructure such as the knowledge of a language, or cultural style and religious learnings. He therefore defines infrastructure as “this totality of both technical and cultural systems that create institutionalized structures whereby goods of all sorts circulate, connecting and binding people into collectivities.” This definition opens out the understanding of the term a little more, for it brings within the ambit different kinds of goods – such as knowledge, and proposes that infrastructure has the power to bind people within collectivities, thus emphasizing both its limitations as well as potentialities.

The notion of infrastructure as not being neutral to culture is further emphasized when Larkin talks about its mediating capacities, brought about by a layering of new technologies over old ones. "Infrastructures…mediate and shape the nature of economic and cultural flows and the fabric of urban life. One powerful articulation of this mediation is the monumental presence of infrastructures themselves" (Ibid.: 6). Thus the understanding of infrastructures as merely a means of the execution of ideas is one of the obstacles in terms of imagining them as more central to the work of the humanities. Often, the notion of infrastructure has been understood in terms of the institutional infrastructure in place, and not in terms of the smaller networks, tools or resources that build it, which are often located at the level of individuals. Ownership is a key aspect of the problem here, because the ownership of such infrastructure is largely with the state or large corporate entities, and not something within the ambit of small and private institutions or even individuals, and this often mandates the manner of their use. Indeed in the case of DH, there are certain kinds of technologies and resources that cannot be replicated easily at all, as such it is something that needs investment from the state and large knowledge institutions such as the university. Another problem, as rightly identified by Svensson is that the imagination of research infrastructures has been primarily in terms of the needs of the natural sciences, as a result of which resources, tools and materials for the humanities often end up being inadequate, in terms of financial and intellectual investment. Thus not only is there a challenge in terms of the availability of infrastructure, but also with respect to the optimum utilization of what is available.

Some of the practitioners and scholars interviewed as part of this mapping have also repeatedly brought up a number of concerns about (or the lack of) infrastructure they have had to use, modify and develop as part of their projects and research. Dr. Indira Chowdhury, historian and Founder-Director of the Centre for Public History (CPH) at the Srishti School of Art, Design and Technology, Bangalore finds it rather ironic that a city like Bangalore, with so much infrastructure at its disposal has such little thinking in the humanities. There are of course several reasons for this, she says, and in many places infrastructure development is restricted for certain reasons, like for example in Kashmir, where the use of internet and mobile phones is regulated strictly due to security concerns. The key question of course is to have more of a dialogue between places to ensure that they are not functioning in isolation. She also emphasizes that the problems are also at a more basic level, like with transcription for example [1]. The advent of the digital has brought with it several new possibilities, but she also talks about the many misconceptions that seem to be prevalent with regard to the digital, particularly in terms of preservation and storage capacity. The question of format is of great importance and a determining factor in much of research that mobilizes digital technologies. As part of her work on archiving oral histories, she has often had to emphasize that there are specific formats for a digital oral archive. As she says:

You should not switch to say MP3 just because it’s cheaper, more convenient and a lighter file. I often have people arguing that I just bought a recorder, it gives me a clear recording [in the MP3 format] etc. If you were to archive that file you would find that within a few years you begin to lose data on that file. The digital archive has also made people think a lot more about what they are preserving, in what format. These are things you then teach yourself, you do not archive in certain formats, or rely on an archive of MP3 files, because every time you copy them onto something it would have lost a little bit of its description. So these are things that make the historian more oriented, you think a lot more about what you are doing.

She therefore warns against these presumptions that a digital archive will resolve completely problems of space and preservation, as a change in format can easily render your data inaccessible and essentially useless. The idea of ‘loss of data’ and lack of space is something easily missed, as there a notion of the digital being an endless space, but that too comes at a cost. As Jonathan Sterne (2013) explains in his work on the MP3 as a cultural artifactiv, it is a format that works through compression and elimination of excess sound, which eventually greatly affects the quality of the sound object itself. The notion of the digital rendering a certain quality of sound, and by implication generating a ‘better’ digital artifact itself, is therefore highly debatable.

There are other considerations to bear in mind as well. As Padmini Ray Murray, another faculty member at the CPH points out, the context of such work in the global south is very different, and lack of good infrastructure is definitely one of the major problems. There are issues of bandwidth, problems such as surveillance, and issues with regulation of internet access, now the issue of network neutrality and so on, all of which have implications for possible digital humanities work and specifically work on digital archives. A significant challenge she sees is that we don't have mechanisms to translate between/ from Indian languages. She says that:

It would be amazing to have an archive metadata tool that can work with different Indian languages which at the moment is an impossibility. This is where a place like Bangalore comes into the picture... We need to pull on resources that are being pioneered in places like the IITs, or institutions here working with natural language processing...technologies that we cannot in a humanities context create, but pull those in to use them for humanities research. But the questions that we are asking are necessarily quite different, from what we have in the West.

The problem with Indian languages brings out the problems that are specific to the global south and therefore the infrastructure needs of humanities research work. Padmini Murray mentions Bichitra, the online variorum of the works of Rabindranath Tagore developed by the School of Cultural Texts and Records at Jadavpur University as an effective illustration of the challenges faced by researchers working in languages other than English. She explains “The very level of creating the code for Bichitra was different, because it had to be done from scratch. Finding a set of reliable Bangla characters is difficult because the ligatures get mixed up, so they created a character set from scratch to create Bichitra, and for Prabhed [the collation software] which works within it.” The problem of a lack of standardization for Indic language inputs is therefore an immediate practical concern for archival work in different languages in India [2].

Indiancine.ma [3], an online archive of Indian film, has similarly been experimenting with different ways of reading and annotating film text, with a focus right now on films that are out of copyright. It uses an open-source platform named Pandor/a [4] for media archives, which helps to organise and manage large, decentralized collections of video, to collaboratively create metadata and time-based annotations, and to archive as a desktop-class web application. The editing tool enables a user to pause, cut and annotate a particular scene or sequence in the film according to a time code, thus creating enormous new possibilities in terms of how we engage with the film text at several levels. The different ways of organising content through different filters also helps map content in unique ways and read them. According to Jan Gerber and Sebastian Lutgert, who are part of the team that developed the archive and its predecessor Pad.ma [5], Indiancine.ma is a work in progress, and it will always be, so as to allow new opportunities to present themselves with every change in the software and tools being used. They are particular about the archive being open to a variety of users and uses – that is, it is not only a tool or space of publication for humanities researchers, but is also a software project, a resource for a film fan club, and many other things as it is open to interpretation. It is meant for people to build together and have conversations across domains and disciplines. In their work with people from both the humanities and sciences, they do see a void or gap between domains, and reiterate that it is very difficult for people to have a conversation across their disciplinary moorings. Infrastructure development has also become divided across these lines, and suffers from a kind of tunnel vision which often prevents it from being developed in response to the needs of the communities it is meant to address. As Sebastian recollects the experience of creating Pad.ma, a similar online video archive using the same platform, Pandor/a, he speaks of collaborating with people from a non-technology background, at the artists collective CAMP in Mumbai [6], and how the lack of a hierarchy between technologists and non-technologists only contributed to making these projects better. A lot of the early software projects in India suffered due to this distance between people from technology and non-technology backgrounds, and the lack of a common language for them to communicate. Both Sebastian and Jan themselves come with training and experience in diverse areas, ranging from philosophy and visual arts to software development, and believe that their contribution to this archive is more conceptual than technological. They also see the Free and Open Source Software (FOSS) culture, then a rather incipient movement in India when they had just begun work on these projects, as one that can foster more conversations and collaborative work in technology and research in India. When they had started out of course, it was very difficult to convince people to use free and open source software, or even get filmmakers to release their footage for an open access platform like Pad.ma. CAMP was one of the few spaces then that had this open source culture, and it encouraged people to collaborate extensively, across areas of expertise. As Sebastian says “You deal with a relatively complex informatics system, but you are fully aware that you can modify and change things, and deal with them in a transparent way, which is great.” Both claim that nobody owns Pad.ma or Indiancine.ma, but everybody looks after it in a way, because they all use it differently depending on their interests, and this nurtures and builds the platform in different ways. The availability of this somewhat outside/alternate space for collaboration, and working within the open source context has been instrumental in the growth of these two online open access archives.

The computational aspects of Pad.ma and Indiancine.ma, and even Bichitra to some extent is may be something to look forward to for researchers interested in exploring the possibilities of such research with these platforms. Given that both are essentially large corpora of material, introducing new algorithmic tools to work with them is not a distant possibility, something that has also been the core of a lot of DH work in the Anglo-American context. Jan and Sebastian have tried this already with one of their earlier projects, 0xdb [7], which is another online archive of cinema, by running a color recognition algorithm on it. There is an instance of face detection and speech recognition software that could be run on this platform, with interesting results. The existing filters on Indiacine.ma also make it possible to search for images or sequences based on colour and object recognition. For instance, an interesting experiment is to search for ‘telephone’ in the archive, which pulls up images containing telephones from across the entire corpus, outlining an interesting trajectory of the use of the instrument. While helpful in terms of querying and searching over a large corpus, they also emphasize the need to be able to make sense of it in a meaningful way. As Jan says “Most of this software is developed really as a means of control, in the area of surveillance etc., and not for exploring; it is more of a content identifying tool rather than to discover things. Clustering or referencing credits are other possibilities, but its more statistical analysis of the footage; are they really adding anything qualitative to cinema studies is still an open question”. Given this disjuncture in what these tools are developed for and how they are finally used, a point of concern is whether the research questions are also driven by the possibilities and limitations of the software itself. While that remains a broader question, Sebastian feels that more than a software, this is a new digital eco-system itself, and using these platforms in different ways, in fact even beyond what they were imagined for, will drive the technology in new directions. The limitation of computational tools as he sees now is really the speed, and given the expenses involved, they may not be feasible to implement and expect results anytime soon.

Both the above platforms demonstrate a certain ability to read texts both closely, as well as from a distance through the use of algorithmic tools, thus demonstrating the possibilities of analysis afforded by the infrastructure it has been built with. More importantly, they also highlight the limits of such tools and resources due to several challenges posed by the material itself. In the case of Bichitra, the problems of developing a code for Bengali characters has put forth a number of technological challenges; a pointer towards one among many problems for archiving materials in Indian languages. Indiancine.ma and Pad.ma are more symptomatic of the context in which new technologies can develop today given the support and space for collaboration and conversations across domains of expertise. The problems of format and technological obsolescence brought up by scholars at CPH is an important one; while colluding with proprietary software is inevitable in some cases, as suggested by the practitioners and researchers behind these platforms, keeping back-ups of material and being able to migrate out of a digital platform at any given point is also extremely essential. Such flexibility of material, and immense interoperability – across domains, formats and social-cultural contexts including language is something that researchers in DH, or for that matter in any field that actively engages with the internet and digital technologies would look for in the infrastructure that they build for research, scholarship and pedagogy. Infrastructure continues to remain a critical aspect knowledge production and dissemination, and it is imperative now more than ever, that it is addressed at the conceptual level of any research intervention involving digital technologies and knowledge production.

Notes

[1] See section on Archives for a more detailed discussion on this issue: http://cis-india.org/raw/living-in-the-archival-moment.

[2] See the section on Reading from a Distance – Data as Text for more on this: http://cis-india.org/raw/reading-from-a-distance-data-as-text.

[3] See: http://indiancine.ma/

[4] See: https://pan.do/ra

[5] See: http://pad.ma/

[6] See: http://studio.camp/

[7] See: https://0xdb.org/

References

Berry, D.M. "The Computational Turn", Culture Machine. Vol 12, 2011. http://www.culturemachine.net/index.php/cm/article/viewArticle/440.

Drucker, Johanna, "Humanistic Theory and Digital Scholarship" In Debates in the Digital Humanities. Minneapolis: University of Minnesota Press, 2012, http://dhdebates.gc.cuny.edu/debates/text/34.

Gold, Matthew K. and Jim Groom. "Looking for Whitman: A Grand, Aggregated Experiment". In Debates in the Digital Humanities. Minneapolis: University of Minnesota Press, 2012, http://dhdebates.gc.cuny.edu/debates/text/5.

