Centre for Internet and Society

January 2012 Bulletin

praskrishna — 2012-07-09T09:36:46Z

Welcome to the Centre for Internet and Society newsletter! In this issue we bring you the updates of our research, events, media coverage and videos of events organized by us during the month of January 2012!

Digital Natives with a Cause?

Digital Natives with a Cause? is a knowledge programme initiated by CIS, India and Hivos, Netherlands. It is a research inquiry that seeks to look at the changing landscape of social change and political participation and the role that young people play through digital and internet technologies, in emerging information societies. The major outputs have been a four book collective asking questions about theory and practice around 'digital revolutions' in a post MENA (Middle East - North Africa) world, a position paper, a scouting study and three international workshops.

Events Organised

Digital AlterNatives Video Contest: The Everyday Digital Native — To Be, To Think, To Act, To Connect

Digital AlterNatives Tweet-a-Review

'Digital Natives with a Cause?' project invites readers to review essays from the 'Digital AlterNatives with a Cause', a four-book collective published by Centre for Internet & Society and Hivos.

Digital AlterNatives: Book Reviews

Alternative Approaches to Social Change

“Observations about intangible aspects of a movement will keep a research from clinging to activism with a capital A, and start seeing a gradation in the social movement practices. It is constructive and opens the door to analyses of multi-dimensional movements such as the Blank Noise initiative (India). Drawing on methods of identifying new developments to the field of social movement, Maesy examines some aspects of it: the issue, strategy, site of action, and internal mode of organization.”
Nuraini Juliastuti, Co-founder, KUNCI Cultural Studies Center

Accessibility

India has an estimated 70 million disabled persons who are unable to read printed materials due to some form of physical, sensory, cognitive or other disability. This includes persons with blindness, learning disabilities such as dyslexia, cerebral palsy and persons who do not have full control over their limbs. For these people, the material needs to be converted into alternate formats such as Braille, audio or video or electronic formats (text document, word document or PDF) which they can access using assistive technologies. Our key research has focused on a submission to amend the Indian Copyright to the HRD Ministry, publishing a policy handbook on e-accessibility, research on accessible mobile handsets in India and an analysis of the Working Draft of the Rights of Persons with Disabilities Act, 2010.

Journal Article

Technology for Accessibility in Higher Education, published in the Journal: Enabling Access for Persons with Disabilities to Higher Education and Workplace. Nirmita Narasimhan wrote an article.

Featured Research

Making Mobile Phones and Services Accessible. CIS researched, edited and published this report in partnership with G3ict and ITU. The report contains a foreword, eleven chapters, a bibliography and glossary with contributions from Deepti Bharthur, Nirmita Narasimhan and Axel Leblois.

Upcoming Event

ITU Tutorial on Audiovisual Media Accessibility, organized by the International Telecommunication Union, India International Centre, 14-15 March 2012. CIS is hosting the meeting. The Tutorial will be preceded by the fourth meeting of the Focus Group on Audio Visual Media Accessibility (FG AVA) on 13 March 2012. This meeting will take place at the same venue and will also be hosted by CIS, in cooperation with the ITU-APT Foundation of India.

Access to Knowledge

Access to Knowledge is a campaign to promote the fundamental principles of justice, freedom, and economic development. It deals with issues like copyrights, patents and trademarks, which are an important part of the digital landscape. We prepared the India report for the Consumers International IP Watchlist, made submission to the HRD Ministry on WIPO Broadcast Treaty, questioned the demonization of pirates, and advocated against laws (such as PUPFIP Bill) that privatize public funded knowledge.

Event Organised

Gandhi, Freedom, and the Dilemmas of Copyright: To commemorate Mahatma Gandhi's death anniversary, CIS organised a public lecture. Prof. Shyamkrishna Balganesh of the University of Pennsylvania gave a lecture.

Openness

The advent of the Internet has radically defined what it means to be open and collaborative. Even the Internet is built upon open standards and free/libre/open source software. CIS has been committed and actively campaigned for promotion of open standards, open access and free/libre/open source software.

Workshop Reports

Summary of the Minutes of the Workshop on Biodiversity Informatics, organized by the Western Ghats Portal team to explore the contemporary state of biodiversity informatics at Ashoka Trust for Research in Ecology and Environment (ATREE), Bangalore on 25 November 2011.
Design!PubliC — Innovation and the Public Interest: On the 14th of October, 2011, the Center for Knowledge Societies organized the second edition of the Design Public Conclave, a conversation on how innovation can serve the Public Interest. The conclave was held at the National Gallery of Modern Art in Bangalore.
Report on the 'Open Access to Academic Knowledge' workshop: On Wednesday the 2nd of November, during Open Access Week, the Indian Institute of Science in conjunction with the Centre for Internet and Society held a workshop on Open Access at the National Centre for Science Information, in Bangalore. We recorded the meeting and published it online.

Event Organised

Geekup on Open Data in Bangalore: Hapee de Groot, Hivos, Netherlands gave a talk on Open Data and its use for citizen engagement.

Media Coverage

Wikipedia turns 11 today: The Bangalore event, open to all Wikipedia users, contributors and enthusiasts, is being held at the Centre for Internet and Society at Domlur.
The Hindu, 15 January 2012

Internet Governance

The Tunis Agenda of the second World Summit on the Information Society has defined internet governance as the development and application by governments, the private sector and civil society, in their respective roles of shared principles, norms, rules, decision-making procedures and programmes that shape the evolution and use of the internet. CIS partnered with Privacy International and Society in Action Group which has produced outputs in banking, telecommunications, consumer rights, etc., submitted open letters to Parliamentary Committee on UID, feedbacks on NIA Bill, and IT Rules.

Newspaper / Magazine Articles

Keeping it Private
As we disclose more information online, we must ask who might access it and why, writes Nishant Shah in the Indian Express, 15 January 2012.

Click to Change
From organising political protests and flash mobs to uploading their versions of Kolaveri Di, people brought about change with the help of the internet, Nishant Shah, Indian Express, 1 January 2012.

The Quixotic Fight to Clean up the Web
The ongoing attempt to pre-screen online content won’t change anything. It will only drive netizens into the arms of criminals, writes Sunil Abraham, Tehelka Magazine, Vol 9, Issue 04, 28 January 2012.

Sense and Censorship
The