Larkin, Brian. "Introduction". In Signal and Noise: Media, Infrastructure and Urban Culture in Nigeria. London: Duke University Press, 2008

Sterne, Jonathan, 'The MP3 as Cultural Artifact,' New Media and Society. Vol. 18(5):825–842, 2006

Svensson, Partrik, "From Optical Fibre to Conceptual Cyberinfrastructure" In' Digital Humanities Quarterly, Vol.5, No.1, 2011. http://www.digitalhumanities.org/dhq/vol/5/1/000090/000090.html.

For more details visit https://cis-india.org/raw/the-infrastructure-turn-in-the-humanities

The Asian Edge: 2012 Inter-Asia Cultural Studies Society Summer School

praskrishna — 2012-08-02T13:23:14Z

The 2nd Biannual Inter Asia Cultural Studies (IACS) Summer School will be hosted in Bangalore, India by the Centre for the Study of Culture and Society (CSCS) and the Centre for Internet and Society (CIS) with the Inter Asia Cultural Studies Consortium. The event will be held in the first and second week of August 2012.

The IACS Summer School brings together South and East Asian experts from different disciplines as faculty for graduate and advanced research students to engage with key issues of larger social, cultural and political concerns in Cultural Studies in Asia. Any student registered in a post-graduate degree program is eligible for the IACS Summer School. There are limited seats and students will be selected based on their applications. Students registered at universities participating in the Consortium of Inter Asia Cultural Studies Institutions will be given first preference.

The Summer School 2012 proposes to integrate the teaching with core IACS faculty with the larger realities of change in South and East Asia. It proposes a 10 + 4 day structure.

Core Course: Methodologies for Cultural Studies in Asia: The Summer School offers a 10 day core course that works through seminars, taught classrooms, tutorials, open spaces, field trips and workshops. The core course shall address questions of Cultural Identity, Modernity, Nationalism, Gender, Class, Revolution and Asianism to frame an argument about relocating methods, concepts and ideas in contemporary Cultural Studies in Asia.

Day/Date	Time	Session	Instructors	Readings
Aug 02 (Thu)	09:30-10:00	Introduction to Course/Orientation
	10:00-1:00	Session 1: The Question of Knowledge	Instructors: Daniel PS Goh Nithin Manayath	The Epistemological Value of East Asian Perspective – Sun Ge Knowledge Production in the Era of Neo-Liberal Globalisation – Kuan-Hsing Chen Teaching versus Research? – Meaghan Morris
	3:00-5:00	Student Presentations	Choi, Ji Yeon Ajinkya Shenava Khetrimayum M Singh Vincent Chung Jaime Fang-Tze Hsu
Aug 03 (Fri)		Culture Industries workshop
		Workshop party
Aug 04 (Sat)	10:00-1:00	Session 2: The Question of Culture	Instructors: Asha Achuthan Ratheesh Radhakrishnan	Hind Swaraj – Chs IV, VI, XII, XIII – MK Gandhi Value Typology of Chinese Peasants and Its Transformation in Contemporary China – He Xuefeng An Elaborative Argumentation of a Nong-Country – Zhang Shi Zhao
	3:00-5:00	Student Presentations	Annisa Beta Ying-Tzu, Liu (Eva) Li, Yen-Chieh Sharib Aqleem Ali Li, Cho Kiu (Joseph)	Venue: 1 Shanti Road
	6:00-8:00	EVENING SALON	Tejaswini Niranjana and Kuan-Hsing Chen	Venue: 1 Shanti Road
Aug 05 (Sun)		HOLIDAY
Aug 06 (Mon)	10:00-1:00	Session 3: Nationalism and Modernity	Instructor: Milind Wakankar Student Presentations: Mai Thi Thu Baidurya Chakrabarti Zhang, Bing Musab Iqbal Meng Hsien Lu	On Nation – Zhang Tai Yan Nationalism in India – Rabindranath Tagore New Dominant Ideology and Changes of Urban Space in Today's Shanghai – Wang Xiaoming The Twilight of Certitudes: Secularism, Hindu Nationalism and Other Masks of Deculturation – Ashis Nandy A National Culture for Pakistan: the political economy of a debate – Saadia Toor
	3:00-5:00		Instructor: Madhuja M Student Presentations: Pan Yifan Zhang Zhihui Se Young Oh
		EVENING SALON	Stephen Chah and Ashish Rajadhyaksha	Venue: Centre for Internet and Society
Aug 07 (Tue)	10:00-1:00	Session 4: Culture and Economy	Instructors: Radhika P Raghu Tenkayala	In the Margin of the Capital: From ‘Tjerita Boedjang Bingoeng’ to ‘Si Doel anak sekolahan’ The Emergent Culture of Consumption – Chua Beng Huat ‘Bollywood’ 2004; When Was Bollywood – Ashish Rajadhyaksha Peasant Cultures of the 21st Century – Partha Chatterjee
	3:00-5:00	Student Presentations	Chan Ka Yi Kim Yoon Young Tanna Shilpa Shirishkumar Ruchi Jaggi Haesook Yong
Aug 08 (Wed)	10:00-1:00	Session 5: Gender and Culture	Instructors: Navaneetha Mokkil Nitya Vasudevan	Why Culture Matters – Tejaswini Niranjana Prostitutes Parasites and the house of state feminism – Naifei Ding Women and Freedom – Firdous Azim Letters to the Editor: The domestic violence act and conflict Spectralization of the Rural: Reinterpreting the labour mobility of rural young women in post-Mao China – Yan Hairong
	3:00-5:00	Student Presentations	Elmo I-Che Hsu Pang Ka Wei (Janet) Li-Fang Lai Kris Yu-Shiuan Chi Samia Vasa Shwetha D Ryu M-Rye Sabreena Ahmed
	6:00-8:00	EVENING SALON	Firdous Azim and Naifei Ding/Siddharth/Arvind in conversation	Venue: Alternative Law Forum
Aug 09 (Thurs)	10:00-1:00	FIELD TRIP	SURESH JAYARAM – Pettai Tour
Aug 10 (Fri)	10:00-1:00	Session 6: Understanding Popular Cultural Practice	Instructors: Namita Malhotra Nishant Shah	Hong Kong Action film in the Indian B Circuit – SV Srinivas Inter-Asia Comparative Framework: Postcolonial Film Historiography in Taiwan and South Korea Kim Soyoung Fan Bhakti and Subaltern Sovereignty – Madhava Prasad
	3:00-5:00	Student Presentations	Samhita Sunya Khatija Sana Khader Ayesha Maria Mualla Antoreep Sengupta
Aug 11 (Sat)		UNWORKSHOP DAY (Writing)	Evening: Final Party

Optional Courses: 2 Additional 4-days parallel Courses shall be offered to participants interested in specialised inquiries of their research practice.

Course A. The Digital Subject: Science, Technology and Society in Asia

Course Coordinator: Nishant Shah

Course Instructors: Nishant Shah, Lawrence Liang and Ashish Rajadhyaksha

Course B. Research Seminar on Technology, Culture & the Body

Course Coordinator: Nitya Vasudevan

Course Instructors: Tejaswini Niranjana, DING Naifei, Audrey Yue, Wing-Kwong Wong, Hsing-Wen Chang, Nitya Vasudevan

Nandy

A National Culture for Pakistan: the political economy of a debate – Saadia Toor

Nandy

A National Culture for Pakistan: the political economy of a debate – Saadia Toor

For more details visit https://cis-india.org/internet-governance/iacs-summer-school-2012

The Aakash Tablet and Technological Imaginaries of Mass Education in Contemporary India (Excerpt)

sumandro — 2016-02-14T10:11:09Z

In a recently published paper, Jahnavi Phalkey and Sumandro Chattapadhyay explore public initiatives in technological solutions for educating the poor and the disadvantaged in independent India. Here is an edited excerpt from the paper that traces the recent history of technological solutions for mass education and unpacking the narrative of ‘failure’ that is associated with the Aakash experiment.

Students at Pardada Pardadi Education Society in Anupshahr, Uttar Pradesh, use the Aakash tablet in class as part of a pilot project introducing the low-cost computer into rural schools. Photograph by Sonali Campion, April 09, 2013: https://www.flickr.com/photos/sonalicampion/9449250639/.

In 2010, the Ministry of Human Resource Development (MHRD) of the Government of India launched a set of prototype devices of an affordable tablet computer, the development and production of which were to be supported by the Ministry as part of its larger ICTs for education project. This device later came to be known as the “Aakash” tablet, and the project went through several iterations, between 2010 and 2014, of not only technological re-designs, but also institutional arrangements to design, develop, manufacture, test, and procure the devices.

Technological Solutions for Mass Education

Our exploration of technological solutions for mass education in India has taken us through a not-so-linear history of projects that have informed the imagination and making of the Aakash project. This include the Satellite Instructional Television Experiment, or SITE (1975); University Grants Commission-led Countrywide Classroom project (1984 -); the Simputer, the first hand-held device developed in India (1998); the Hole in the Wall project developed and led by Sugata Mitra (1999); the Government of India-led EDUSAT (2004); National Programme on Technology Enhanced Learning (2003); and finally, a national online education portal named Sakshat (2006). The Satellite Instructional Television Experiment itself terminated rather quickly, but it led to several versions of television based instruction programmes, most notably aimed at higher secondary and university students. Instruction in the broadcast-format continues to date, even after the arrival of the internet and the fact it has become the preferred medium for the Indian state. The television has not been replaced, but certainly shadowed by a variety of internet access and computing devices.

Aakash, a “Low Cost Access-Cum-Computing Device”

An early official description of the then-nameless tablet as a “low cost access-cum-computing device” is noteworthy [1]. It is difficult to imagine a contemporary computing device that does not also function as an access device (say, to the internet). Where does the need for calling it an “access-cum-computing” device come from? It comes, perhaps, from the hierarchy of priority – the device is primarily an access device, and secondarily can perform the function of a general-purpose computer. An archaeological reading of the assumptions of learning processes embodied in this device reveals an earlier layer of thinking – that of broadcasting educational programmes to television sets via satellite connection. Labelling it as “access-cum-computing” frames the object as being shaped by the residue of the Indian state’s education technological experiences of the past, including that of the SITE initiative.

“[The] Aakash tablet was my dream but it was not fulfilled”

Throughout the short history of the Aakash device, the verdict of “failed innovation” figures prominently – from the early failure of "Sakshat" [2], to allegations of the Chinese origin of the Aakash device [3], to manufacturing troubles and under-production of the device [4], to criticisms of the tablet’s built quality and computing capacity [5], to mistrust and failed collaborations between parties involved in its production [6], and intra-governmental criticisms of the implementation process [7]. Moreover, there remained a continuous tension within the government itself regarding the necessity of the project, especially fuelled by (and fuelling) the image of the project as being driven by the dreams of a specific minister [8].

To simply describe the Aakash project’s failure as one due to the unbearable heaviness of functions ranging from the technical to the symbolic and political is to fall short of a full explanation. Alongside that narrative of failure, it is critical to foreground the quiet success of the project in establishing the tablet computer as a near-essential and familiarised everyday object for access to educational material. There is an alarming accuracy in the MHRD claim that the Aakash project established a sub $100 tablet market in India – it did, even if it was not for the device they wanted to promote [9].

The Device is the Desire

We observe that the Aakash project, as well as the ones preceding it, have been driven primarily by a desire to scale up the provision of education. The initiatives towards building delivery infrastructures for such mass-scale provision of education has almost always been accompanied by a larger desire for developing capabilities in space exploration, communication, and computing – the key technologies of twentieth century geopolitics. Our study of the manufacturing of the Aakash tablet, and its surrounding discourses, foreground the technological imagination of the state after liberalisation in India (1991), and its unique arrangements and efforts to create domestic capability of technological innovation in a context of globalised production and communication networks. We see our role as one of recovering the work of technology in the history of education as understood through the interactions between the state, academia, and industry.

Archival Research in (Increasingly) Digital India

Documenting the project has been an interesting historical exercise. We have been attentive to documents disappearing from their online locations. One remarkable possibility for archival research opened up by the internet is the (limited, and often uncertain) ability to access materials that are not presently available on a website, but were part of it in the past. This possibility allowed us to access a few crucial government documents that are not directly available on the official websites any more. We have also been attentive to the reiterations and revisions that do not merely overtake or shadow earlier documents. They sometimes erase earlier documents altogether as digital revisions. We do not have access to personal correspondence or internal institutional correspondence relating to the project. We are, however, skeptical of that happening as no protocols for the archiving of digital correspondence is yet in place with the Government of India. Doing recent history of India is becoming an ever more difficult exercise that historians must urgently attend to, if we are to make the present ready to have its own past in the future.

References

[1] Ministry of Human Resource Development, Government of India. “The History of Aakash Low Cost Access cum Computing Device.” Sakshat. October 05, 2011. http://archive.sakshat.ac.in/pdf/Final_Note_Aakash.pdf.

[2] Mukherjee, Arindam. “Bonsai Netbooks.” Outlook. February 16, 2009. http://www.outlookindia.com/article/Bonsai-Netbooks/239719.

[3] Raina, Pamposh, and Mia Li. “India’s ‘Aakash,’ Now Made in China.” The New York Times. November 26, 2012. http://india.blogs.nytimes.com/2012/11/26/india%E2%80%99s-super-cheap-tablet-now-made-in-china/.

[4] Nanda, Prashant K., and Surabhi Agarwal. “Government Close to Giving Up on Aakash Project.” Mint. March 22, 2013. http://www.livemint.com/Politics/fmEi8gsOSFgOzSTFfLsw6J/Govt-almost-gives-up-on-Aakash-says-no-point-in-hardware-ob.html.

[5] Chopra, Ritika. “Kapil Sibal's Cheap Aakash Proves to be a Dud.” Mail Today. January 08, 2012. http://indiatoday.intoday.in/story/kapil-sibal-cheapest-tablet-of-world-aakash-failure/1/167730.html.

[6] Julka, Harsimran. “14 Lakh Aakash Tablets Booked in 14 Days.” The Economic Times. January 03, 2012. http://economictimes.indiatimes.com/tech/hardware/14-lakh-aakash-tablets-booked-in-14-days/articleshow/11345695.cms. Parthasarathi, Ashok. “Cloudy Outlook for Aakash.” The Hindu. May 21, 2012 (Updated: May 22, 2012). http://www.thehindu.com/opinion/op-ed/article3439629.ece.

[7] Comptroller and Auditor General of India, Government of India. Report No. 19 of 2013 - Union Government (Civil) - Report of the Comptroller and Auditor General of India on Compliance Audit Observations. Government of India. 2013. http://www.cag.gov.in/content/report-no-19-2013-compliance-audit-observations-union-governmentcivil.

[8] At an event in late 2013, Kapil Sibal admitted, “[the] Aakash tablet was my dream but it was not fulfilled, I tried hard...” Quoted in Press Trust of India. “Kapil Sibal: Aakash Tablet is My Unfulfilled Dream.” Financial Express. December 24, 2013. http://www.financialexpress.com/news/kapil-sibal-aakash-tablet-is-my-unfulfilled-dream/1211284/0 .

[9] See [1].

Note: This is an edited excerpt from a paper titled ‘The Aakash Tablet and Technological Imaginaries of Mass Education in Contemporary India’ recently published in History and Technology, on 5 February, 2016. The paper can be accessed here: http://www.tandfonline.com/doi/full/10.1080/07341512.2015.1136142 (the first 50 downloads are free).

Cross-posted from South Asia @ LSE Blog.

For more details visit https://cis-india.org/raw/aakash-tablet-and-technological-imaginaries-of-education-in-india-excerpt

Talking Back without "Talking Back"

maesy — 2011-09-22T11:37:54Z

The activism of digital natives is often considered different from previous generations because of the methods and tools they use. However, reflecting on my conversations with The Blank Noise Project and my experience in the ‘Digital Natives Talking Back’ workshop in Taipei, the difference goes beyond the method and can be spotted at the analytical level – how young people today are thinking about their activism.

Last August, I had the opportunity to participate in the three-day grueling yet highly rewarding ‘Digital Natives Talking Back’ workshop in Taipei. On the very first day, Seema Nair, one of the facilitators and a good friend, asked us to reflect about what ‘talking back’ means in the context of activism. At first glance, activism is almost always interpreted as a confrontational resistance towards an identifiable opponent over a certain issue - a group of activists protesting against a discriminatory legislation passed by a government, for example. Although this is definitely the most popular form, is this the only way activism could be done?

While reflecting on Seema’s question, I thought of my conversations with people in the Blank Noise Project and how they seem to defy this popular imagination through their efforts to address street sexual harassment. From the way it articulates its issue (I have shared it before in here), Blank Noise challenges the idea of an opponent in activism by refusing to identify an entity as the “enemy” or the one responsible for the issue, given the grey areas of street sexual harassment. The opponent is intangible instead: the mindset shared by all members of society that enables the violation to continue.

Consequently, Blank Noise ‘talks back’ differently. While it is common for many movements to set an intangible vision as its goal (for instance: a society where women is treated as equals with men), they also have a tangible intermediary targets to move towards the broader vision (e.g. a new legislation or service provision for women affected by domestic violence). Blank Noise sticks with the intangible. The goal is to form a collective where eve teasing is everybody’s shared concern, spreading awareness that street sexual harassment is happening every day and it is unacceptable because it is a form of violence against women. Pooja Gupta, a 19 year old art student who is one of the initiators of the ‘I Never Ask for It’ Facebook campaign, underlined this intangible goal by saying that “The goal really is to spread awareness. It is not about pushing any specific agenda or telling people what to do.”

Because of this goal, I initially thought that there is a clear demarcation between people within the Blank Noise and the ‘public’ whose awareness they would like to raise – that there is a clear “us” (the Blank Noise activists) and “them” (the target group). However, I was corrected by Jasmeen Patheja, the founder of Blank Noise, when we chatted one day. “I haven’t ever put it that way. Since the beginning, the collective is meant to be inclusive and there is no specific target group. The public is invited to participate and there is no audience, everyone is a participant and co-creator.”

The strategy for this is to open up a public dialogue. When Blank Noise first started in 2003, it started with the street as the public space and uses art as its method of intervention. It takes many forms: performative art, clothes exhibition, street polls, and many others. Although today Blank Noise is much more known for its engagement with the virtual public through its prolific Internet presence (4 blogs, a Twitter account, 2 Facebook groups, many Facebook events, and a YouTube channel), the street interventions remain a significant part of its activities. Regardless of the methods, which I will elaborate more in future blog posts, the principles of creativity, play, and non-confrontation are always maintained.

At this point, some critical questions could be raised. What is Blank Noise actually trying to achieve through the dialogue? Can public dialogue really address the issue? How does Blank Noise know if it is interventions have an impact?

When I asked the last question, many people in the Blank Noise admitted that impact measurement is something that they are still grappling with. Some said that the public recognition of Blank Noise by bloggers and mainstream media is an indicator; others said that the growth of volunteers is also an impact. However, I found that this is not an issue many people were concerned with and was a bit puzzled. After all, if one were to dedicate their time and energy to a cause, wouldn’t s/he want to know what kind of difference made?

The light bulb for this puzzle switched on when Apurva Mathad, one of Blank Noise male volunteers, said, “Eve teasing is an issue that nobody talks about. It seems like a monumental thing to try and change it, so the very act of doing something to address it and reaching as many people as possible right now seems to be enough.”

Apurva basically told me that it is the action of doing something about the issue is what counts – and that it is the personal level change among people who are active within the Blank Noise is the real impact. I recalled that everyone else I talked with mentioned individual transformation after being a part of Blank Noise intervention – something I would elaborate upon in future posts.

This observation was confirmed in a later conversation with Jasmeen, where I discovered that Blank Noise also has another goal that was not as easy to identify as the first: to allow people involved with the collective to undergo a personal transformation into “Action Heroes” - people who actively takes action to challenge the silence and disregard towards street sexual harassment. In this sense, Blank Noise is similar to many women collectives that became organized to empower themselves and hence could be said to also adopt a feminist ideology.

The difference with most women collectives, however, lies on Blank Noise’s aim to allow a personalization of people’s experience with the collective. “The nature of this project is that people are in it for a reason close to them and they give meaning to their involvement as they see fit,” Jasmeen said.

Blank Noise does face challenges in doing this. Some people found it difficult to understand that an issue could be addressed without shouting slogans or advocating for a specific solution and others joined with anger due to their personal experiences. Hence, the non-confrontational dialogue approach becomes even more important. The discussion and debates it raises help the Blank Noise volunteers to also learn more about the issue, reflect on their experiences and opinions, as well as to give meaning to their involvement. This is when I finally understood the point of “no target group”: the Blank Noise people also learn and become affected by the interventions they performed. Influencing ‘others’ is not the main goal although it is a desired effect, the main one is to allow personal empowerment.

Going back to the ‘talking back’ discussion in Taipei, Seema then shared her experiences working with women groups in India and showed how ‘talking back’ could also be ‘talking with’, engaging people in a dialogue. It need not always address the state; it could also be aiming to make a change at the personal level in everyday life. It could also be ‘talking within’, keeping the discussion and debates alive within a movement to avoid a homogenized, simplification of the activism and provide a reflective element to the action. ‘Talking back’ could also take form other than “talking”, which usually is done through slogans and placards in a street protest, petition, or statements. It could be done through art, theatre performance, and many, many other possibilities.

Blank Noise is definitely an example of these different forms and its experience shows that the difference is not arbitrary. It is based on a well-thought analysis of the issue that extends to how it formulates its objectives which is then translated into its strategies. Blank Noise is not only an example of how activism is done differently, but also on how the thought behind it is different.

As I looked around the workshop room I was reminded that Blank Noise was not the only one. A few seats away from me sat two people who combined technology and poetry to create everyday resistance towards consumerism in Taiwan and a young woman who held urban camps in India to mobilize young people to volunteer Regardless of the issue and the technology used, many digital natives with a cause across the world remind us that ‘talking back’ could be done in many other ways than “talking back”.

This is the third post in the Beyond the Digital series, a research project that aims to explore new insights to understand youth digital activism conducted by Maesy Angelina with The Blank Noise Project under the Hivos-CIS Digital Natives Knowledge Programme.

*The photo is from one of Blank Noise's interventions in Cubbon Park, Bangalore. You can learn more about this intervention here.

For more details visit https://cis-india.org/digital-natives/blog/talking-back-without-talking-back

Studying the Emerging Database State in India: Notes for Critical Data Studies (Accepted Abstract)

sumandro — 2015-11-13T05:54:53Z

"Critical Data Studies (CDS) is a growing field of research that focuses on the unique theoretical, ethical, and epistemological challenges posed by 'Big Data.' Rather than treat Big Data as a scientifically empirical, and therefore largely neutral phenomena, CDS advocates the view that data should be seen as always-already constituted within wider data assemblages." The Big Data and Society journal has provisionally accepted a paper abstract of mine for its upcoming special issue on Critical Data Studies.

Introduction

Through the last decade, the Government of India has given shape to an digital identification infrastructure, developed and operated by the Unique Identification Authority of India (UIDAI). The infrastructure combines the task of assigning unique identification numbers, called Aadhaar numbers, to individuals submitting their biometric and demographic details, and the task of authenticating their identity when provided with an Aadhaar number and associated data (biometric data, One Time Pin sent to the pre-declared mobile number, etc.). The aim of UIDAI is to provide universal authentication-as-a-service for all residents of India who approach any public or private agencies for any kind of service or transaction. Simultaneously, the Aadhaar numbers will function as unique identifiers for joining up databases of different government agencies, and hence allow the Indian government to undertake big data analytics at a governmental scale, and not only at a departmental one.

In this paper, I am primarily motivated by the challenge of finding points and objects to enter into a critical study of such an in-progress data infrastructure. As I proceed with an understanding that data is produced within its specific social and material context, the question then is to read through the data to reflect on its possible social and material context. This is complicated when approaching a big data infrastructure that is meant to produce data for explicitly intra-governmental consumption and circulation. The problem then is not one of reading through available big data, but one of reading through the assemblage and imaginaries of big data to reflect on the kind of data it will give rise to, and thus on the politics of the data assemblage and the database state it enables.

Logic of the Database State

Application of data to inform governmental acts have taken place at least since government has been understood as responsible for the welfare of the population and the territory. The measurement of the population and the territory – the number of people, their demographic features, amounts and locations of natural resources, and so on – have always been integral to the functioning of the modern nation-state. Database state is used in this paper to identify a particular mode of mobilisation of data within governmental acts, which is fundamentally shaped by the possibilities of big data extraction, appropriation, and analytics pioneered by a range of companies since late 1990s. The reason for not using big data state but database dtate is that big data refers to a body of technologies emerging in response to a set of data management and analysis challenges situated in a certain moment of development of information technologies, whereas database refers to a symbolic form (Manovich 1999): a form in which not only the population is made visible to the government (as a collection of visual, textual, numeric, and other forms of records), but also how the acts of government are made visible to the population (as a collection of performance indicators, budget allocation and utilisation tables, and other data visualised through dashboards, analog and digital).

The data production and management logic of this database state is specifically inspired by the notion of platform introduced by the so-called Web 2.0 companies: providing a common service layer upon which various other applications may also run, but under specific arrangements (including distribution of generated user data) with the original common layer provider. Data assemblages of the database state are expected to enable the government to function as a platform, as an intensely data-driven layer that widely gathers data about population individuals and feeds it back selectively to various providers of public and private services. This transforms the data assemblage from one vertical of governmental activities to a horizontal critical infrastructure for modularisation of governmental activities.

Studying the Emerging Database State in India

Government of India is presently debating the legal and technical validity of the digital identity infrastructure programme in the Supreme Court, while simultaneously carrying out the enrollment drive for the same, linking up assignment of unique identity numbers with a national drive for population registration, and rolling out citizen-facing services and applications that implement the Aadhaar number as a necessary key to access them. With the enrollment process going on and the integration with various governmental processes (termed seeding by Aadhaar policy literature) just beginning, I enter this study through two key sets of objects reflecting the imaginaries and the technical specifications of the emerging database state in India. The first entry point is through the various official documents of vision, intentions, plans, and reconsiderations, and the second entry point is through the Application Programming Interface (API) documentations published by UIDAI to specify how its identity authentication platform will collaborate with various public and private services.

The first section of the paper provides a brief survey of pre-UIDAI attempts by the Government of India to deploy unique identification numbers and Smart Cards for specific population groups, so as to understand the initial conceptualisation of this data assemblage of a digital identification platform. The second section foregrounds how this platform undertakes a transformation of the components and relations of the pre-existing data assemblage of the Government of India, as articulated in various official documents of promised utility and proposed collaborations. The third section studies the API documentations to track how such imaginaries are materially interpreted and operationalised through the design of protocols of data interactions with various public and private agencies offering services utilising the identity authentication platform.

Notes for Critical Data Studies

Expanding the early agenda note on Critical Data Studies by Craig Dalton and Jim Thatcher (2014), Rob Kitchin and Tracey P. Lauriault have taken steps towards emphasising the responsibility of this nebulous research strategy to chart and unpack the data assemblages (2014). This is exactly what I propose to do in this paper. While Kitchin and Lauriault provide a detailed list of the components of the apparatus of a data assemblage (2014: 7), I find the concepts of infrastructural components and infrastructural relations very useful in thinking through the emerging infrastructure of authentication. Thus, my approach to these tasks of charting and unpacking is focused on the infrastructural relations that the digital identity infrastructure re-configures, instead of the infrastructural components it mobilises (Bowker et al 2010). This tactical choice of focusing on the infrastructural relations is also necessitated by the practical difficulty in having comprehensive access to the individual components of the data assemblage concerned. Addressing questions of causality and quality becomes difficult when studying the assemblage sans the produced data, and rigorously analysing concerns of security and uncertainty pre-requires an actually existing data assemblage, with a public interface to investigating its leakages, breakages, and internal functioning. In the absence of such points of entry into the data assemblage, which I fear may not be an exceptional case, I attempt an inverted reading. Turning the data infrastructure inside out, in this paper I describe how the digital identity platform is critically reshaping the basis of governmental acts in India, through a specific model of production, extraction and application of big data.

Bibliography

Bowker, Geoffrey C., Karen Baker, Florence Millerand, & David Ribes. 2010. Toward Information Infrastructure Studies: Ways of Knowing in a Networked Environment. Jeremy Hunsinger, Lisbeth Klastrup, & Matthew Allen (Eds.) International Handbook of Internet Research. Springer Dordrecht Heidelberg London New York. Pp. 97-117.

Dalton, Craig, & Jim Thatcher. 2014. What does a Critical Data Studies Look Like, and Why do We Care? Seven Points for a Critical Approach to ‘Big Data.’ Society and Space. May 19. Accessed on July 08, 2015, from http://societyandspace.com/material/commentaries/craig-dalton-and-jim-thatcher-what-does-a-critical-data-studies-look-like-and-why-do-we-care-seven-points-for-a-critical-approach-to-big-data/.

Kitchin, Rob, & Tracey P. Lauriault. 2014. Towards Critical Data Studies: Charting and Unpacking Data Assemblages and their Work. The Programmable City Working Paper 2. July 29. National University of Ireland Maynooth, Ireland. Accessed on July 08, 2015 from http://papers.ssrn.com/sol3/papers.cfm?abstract_id=2474112.

Manovich, Lev. 1999. Database as Symbolic Form. Convergence. Volume 5, Number 2. Pp. 80-99.

Note: Call for Papers for the special issue can found here: http://bigdatasoc.blogspot.in/2015/06/call-for-proposals-special-theme-on.html.

For more details visit https://cis-india.org/raw/studying-the-emerging-database-state-in-india-accepted-abstract

Studying Digital Creative Industries in India: Initial Questions

sneha-pp — 2016-03-18T13:55:56Z

This brief overview of the discourse around creative industries is an attempt to explore some ways of identifying what could be digital creative industries in India, and the questions they raise and problematize for us in terms of cultural expression, knowledge production, creativity and labour. The term ‘creative industries’ has been around for a while now, but with the advent of the digital, and with interest from different sectors, especially with a focus on policy and economic development, it would be essential to critically examine the discourse around the term, and see where it may be changing to open up new possibilities, particularly for the arts, humanities and design.

Introduction

The term ‘creative industries’ has been popular for more than two decades now, and continues to remain an important sector for research and development, as indicated by several shifts in policy and public discourse in the last few years. A significant move has been the foregrounding of creativity and knowledge as important resources for economic growth and social well–being. The term has a connection with the older and more specific term ‘cultural industries’, with its origins in the Frankfurt School [1] of theory, but has developed as part of a larger discourse around the creative economy/knowledge economy. First used in Australia in 1994 as part of a report titled Creative Nation [2], it became more widely recognized in the following years with the setting up of the Creative Industries Task Force by the United Kingdom’s Department of Culture, Media and Sport in 1997.The UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions (2005) [3] was perhaps the most prominent global effort in recognizing and taking steps towards fostering the growth of creativity and cultural production as part of sustainable development.

Following this there have been several other initiatives across the world, most noticeably in the Anglo-American context, that have built upon this framework to ease and facilitate cross-cultural flows and diversity in the circulation of information, labour and goods. Increasingly, the attempt now is to understand the relevance of these efforts in the digital age, where several advancements in technology and the ubiquitous presence of the internet continue to determine the creation, circulation and consumption of cultural commodities. This blog post is an attempt to outline some initial thoughts on what could be the possibilities of studying ‘digital’ creative industries in India. The digital is an inherent aspect of much cultural and creative expression today, given the steady transition from analogue to digital and the increased presence of internet in almost every domain. What would constitute creative digital industries in the present moment, how do they determine the larger course of cultural production, and pose new questions for labour, commodities, creativity and technology more broadly are some of the questions explored here.

According to the UN Creative Economy Report 2010 [4] the creative industries:

are the cycles of creation, production and distribution of goods and services that use creativity and intellectual capital as primary inputs;
constitute a set of knowledge-based activities, focused on but not limited to arts, potentially generating revenues from trade and intellectual property rights;
comprise tangible products and intangible intellectual or artistic services with creative content, economic value and market objectives;
stand at the crossroads of the artisan, services and industrial sectors; and
constitute a new dynamic sector in world trade.

As the report mentions, these are ‘evolving’ concepts and definitions, and just the number of areas that can come within the purview of the creative industries has increased greatly in the last decade. The report classifies creative industries under four different models as illustrated here:

Source: UN Creative Economy Report 2010.

Creative Industries in India

In India, there has been a keen interest in the potential of creativity as a resource, although creative industries may not be a popularly used term. From a policy perspective it is largely in terms of opportunities for economic growth, and more recently the potential for innovation and entrepreneurship, as seen in the Niti Aayog report presented in 2015 [5], which says that:

the committee proposes using digital platforms to encourage innovation, reforming the educational system to encourage creativity and upskilling workers to make them more employable, improving the ease of doing business, and strengthening intellectual property rights. Finally, the committee also proposes a number of measures to change cultural biases and attitudes towards entrepreneurship in the long-term, including attaching entrepreneurship to large scale economic and social programs, promoting new high-potential sectors via the government’s “Make in India” campaign, fostering a culture of coordination and collaboration, attempting to redefine cultural notions of success, and tying entrepreneurship with the social inclusion agenda.

The report therefore reflects an interest in harnessing creativity or creative labour as a significant factor in fostering innovation and entrepreneurship, and in some sense also expanding the scope of such entrepreneurship by tying it with social inclusion and encouraging collaboration. What this also has implications then is for educational reform, capacity-building and upskilling for increased employability and better livelihoods, something that requires a systemic and focused effort spread over time. The report also explicitly speaks of strengthening an existing intellectual property regime, which also has been a rather dominant framework for the creative industries discourse from a policy perspective. While there is a need to focus on growth and innovation, a perceived objective of IP, the easy conflation of the two is problematic. Further, the role of IPR in fostering innovation and socio-economic development, as reflected in the draft National IPR policy (2014) [6] is contentious, as responses to the draft have pointed out [7]. It would also be imperative to understand better the ‘cultural notions of success’ and how these would also impact the creative industries discourse in India.

As part of a large research initiative titled Culture: Industries and Diversity in Asia (CIDASIA) [8] spread over two years, the Centre for the Study of Culture and Society Bangalore worked on some of the pertinent questions that emerged out of the creative industries discourse in India and the sub-continent. In a report produced as part of this initiative creative industries are described as:

[T]he vast sector that has emerged with the arrival of modern technologies (emphasis as in the original) and forms of mass reproduction since the colonial period. This sector has now become an important site of intervention for both governments such as in UK, Australia and India and international agencies such as the United Nations.

Further, about the programme the report says:

The initiative attempts to assess the viability of international and government policies for cultural and creative industries and thus lay the groundwork for a hitherto unprecedented intervention of philanthropic organizations in the domain. We specifically focus on culture industries through the node of ‘livelihoods’ that we see as inextricably tied to this sector.

The importance of the question of livelihood to the growth in culture industries remains even today, as they are a source of employment for a vast section of society, mostly in rural areas, and often fall into what is called the unorganized sector. Low capital investment and the disputable legality of many of these industries however, make this connection a complicated one, as pointed out by the CIDASIA research. The study critiqued existing models of creative and cultural industries which emphasized copyright and intellectual property rights (IPR) as safeguards of livelihood and identity, a rather contentious connection given the presence of a large underground economy based on creative labour, which is also often migrant in nature. Other initiatives in the programme included a consultation to rethink the existing debates around cultural policy and diversity, with a focus on the rights of marginalized people, rights in the domain of mass culture, copyright and IPR. Diminishing spaces for cultural or political-artistic performances, and the role of creative cities in fostering such spaces was another area of concern.

There were several learnings from these initiatives about the nature of creative industries (audio-visual media including film and television), the conflation and overlap with culture industries (including craft and legacy industries) and the complex relationship between the two, and how the latter benefits from the first. The question of livelihoods, particularly those of non-citizens, or the migrant is an important one, for it highlights the cultural visibility of these industries, and more importantly establishes the presence of an underground economy that produces goods of high economic value, using cheap labour. Policy reforms, especially with respect to IPR and any regulation of these industries would need to take into account these features. The convergence of difference forms of cultural production with the growth of new media technologies, in particular is a pertinent question. Along with growing concerns around piracy, growth of new kinds of content, exclusivity and distribution become important factors here. The availability of capital and technology, and a growing global presence has also changed dramatically the nature of several creative industries, such as media, entertainment and advertising, but also brought with it challenges of finding creative and sustainable business models [9]. The problem of cultural impenetrability, or the difficulty of certain commodities to find a market in certain countries was also brought up as part of a study on the Korean wave in India. The translation of cultural worth into economic value, here studied through an examination of the cinema as cultural object, produced interesting observations in addressing the commodification of these objects and understanding the problem of value in this context [10]. The role of technology in the growth of the creative industries was an inherent aspect of all these studies, with factors such as context, conditions and quality of access, and the need to understand the problem of the 'last mile' as a conceptual and cultural problem, rather than a technological one, being emphasized in these findings [11].

Creative Labour?

The importance of the question of livelihood to the growth in culture industries remains even today, as they are a source of employment for a vast section of society, mostly in rural areas, and often fall into what is called the unorganized sector. Low capital investment and the disputable legality of many of these industries however, make this connection a complicated one, as pointed out by the CIDASIA research. The study also critiqued existing models of creative and cultural industries which emphasized copyright and intellectual property rights (IPR) as safeguards of livelihood and identity, a rather contentious connection given the presence of a large underground economy based on creative labour, which is also often migrant in nature. Other initiatives in the programme included a consultation to rethink the existing debates around cultural policy and diversity, with a focus on the rights of marginalized people, rights in the domain of mass culture, copyright and IPR. Diminishing spaces for cultural or political-artistic performances, and the role of creative cities in fostering such spaces was another area of concern.

In the last decade alone, the internet and digital technologies have grown at an exponential pace in India. Creative industries have been driven greatly by advancements in technology, and the role of the digital here then becomes an important aspect of the discourse, in terms of either a space, object or context. The term itself has drawn different kinds of criticism, beginning with the juxtaposition of creativity and industry, or the ‘economisation of culture’, as another product of contemporary capitalism, a critique that stems from the Frankfurt School. The problems are several, as outlined here by Andrew Ross [12]:

It may be too early to predict the ultimate fate of the paradigm. But sceptics have already prepared the way for its demise:: it will not generate jobs; it is a recipe for magnifying patterns of class polarisation; its function as a cover for the corporate intellectual property (IP) grab will become all too apparent; its urban development focus will price out the very creatives on whose labour it depends; its reliance on self-promoting rhetoric runs far in advance of its proven impact; its cookie-cutter approach to economic development does violence to regional specificity; its adoption of an instrumental value of creativity will cheapen the true worth of artistic creation.2 Still others are inclined simply to see the new policy rubric as ‘old wine in new bottles’ – a glib production of spin-happy New Labourites, hot for naked marketization but mindful of the need for socially acceptable dress. For those who take a longer, more orthodox Marxist view, the turn toward creative industries is surely a further symptom of an accumulation regime at the end of its effective rule, spent as a productive force, awash in financial speculation, and obsessed with imagery, rhetoric and display.

Similar concerns may be highlighted in the Indian context as well, where the employability of many in creative fields of work, which often fall under the informal or unorganized sector, has always been fraught with uncertainty. The access to cultural and social capital also defines the discourse in a certain manner, as largely urban-centric and focused around a particular class. Education, training and capacity-building efforts in creative fields, and access to these are an important factor that requires further exploration. As reflected in the discussions above, the prevalent imagination of cultural and creative industries still focusses on IPR and socio-economic development of certain sectors of the knowledge economy, therefore making invisible other kinds of labour. The appropriation of the term itself to focus on innovation in certain sectors, at the cost of others, and streamlining and regulation of these in some way would be another aspect of concern. More importantly, the definition of creativity, as beyond skilling for certain kinds of work also needs to be emphasized in these discussions.

Key Questions

Whether these are still pertinent criticisms now is a question, and more importantly, what would be new ways to frame the creative industries debate today would be a relevant starting point of engagement. The following are some questions that could be useful in mapping the creative industries discourse and how it could be thought about today, post the digital turn:

What are digital creative industries? Is it possible to identify a smaller subset of industries that would come within the purview of this term, or is it another entry point into the creative industries discourse in India, where the digital is all pervasive? What are new kinds of creative industries that are heavily and/or purely reliant on the internet and digital technologies?
Does the digital add a new perspective/dimension to how we theorise the notion of creative labour, because of the manner in which it affects, or determines creative expressions in the present, on the internet and more broadly in the digital? More importantly, do we need to critically think about a definition of creativity itself, today within the digital context? How do we then understand questions of precarity in working conditions, innovation and entrepreneurship in this space?
Who is the creative subject? Is it possible to understand such a subject outside of the very Eurocentric discourse around creativity and ‘creation’, which paints the creator as hegemonic in some sense? Another new way to reframe the livelihoods question is to understand the creative worker/knowledge worker, and how to think of these distinctions. What are the new ways to understand this debate?
The discourse around creative industries has largely been framed within the context of the intellectual property rights, and as a method to ensure the stability of the IPR regime. Given the changes, and many nuances to the IPR debates in the last few years, and the growth of the Free/Libre and Open Source Software (FLOSS) movement, it would be useful to understand the growth of creative digital industries in this context.
What does this tell us about a growing digital economy in India? Creative industries would raise interesting questions about the fostering of a digital economy in India, and the many ways in which it determines cultural production in the rest of the world.

Endnotes

[1] Theodor Adorno and Max Horkheimer, 'The Culture Industry: Enlightenment as Mass Deception,' 1944. https://www.marxists.org/reference/archive/adorno/1944/culture-industry.htm.

[2] See: http://apo.org.au/resource/creative-nation-commonwealth-cultural-policy-october-1994.

[3] See: http://portal.unesco.org/en/ev.php-URL_ID=31038&URL_DO=DO_TOPIC&URL_SECTION=201.html.

[4] See: http://unctad.org/en/Docs/ditctab20103_en.pdf.

[5] See: http://niti.gov.in/mgov_file/report%20of%20the%20expert%20committee.pdf.

[6] See: http://dipp.nic.in/English/Schemes/Intellectual_Property_Rights/IPR_Policy_24December2014.pdf.

[7] For more on this see: 'Comments on the First Draft Of The National IPR Policy' submitted by the Centre for Internet and Society, 2015 http://cis-india.org/a2k/blogs/cis-comments_first-draft-of-national-ipr-stategy.pdf, and 'SpicyIP Tidbit: New IPR Policy in 2 months' by Balaji Subramanian, SpicyIP, October 2015, http://spicyip.com/2015/10/spicyip-tidbit-new-ipr-policy-in-2-months.html.

[8] See: http://cscs.res.in/irps/cidasia-1.

[9] S. Ananth, 'Business of Culture in India,' 2008. http://cscs.res.in/dataarchive/textfiles/textfile.2009-12-18.9970782136.

[10]'When The Host Arrived: A Report on the Problems and Prospects for the Exchange of Popular Cultural Commodities with India,' 2008. http://cscs.res.in/dataarchive/textfiles/textfile.2009-07-17.9853066637/file.

[11]Ashish Rajadhyaksha, 'The Last Cultural Mile' (Bangalore: Centre for Internet and Society, 2011) http://cis-india.org/raw/histories-of-the-internet/blogs/the-last-cultural-mile/the-last-cultural-mile-blog-old.

[12] Andrew Ross, 'Nice Work of You Can get it: The Mercurial Career of Creative Industries Policy,' in MyCreativity Reader. Eds. Geert Lovink and Ned Rossiter (Amsterdam: Institute of Network Cultures, 2007).

For more details visit https://cis-india.org/raw/studying-digital-creative-industries-in-india-initial-questions

Storytelling as Performance: The Ugly Indian and Blank Noise 2

denisse — 2015-10-24T14:30:15Z

This post compares the method of storytelling with performances. To illustrate this, we explore the narratives of the Blank Noise project and The Ugly Indian, two civic groups from Bangalore making interventions in the public space. Part 2 looks at the role of actors and the stage in performances to explore the role of agency and the public space in storytelling.

This is part 2 of our analysis of Blank Noise and The Ugly Indian, two civic groups thriving in Bangalore by making a strategic use of storytelling to intervene in the public space. In the previous post, we explored the mediums and narratives used by these organizations to craft an identity for themselves. This one will look at the impact of this identity on the agency and actions of their volunteers. We will also draw some final conclusions relating the analysis back to the Making Change project.

How to navigate this post:

Section	Performance	Storytelling
Pre-production	Preparing all elements involved in a performance including locations, props, costumes, special effects and visual effects.	Preparing all elements needed to convey the message of the story including: spoken word, text, images, audio, video or other artifacts.
Screenplay	A written work narrating the movements, actions, expressions and dialogues of the characters.	Building a narrative in storytelling
Actors	Actors performing characters in a production.	The relationship between storytelling actors and agency
Stage	Designated space for the performance of productions	The public space as the stage for storytelling
Action!	Cue signifying the start of a performance	When storytelling leads to action

3.actor
ˈaktə/
1. a person portraying a character in [a dramatic or comic] production
2. a participant in an action or process

The cast of a production learns the script from beginning to end; rehearses the lines and internalizes the characters they have been chosen to represent. In the same way actors sustain the narrative of the production while they are on stage, we too act upon the identities we have chosen for ourselves in our day to day (Giddens, 1991). Oggs & Capps call this: constructing agentive identities: “participants assume agentive stances towards present identities, circumstances and futures” (1996; Hull, 2006). Embracing a set of traits and integrating them to the ‘story of the self’ (Gauntlett, 2002; Giddens 1991). This suggests there is a direct relationship between self-identity and agency, that will influence how we conduct ourselves in the public space.

As seen in the last section, The Ugly Indian’s self-ascribed identity frames their speech and action:

The Ugly Indian

We are a group of Ugly Indians who feel strongly about the state of visible filth in our cities.
Our philosophy can be described simply as: Kaam chalu mooh bandh. Stop Talking, Start Doing.
We believe in direct action, with a common-sense problem-solving approach. 
We do not finger-point or blame the system. We aim to make a change from within - 
one that sustains because everyone wants it and is comfortable with it.

This means the online identity of the organization (on Facebook, Youtube, Twitter and their website) must be consistent with the offline actions of volunteers in clean drives and TUI inspired activities.

Indira Nagar Rising	Koramangala Rising

TUI Clean Drives (Click to enlarge)
Photos courtesy of The Ugly Indian Facebook Album.
Visit the rest of the album here.

"[Join us] if you think like us, and want to achieve something meaningful in your immediate surroundings."

The Ugly Indian

Given the anonymity of the voices behind the narrative, the ideas and attitudes endorsed by TUI organizers can only remain at the discursive level, and it is TUI volunteers who collectively translate the set of beliefs into action. In other words, volunteers are the agentive extension of the movement, as they use their agency to execute the plan of action designed by the anonymous TUI organizers. The narrative in this case becomes somewhat of a ‘creed’ for responsible civic action, and while most volunteers choose to “stick to the script”, they are not really given the opportunity to explore their own narrative within.

In the case of Blank Noise, if we take another look at its mandate, it is collaborative by definition.

Blank Noise
Blank Noise is a public and participatory arts collective that seeks to
 explore the range of street interactions and recognize 'eve teasing' as
 street sexual harassment/ violence.

The processes to translate the Action Hero identity into action are far more open-ended than in the case of TUI. There is further room for volunteers to interpret what being an Action Hero means to them (as an identity), how they will respond to it (as agents), and how do they fit in the larger context of the Action Hero narrative (in the collective). The role of volunteers is to participate in the construction of a new narrative for the public space, defined by how women feel, what they think and do when they navigate it. It is not conclusive, and each intervention is an invitation for further dialogue.

"Adding agency to the equation gives the actor a purpose and new -revised- conception of the self and aligns its behavior with who he wants to be. "[2]

Blank Noise volunteers take ownership of who they want to be in the public space. Through their testimonials and actions, they do not only draft an identity for themselves, but they create one -or many- for the streets, for women, for men, for sexy, for safety. Stretching out our 'performance' analogy even further, their type of action is what we would deem improvisational theatre: the improvisation and intuition of BN volunteers takes over the dialogue, action and characters, as these are “created collaboratively by the players as [the play] unfolds in present time”[1]

4. stage
steɪdʒ/
a raised floor or platform, typically in a theatre, on which actors, entertainers, or speakers perform.

Finally, the stage. This is the space where actors display these learned identities in front of (or with) members of the audience. While stories are not necessarily presented on a conventional ‘raised floor or platform’, stories are meant to permeate "the stage" of the 'public space'. In spite of what Sartaj Anand told us in his interview: “stories as increasingly personal and local”, in order for them to trigger imagination and public discussion they must also be public and visible. Hannah Arendt posits in Essays for Understanding, that the task of storytelling is to extend the meaning of the actions, symbols and allegories into the public, making them visible to broader audiences and initiating a process of critical thinking among them (Jackson, 2002; Oni, 2012; Arendt, 1994). Hence, the role of storytelling in the public space has two functions:

a) Visibility:

Enhanced visibility is an extremely powerful asset. Narratives produced by activist-oriented storytellers do not only reflect greater autonomy of production, but also enjoy a wider rate of consumption[3] (Vivienne, 2011). From a tech-optimist perspective, multimedia representations of these stories further this visibility, making it also accessible to broader online audiences.

The Ugly Indian in particular thrives on visibility, due to its beautification mission. Its highly visible presence online is used to ratify the work they are doing to erradicate "visible" filth:

"X was a big fan of the Broken Windows Theory – which suggested that if a street looked ugly or neglected, it attracted more anti-social behaviour, while a well-maintained and beautiful street discouraged vandalism and often earned respect from passers-by. [...] Could the ugly Indian’s civic behaviour be a function of the environment and the signals it gives him? If so, could changing the environment change behaviour?" Chapter 7 - Nudge

In the case of Blank Noise, they use online visibility to re-introduce the testimonials collected through their interventions and installations, back into the public space.

Reporting to Remember (2009)

Triggered by the Mangalore pub attack, the report wants to compile a list of incidents involving attacks on/threats to women under the pretext of culture, tradition and religion.

By who:

Political parties
Religious groups
Individuals

2. Nature of attack:

who they attacked
why they attacked
You can also send articles/links explaining that.

3. When: Date

4. Location: Region.

Make a Sign (2009)
Volunteers were welcome to say anything they wanted.

What Blank Noise wants to say:
We are talking of safer cities not feared cities
We are talking of independent women, not paranoid women.
We are talking about collective responsibility- don't tell me to be even more 'cautious'.
We are talking about eve teasing as street sexual harassment and street sexual violence.
We are talking about autonomous women, not just mothers daughters and sisters amidst fathers brothers and sons.

Tales of Love and Lust

The vocabulary project, stems from a need to build a dictionary of 'eve teasing', Blank Noise asked participants to email in to comments and remarks they had heard addressed to them on the street. BN compiled them into an 'eve teasing' vocabulary.

The vocabulary was represented in the form of charts, school-style, simple lettering and graphics, in an attempt to desexualise and remove obscene reference from the terms that are used leerily at us on the streets.

Find the full list of interventions, campaigns and tactics here.

b) Political:

"[Politics is] the space of appearance that comes into being whenever men are together in the manner of speech and action, predating and preceding all formal constitutions of the public realm”

Hannah Arendt (1989) [4]

This visibility also re-conceptualizes how we do politics by creating political spaces. Setting up a ground for public discussion creates the opportunity to flesh out our ability to be political (Rawls 1971 in Sen, 2005). Hence, producing and consuming a story with, for and by the public, should constitute a political experience in itself -especially in the context of civic interventions as is the case of both our productions.

However, this does not seem to be the case for TUI. The identity of The Ugly Indian focuses on action; on collecting manpower to fill voids left by the state in waste management. In the words of Nishant Shah, they are aligning their work with needs and systems that have already identified by the state, as opposed to devising new modes of engagement or participation. Having said that, staying away from politics is an intentional mandate, and their focus today is removing all obstacles that stand between the middle class and their action in the public space; even if that includes extricating the group from its political nature. For now, spreading ‘action’ and its ‘visibility’ in the network is a priority. The bigger their beautification spectacle grows, the better.

Blank Noise has a different view of how to engage the middle class [5]. The group has identified the need to talk about ‘sexual harassment’ in public; a conversation that has not been addressed and is continually dismissed by the state. This void is hence being filled with stories and articulations of the communities involved [6],as a mean of resisting the stronger dominating narrative of silence around the issue. As opposed to TUI, the priority of Blank Noise is to reassert our ability to perform our role as active, visible and political agents in the public space; initiating a larger process of social critique in their network [7]

(We interviewed Jasmeen Patheja earlier in the project and discussed Blank Noise's political nature. Read the article here)

5. action! (and conclusions)
ˈakʃ(ə)n/
something done so as to accomplish a purpose.

As per definition, action must be purpose-driven, and throughout the last two posts, we have unpacked how this sense of purpose can be built using storytelling. We explored this looking at its methods, narrative identities, actors and spaces of action.

In the case of both organizations, storytelling was imbued in their organizational identity, the interaction with their volunteers and; the way in which they disseminate information. Expanding on what we said in the first installment on storytelling: its interactive nature makes it a tool for empowerment. The identities created by both organizations resonated so much with their audiences, that volunteers adapted their own identities and actions in the public space to align with them and participate in their initiatives.

The post also brought attention to the challenges of locating the ‘political’ within the spectacle. Storytelling as a mode of engagement is effective: it captures people’s attention and participation. However, it becomes problematic when the story becomes a creed adopted without question, as is the case of The Ugly Indian. The lack of opportunities to craft new arguments in public discussion leads to an equally passive participation to the one the group intended to eradicate. Citizens get involved without making critical connections with the material realities they are working to reverse. The citizen is trapped in the performance of citizen awakening and they are ceasing to articulate new ideas. In the case of Blank Noise, the political precedes the spectacle, but at the end of the day, it still relies on a visible and manageable network to disseminate its narrative and attract new story-lines and actors into the discourse.

On the issue of visibility: at the outset of the project we asked the question: what is it about the spectacle that makes it so enticing, and what can we borrow from it to strengthen political participation? [8]. This post visited the three elements that, according to Shah, makes an event visible: legibility, intelligibility and accessibility[9]; and started to answer some of these questions.

Performance	Storytelling	Visibility
Pre-production	The mediums chosen to tell the story (images, video, text, digital technologies) are used to give clarity to the message.	Legible
Screenplay	Creating (or borrowing narratives) from history and fiction makes stories easy to relate to, better understood and hence, better received by the audience	Intelligible
Actors	Acting out these identities shows the message was understood and internalized by the audience.	Intelligible
Pre-production	Digital technologies are effective at disseminating the story and making it more accessible in the public online space.	Accessible
Stage	Telling the story in the public (online and offline) space makes participation and interaction more likely.	Accessible

Finally, the main role of technology in storytelling is to provide and enhance visibility for stories (from all three fronts). As much as the thought piece criticizes the spectacle hype and suggests we move beyond it, this research is finding it useful to look further into: why visibility is desirable for advocacy and how it can bring new and different stakeholders into the process. At least, it seems to be working for The Ugly Indian and Blank Noise. Their outreach is for the most part online and digital media continues to be their best friend to scale up their visibility, showcase their actions and/or installations and sustain their narratives.

I will not make a conclusive statement on whether we should use storytelling for social change or not. However, understanding the power of stories and learning how to craft consistent narrative structures is -as Ameen Haque, founder of The Storywallahs told me- as fundamental for storytelling, as it is for activism: At the end of the day, "movements need supporters. Supporters need leaders; and leaders need to be good storytellers".

Footnotes:

[1] Based on the Wikipedia Definition of Improvisational Theatre. "Improvisational Theatre, often called improv or impro, is a form of theater where most or all of what is performed is created at the moment it is performed. In its purest form, the dialogue, the action, the story and the characters are created collaboratively by the players as the improvisation unfolds in present time, without use of an already prepared, written script." http://bit.ly/1hnByRp

[2] (Oggs & Capps, 1996; Miller, 1995; Hull, 2006).

[3] Refer to Sonja Vivienne's ethnography: Trans Digital Storytelling: Everyday Activism, Mutable Identity and the Problem of Visibility. She puts forward the experience of activists from the LGBT community who used storytelling to reassert, negotiate and in cases, expose their identities.

[4] Find resources to read more on Hannah Arendt's work on narrative and action here: http://stanford.io/1ge7JkX

[5] While the project does seek to collect voices across traditions, cultures, religions, etc; its reliance on digital technologies to crowdsource stories keeps the practice somewhat gentrified and homogenous. Lack of diversity in public discussion is a huge constraint for democracy, but from our conversations with Jasmeen, we understand this is a challenge to be tackled at a later stage of the project

[6] Refer to Nishant Shah's Whose Change is it Anyway?. (Page 29): "only certain kinds of discourses are made possible through technology-mediated citizen action. This discourse is often alienated from specific histories, particular contexts, and the affective articulations of the communities involved. It leads to a gentrification of contemporary politics that discounts anything that does not fit into the quantified and enumerated rubric of citizen action in network societies."

[7] Paulo Freire, the Brazilian educator and philosopher, was a strong proponent of using dialectics to question social structures around class, and stories come across as a way to link issues around power back to our personal experiences Refer to: Shor and Freire, 1987 and Williams, 2003.

[8] Some of the questions we have been exploring in Methods for Social Change: http://bit.ly/OCKrgy

[9] Refer to Nishant Shah's Whose Change is it Anyway?. (

Sources:

Arendt, Hannah (1994) Essays in Understanding Edited with an Introduction by Jerome Kohn. The literary Trust of Hannah Arendt Bluecher.

Holland, Lachicotte, Skinner & Cain, (1998). Identity and agency in cultural worlds. Cambridge, MA: Harvard University Press.

Hull, Glynda A., and M. Katz. (2006) "Crafting an agentive self: Case studies of digital storytelling." Research in the Teaching of English 41, no. 1: 43.

Jackson, Michael. (2002) The politics of storytelling: Violence, transgression, and intersubjectivity. Vol. 3. Museum Tusculanum Press,

Oni, Peter (2012). "The Cognitive Power of Storytelling: Re-reading Hannah Arendt in a Postmodernist/Africanist Context."

Sen, Amartya. The argumentative Indian: Writings on Indian history, culture and identity. Macmillan, 2005.

Shah, Nishant “Whose Change is it Anyways? Hivos Knowledge Program. April 30, 2013.

Shor, I. and Freire, P. (1987) A pedagogy for liberation:dialogues on transforming education. Bergin & Garvey, New York.

Williams, Lewis, Ronald Labonte, and Mike O’Brien. "Empowering social action through narratives of identity and culture." Health Promotion International 18, no. 1 (2003): 33-40.

Vivienne, Sonja (2011). "Trans Digital Storytelling: Everyday Activism, Mutable Identity and the Problem of Visibility” Gay & Lesbian Issues & Psychology Review 7, no. 1.

For more details visit https://cis-india.org/digital-natives/making-change/storytelling-performance-2

Storytelling as Performance: The Ugly Indian and Blank Noise 1

denisse — 2015-10-24T14:31:11Z

This post compares the production behind a performance with the process of storytelling. To illustrate this analogy, we explore the stories of the Blank Noise project and The Ugly Indian- two civic groups from Bangalore making interventions in the public space. This post looks at the stages of pre-production and the screenplay to explore methods and narratives in storytelling.

spectacle
ˈspɛktək(ə)l/
a visually striking performance

performance
pəˈfɔːm(ə)ns/
an event in which a performer or group of performers behave in a particular way for another group of people: the audience. Sometimes the dividing line between performer and the audience may become blurred, as in the example of "participatory theatre" where audience members get involved in the 
production.

One of the mandates of this project is to locate discrepancies between "spectacles"[1] and realities of change to identify less visible examples of citizen action. However, an alternative route is to identify the characteristics of the spectacle, and learn how they can be used to make activism more visible: that is, more legible, intelligible and accessible. In this context, storytelling comes across as a method that can provide the same experience and benefits of a performance. This potential manifests itself in two ways:

a) First, in its infrastructure. We find that the structure holding stories together plays an important role in their ability to deliver a clear message. By unpacking the process of staging a performance -from what happens in the dressing rooms to what happens on stage- we will identify the building blocks of performances and by default, those comprised in effective storytelling.

b) Second manifestation occurs in the audience. The dynamic of performances resembles how we behave every day in our "socially and constructed worlds". We are constantly telling stories about ourselves and this 'sense of being' is what determines our actions and behavior (Holland et al, 1998). Furthermore, as social beings, we also build identities as a community and engage in "collective moments of self-enactment" (Urciuoli, 1995).

Linking this back to our project, understanding the performative potential of storytelling; its infrastructure and how it can touch on issues of identity, agency and collective action, is relevant to tackle challenges in activism and civic engagement -where the collective is very much linked to the political. To illustrate the relationship between storytelling and performance, I will use the example of two civic groups thriving in Bangalore: Blank Noise (founded by Jasmeen Patheja, who we interviewed back in January) and The Ugly Indian; and I will ask you to think about them as theatrical productions:

(The following images are 'Broadway posters' adapted to the identity of these groups. They were created merely for the purpose of this post and do not reflect the views of these organizations).

The Ugly Indian
stop talking. start doing.

Blank Noise
set new rules for street behavior

These groups were formed (in 2003 and 2010 respectively) to re-conceptualize how we understand our presence in the public space; Blank Noise focusing on sexual harassment and women safety and The Ugly Indian on waste management and civic interventions. On this post, we will look at their campaigns and identify features of the spectacle/performance in the storytelling methods they are using to communicate their mandates and interact with their volunteers. So, without further ado, let's explore this glossary of tweaked theatrical terminology:

How to navigate this post:

Section	Performance	Storytelling
Pre-production	Preparing all elements involved in a performance including locations, props, costumes, special effects and visual effects.	Preparing all elements needed to convey the message of the story including: spoken word, text, images, audio, video or other artifacts.
Screenplay	A written work narrating the movements, actions, expressions and dialogues of the characters.	Building a narrative in storytelling
Actors	Actors performing characters in a production.	The relationship between storytelling actors and agency
Stage	Designated space for the performance of productions	The public space as the stage for storytelling
Action!	Cue signifying the start of a performance	When storytelling leads to action

1. pre-production
ˈpri-prəˈdʌkʃ(ə)n/
the action of making or manufacturing from components or raw materials prior to the initial performance.

The stage of pre-production is when all the locations, props, cast members, costumes, special effects and visual effects are identified. It works in tandem with the screenplay to ensure the maximum consistence, coherence and clarity in the story. In the same way, planning storytelling also implies selecting the right elements and materials to hold the story together. Initially, only traditional mediums were available, such as spoken word, text and images; but storytellers today (the directors orchestrating these productions) are experiencing an urgency to re-invent and adapt the language of their stories to make it accessible in the network[3] (Hull and Katz, 2006; Urciuoli, 1995) and the practice has evolved into 'trans-media' or digital storytelling. Formats like audio-bytes, videos, sms, mobile apps are also part of its semiotic makeup and these mediums are mixed and matched to enhance the visibility of the message. As Scott McCloud suggests in ‘Understanding Comics: The Invisible Art’: “we need to invent new ways [and] develop new techniques of showing the same old thing” (1994) to make sure people still listen to what we have to say.

Both Blank Noise and The Ugly Indian have led highly visual campaigns in the online space, as they combine blogging with videos, audios, images and active community managers that interact with their volunteers. A few examples of the mediums they are using to capture the public's attention:

Video: Blank Noise did this art intervention, using real rape and sexual harassment reports from 2003 to challenge what we consider 'normal' and 'news'-worthy when it comes to sexual harassment and domestic violence:

Artifacts: ‘I never ask for it’ campaign: Blank Noise asked women to send garments they wore when they experienced ‘eve-teasing’ to challenge the notion “that women ask to be sexually violated”

I never ask for it. http://bit.ly/1mnEhMJ

Audio: Blank Noise documents and disseminates stories of sexual harassment as told by their Action Heroes' This is: Kitab Mahal's story.

The message transmitted by the garments, the video and the audio are based on cultural and social constructions of what ‘sexual harassment’ means. Removing one of the garments from the installation, for instance, removes it from its resistance identity and hence, it can only exist in the narrative context Blank Noise is constructing alongside its volunteers.

On the other hand, The Ugly Indian's mandate is to change people's "rooted cultural behaviour and attitudes [...] to solve India's civic problems"; starting with the visible filth on the streets. It does not pursue systemic change, but seeks impact at the behavioral level. One of the methods it uses to achieve this, is the dissemination of images and videos showcasing their work. Their publications minimize the use of text in order to drive attention to aesthetics:

They recently complemented their graphic stories, by starting a blog that documents "the philosophy and the process" that drives The Ugly Indian. This excerpt from Chapter 3 explains their visual strategy and why they have chosen before-after pictures to communicate their work:

“The citizens of the online world are brutal – they only care for instant gratification and real results. So are citizens in the real world. They too only care for results. [...] V & X know that and have focused all their energies on delivering this dramatic result, this single Before-After image, that is proof of dramatic change. And it has worked – in terms of creating initial positive impact (both on the ground and online). Whether it will survive and change community behavior is another story. But this initial impact is crucial, as we will discover later, in generating respect from the community and the authorities.”

“When pictures carry the weight of clarity in a scene, they free words to express a wider area. And when words lock in the meaning of a sequence, pictures can really take off” Scott McCloud on comics

This is how pre-production is important for storytelling. Planning, designing and choosing the right elements, and how they interact with one another, will determine the level of legibility and meaning we give to the story (McCloud, 1994). Each medium: video, audio, text, music, etc.- becomes “a new literate space” or “symbolic tool” storytellers have on hand to portray narratives about the self, family community and society (Hull, 2006), and the introduction of digital technologies into storytelling space, coupled with the current hype around the method, signals we are moving towards a more strategic use of technology to produce and share knowledge more effectively. In this way, the choice of mediums and technologies will reflect a "conscious construction of identity" and "performances of the self" (Vivienne, 2011); a theme we will explore further in the 'screenplay' section.

2. screenplay
ˈskriːnpleɪ/
The script including descriptions of scenes and some camera/set directions.

The process of writing a screenplay is a careful exercise of creation and articulation. The dialogues, expressions and actions of the characters are narrated and located in a specific context that will determine how the events of the play unfold. The ability to build a coherent narrative structure is, in itself, a powerful tool of self-expression that enables the storyteller to a) construct an identity for the story and b) expose it to the public. Let's take a closer look at each stage:

a) Self-expression is directly related to the amount of freedom we experience in our ecosystem. Barriers to expression can come through our political regime or in the form of social norms and taboos, as is the case of conservative pockets in India. In either context, storytelling comes across an alternative outlet to describe ambiguous, unapologetic and personal truths (Vivienne, 2011). It enables less visible voices to claim a space and construct their own narrative within. Blank Noise has been very active on this front, as it creates opportunities for its volunteers, participants (dubbed Action Heroes), and otherwise silent voices to articulate their emotional and physical experiences in the public space. One of the ways they did it was by publishing a step by step guide to unapologetic walking, and then requesting people to participate:

step by step guide to unapologetic walking: http://bit.ly/1bz3MZZ

" Our street actions over the last few years have been based on emphasizing small simple scenarios- which can be challenging even though they appear 'normal' and everyday. For instance- should it be hard to just 'stand' on the street as an 'idle' woman? Would you 'dare' try it?"

The idea behind this intervention is to re-conceptualize how women navigate the public space, drawing inspiration, ideas and encouragement from the “personal truths” and stories shared by women who are doing it. This grants them greater autonomy at representing themselves through their online and offline presence and the narrative is continuously re-shaped through new submissions and testimonials.

b) Self-representation is how you create yourself: who you want to be and how you want others to see you. Miller’s work on identity and storytelling explores the role of storytelling in socialization and self-construction: “stories change depending on who is listening” (1993) as we construct ourselves with and for other people. In the same way a character in the script cannot come to life without an audience, the identities we create for ourselves need a public that recognizes who we are and our role in the world. Anthony Giddens' work on identity also draws a relationship between our identity and its narrative: “self-identity is not a set of traits but a person’s reflexive understanding of their own biography (...) and the capacity to keep a coherent narrative going: integrating events in the external world and sorting them into the story of the self” (Gauntlett, 2002; Giddens 1991).

The Ugly Indian took a solid stance against middle class apathy and idleness in its narrative, and with this premise, it built an identity for the organization that represents the opposite: a selfless, active, responsible middle class citizen. These are some examples:

Anonymous identity	Middle class citizen	How they are different to the common middle class citizen
“They call themselves The Ugly Indians and operate anonymously [...]. If you aren’t aware of The Ugly Indian (TUI), that’s understandable – they work hard to stay anonymous and underground, and want only their work to speak for itself.” (Chapter 1)	“The more the urban middle-class see ‘people like them’ mucking about in garbage, the more they will face up to the issue and start thinking about it [...] This leap from ‘it’s someone else’s job’ to ‘it’s my duty to fix this’ is what can transform our cities – this leap has to be made in the mind!” (Chapter 6)	“There is a specific purpose to making Amir (the garbage truck driver) talk. X and V are looking for cues on what really troubles him, what improvement in his daily working life he will really appreciate. Too often, well-meaning urban middle-class do-gooders think they know what the working class needs (gloves, better equipment and so on) and they get it so wrong. Listening without being judgmental is an art, and X and V are good at that. (Chapter 8)

You can read more about TUI’s story here.

“Human lives become more readable and intelligible when they are applied to narrative modes borrowed from history and fiction; and in function of stories people tell about themselves.”

Ricoeur, 1991

The set of traits chosen by The Ugly Indian is important. Their initiative is intentionally gentrified as they want it to resonate specifically with the middle class (as they are "people like them"). But at the same time, they integrate a reflexive understanding of their role as citizens by mentioning the need for a personal awakening ("this leap has to be made in the mind!") and further interaction with stakeholders outside of their network ("making the truck driver talk"), that will enable the common middle class citizen transition into the level of 'street and citizenship authority' TUI is at. On top of this, their clean drives back up this discourse, and while their identity remains incognito, the work is widely shared on social media every week -drawing a coherent narrative between their speech and their actions.

c) Interaction with audience: Finally, once the storyteller has created a coherent identity, its sense of purpose must also be evident for the audience. The possibilities for this are endless, but I would like to draw attention to the super-hero narrative chosen by both Blank Noise and The Ugly Indian. Both groups are seeking an internal awakening in their volunteers by juxtaposing their experiences with what a 'hero' would do in the same situation.

Bangalore Hero video on The Ugly Indian:

“Our message to all Bangalore citizens is simple. Go out and be a hero on your own street.
Take charge of it. Don’t be helpless. You have the power. You just need to go and use it”

Blank Noise's Action Hero game:

The Action Hero Game is built on a series of personal challenges in the city.
The game is simple. Your game partner and opponent is you.
There is no one method or quick solution to be an Action Hero. 
Each potential Action Hero goes to a new area in his / her city. On arriving there potential Action Heroes receive 'challenges' via phone messages 
Action Heroes across locations receive a set of 6 tasks over 4 hours via sms
If you don't wish to do a task (eg task 1a) text us and we will send you another task (eg task 1B) 
Are you an Action Hero? 
Find out! Play this game!

Blank Noise Action Hero
http://bit.ly/1fld8cV

“Share your Action Hero experience: An Action Hero sets new rules for behaviour. She could experience fear and threat, but devises ways to confront it. Being fearless is a process. Every person is a unique Action Hero.Tell us how you said NO to sexual violence. [...] This blog set out to record testimonials of when and how you became an Action Hero; documents and shares the memory of when you surprised yourself, did the unexpected. [...] You are an Action Hero not by the magnitude of what you did but how it made you feel. You are an Action Hero by the way you define your own Action Heroism. We don't have a reference for you.]

They both advance ideals of courage, fearlessness and responsibility in the public space through their campaigns. These are not only desirable traits by any citizen -let alone marginalized or silenced voices in the case of Blank Noise- but the strategy also speaks to a language of hope and empowerment we can relate to at a human level. It sheds light on our fears, our limits and the extent to which we are willing to use our power to act.[3] Mediating this message with digital technologies also creates the illusion of an omniscient narrator who is drawing the volunteers' path to heroism and guiding their journey through it. As Ricoeur puts it: "there is no self-understanding that is not mediated by signs, symbols and texts; and self-understanding will coincide with the interpretation given to these mediating terms" (1995) It is ultimately the interpretation the volunteers give to this ideal, and the magnitude to which they identify with it, what will determine their eagerness to emulate it and translate it into action. As said in the last post, one of the faculties of good storytelling is turning the experience being told, into the experience of those who are listening (Benjamin, 1955).

Before moving on to how 'action' unfolds in the performance, it is worth reflecting on the role of narratives, identities and mediation in collective action. Why do we need the hero narrative to mobilize agents? Why is heroic citizenship the gold standard and why does it work as a method for engagement? The topic is unfortunately out of the scope of this post, but the next one will attempt to address how identities as these ones can mediate our agency and action in the public space.

******

Access Part 2 here to look at the role of actors and the stage in performances to explore the role of agency and the public space in storytelling. We will also draw some final conclusions relating this back to the Making Change project.

Footnotes:

[1] Refer to Nishant Shah's Whose Change is it Anyway?. He argues that global audiences engage with local causes that embody "spectacles of the rise of the citizen". This is problematic as the more significant -less visible/undocumented- acts remain unnoticed, while they may be central to understand what it means to make change in a networked and information society. He posits we need to move beyond this 'spectacle imperative',recognize the context of these revolutions and re-evaluate how we conceptualize 'action'.

[2] Novelty: Quick exercise: run a quick google search of the words: ‘storytelling + social change’. You will find stories by influential magazines and publications, including Forbes, the Huffington Post and Open Democracy, all from 2013-2014. ‘Storytelling’ seems to be the newly (re)discovered tactic to advance business and social impact objectives, noticed by activists and corporates alike.

[3] For more on our power as agents and the role of narrative and identity, refer to Paul Ricoeur's work on the selves and agents (Oneself as another) and narratives (Time and Narrative). "As the most faithful articulations of human time, narratives present the moments when agents, who are aware of their power to act, actually do so, and patients, those who are subject to being affected by actions, actually are affected." Resources here: http://stanford.io/1c0pUwQ

Sources:

Benjamin, Walter. (1977): "The storyteller."89.

Gauntlett, David (2002), Media, Gender and Identity: An Introduction, Routledge, London and New York.

Giddens, Anthony. "Modernity and self-identity: self and identity in the late modern age." Cambridge: Polity (1991).

Holland, Lachicotte, Skinner & Cain, (1998). Identity and agency in cultural worlds. Cambridge, MA: Harvard University Press.

Hull, Glynda A., and M. Katz. (2006) "Crafting an agentive self: Case studies of digital storytelling." Research in the Teaching of English 41, no. 1: 43.

McCloud, Scott. (1993)."Understanding comics: The invisible art." Northampton, Mass

Miller, P. (1994). Narrative practices: Their role in socialization and self-construction. In Neisser & Fivush (eds.), The remembering self: Construction and agency in self narrative (pp. 158-179). Cambridge: Cambridge University Press.

Miller, P. & Goodnow, J. J. (1995). Cultural practices: Toward an integration of culture and development. New Directions for Child Development, No. 67 (pp. 5-16). San Francisco, CA: Jossey-Bass Publishers.

Ochs, E., & Capps, L. (1996). Narrating the self. Annual Review of Anthropology, 25, 19-43.

Ricoeur, Paul (1991). "Narrative identity." Philosophy today 35, no. 1 : 73-81.

Ricoeur, Paul. (1995) Oneself as another. University of Chicago Press,

Urciuoli, B. (1995). The indexical structure of visibility. In B. Farnell (ed.), Human action signs in cultural context: The visible and the invisible in movement and dance (pp. 189-215). Metuchen, NJ & London: The Scarecrow Press, Inc.

Vivienne, Sonja (2011). "Trans Digital Storytelling: Everyday Activism, Mutable Identity and the Problem of Visibility” Gay & Lesbian Issues & Psychology Review 7, no. 1.

For more details visit https://cis-india.org/digital-natives/making-change/storytelling-performance

State of the Internet's Languages 2020: Announcing selected contributions!

sneha-pp — 2019-11-01T18:12:49Z

In response to our call for contributions and reflections on ‘Decolonising the Internet’s Languages’ in August, we are delighted to announce that we received 50 submissions, in over 38 languages! We are so overwhelmed and grateful for the interest and support of our many communities around the world; it demonstrates how critical this effort is for all of us. From all these extraordinary offerings, we have selected nine that we will invite and support the contributors to expand further.

Cross-posted from the Whose Knowledge? website: URL

Call for Contributions and Reflections: URL

Thank you to all of you who wrote in: we would publish every one of your contributions if we could! Each of you highlighted unique aspects of the problem and possibility of the multilingual internet, and it was extremely difficult to select a few to include in the ‘State of the Internet’s Languages Report’. Whether your submission was selected or not, we hope you will continue to be part of this work with us, and that the report will reflect your thoughtful concerns and interests in a multi-lingual internet.

The nine selected contributions will be a significant aspect of the openly licensed State of the Internet’s Languages report to be published mid-2020. In different formats and languages, they span many kinds of language contexts across the world, from many different communities and perspectives. They will form part of a broader narrative combining data and experience, highlighting how limited the current language capacities of the internet are, and how much opportunity there is for making our knowledges available in our many languages.

A special thank you to the final contributors – we’ll be in touch shortly with more details. We’re looking forward to working with you as you develop your contributions and share your experiences!

The selected contributions are from:

Caddie Brain, Joel Liddle, Leigh Harris, Graham Wilfred

As part of a broader movement to increase inclusion and diversity in emojis, Aboriginal people in Central Australia are creating Indigemoji, the first set of Australian Indigenous emojis delivered via a free app. Caddie, Joel, Leigh and Graham aim to describe how to reflect Aboriginal experiences online, to increase the accessibility of Arrernte language in the broader Australian lexicon, to position Arrernte knowledge on digital platforms for future generations of Arrentre speakers and learners, and to contribute more broadly to the decolonisation of the internet.
Claudia Soria

Claudia will describe “The Digital Language Diversity Project” funded by the European Commission under the Erasmus+ programme. The project has surveyed the digital use and usability of four European minority languages: Basque, Breton, Karelian and Sardinian. It has also developed a number of instruments that can help speakers’ communities drive the digital life of their languages, in the form of a methodology named “digital language planning”.
Donald Flywell Malanga

Donald will share his experiences conducting two panel discussions with elderly and ten young Ndali People in Chisitu Village based in Misuku Hills, Malawi. He aims to hear their stories and make sense of them relating to how Chindali could be spoken/expressed online, examine the barriers they face in sharing/expressing their language online, and unearth possible solutions to address such barriers.
Emna Mizouni

Emna will interview African and Arab content creators and consumers to share their experiences in posting content in their own language and expose their cultures. She will reach out to different ethnicities from Africa to gather data on the reasons they use the “colonial languages” on the internet and the burdens they face, whether technical such as internet connectivity and accessibility, lack of devices, social or cultural barriers, etc.
Ishan Chakraborty

Ishan will explore the experiences of individuals who identify themselves as both disabled and queer, and who are not visible online in Bengali. Online research papers and academic works in Bengali are significantly limited, and even more so in the case of works on marginalities and intersections. One of the most effective ways of making online material accessible to persons with visual disability is through audio material, and Ishan will explore some of these possibilities.
Joaquín Yescas Martínez

Joaquin will be describing the free software, open technology initiatives and the sharing philosophy of “compartencia” in his community of Mixe and Zapotec peoples in Mexico. He will explore initiatives such as Xhidza Penguin School, an app to learn the language online, and learning workshops to look at new methodologies for sharing and using the language. It is not only a means of communication but it also encompasses a different way of understanding the world.
Kelly Foster

Kelly will draw attention to the work being done to revitalise indigenous languages and the struggles to represent the Nation Languages of the Caribbean and its diasporas in structured data and on Wikipedia. She aims to have the native names of the islands, locations and indigenous peoples on Wikidata, labelled with their own language so she can generate a map of the Caribbean with as many native names as possible. But the language of the Taino people of the islands that are now called Jamaican, Cuba, Puerto Rico and Haiti has been labelled as extinct, as are the people, by European researchers. Though a victim of the first European genocide of the Caribbean, they live on in the tongues and blood of people who are more often racialised as Black and Latinx.
Paska Darmawan

As a first-generation college student who did not understand English, Paska had difficulties in finding educational, inspiring content about LGBTQIA issues in their native language, let alone positive content about the local LGBTQIA community. They plan to share a mapping of available Indonesian digital LGBTQIA content, whether it be in the form of Wikipedia articles, websites, social media accounts, or any other online media.
Uda Deshpriya

Uda will explore the lack of feminist content on the internet in Sinhala and Tamil. Mainstream human rights discussions take place in English and leaves out the majority of Sri Lankans. Women’s rights discourse remains even more centralized. Despite the fact that all primary criminal and civil courts work in local languages, statutes and decided cases are not available in Sinhala and Tamil, including Sri Lanka’s Constitution and its amendments. This extends to content creation through both text and art, with significant barriers of keyboard and input methods.

For more details visit https://cis-india.org/raw/stil-2020-selected-contributions

Centre for Internet and Society

Unpacking Algorithmic Infrastructures: Mapping the Data Supply Chain in the Healthcare Industry in India

Research Questions

Research Design and Methods

Understanding Feminist Infrastructures: An Exploratory Study of Online Feminist Content Creation Spaces in India

Contributors

The Task of the Translator after Google

Hans Varghese Mathews

The Spaces of Digital

Stage 1: Knowledge Maps

Stage 2: Spatial Patterns - Digital Project

Stage 3: Knowledge Networking Building

Stage 4: Knowledge Exhibition / Publication

The new language of Internet: A report on the Chutnefying Hinglish Conference

The Mother and Child Tracking System - understanding data trail in the Indian healthcare systems

This article was first published by Privacy International, on October 17, 2019

Case study of MCTS: Read

The Infrastructure Turn in the Humanities

Sections

Notes

References

The Asian Edge: 2012 Inter-Asia Cultural Studies Society Summer School

The Aakash Tablet and Technological Imaginaries of Mass Education in Contemporary India (Excerpt)

Students at Pardada Pardadi Education Society in Anupshahr, Uttar Pradesh, use the Aakash tablet in class as part of a pilot project introducing the low-cost computer into rural schools. Photograph by Sonali Campion, April 09, 2013: https://www.flickr.com/photos/sonalicampion/9449250639/.

Technological Solutions for Mass Education

Aakash, a “Low Cost Access-Cum-Computing Device”

“[The] Aakash tablet was my dream but it was not fulfilled”

The Device is the Desire

Archival Research in (Increasingly) Digital India

References

Talking Back without "Talking Back"

Studying the Emerging Database State in India: Notes for Critical Data Studies (Accepted Abstract)

Introduction

Logic of the Database State

Studying the Emerging Database State in India

Notes for Critical Data Studies

Bibliography

Studying Digital Creative Industries in India: Initial Questions

Introduction

Source: UN Creative Economy Report 2010.

Creative Industries in India

Creative Labour?

Key Questions

Endnotes

Storytelling as Performance: The Ugly Indian and Blank Noise 2

Footnotes:

Sources:

Storytelling as Performance: The Ugly Indian and Blank Noise 1

State of the Internet's Languages 2020: Announcing selected contributions!

Cross-posted from the Whose Knowledge? website: URL

Caddie Brain, Joel Liddle, Leigh Harris, Graham Wilfred

Claudia Soria

Donald Flywell Malanga

Emna Mizouni

Ishan Chakraborty

Joaquín Yescas Martínez

Kelly Foster

Paska Darmawan

Uda Deshpriya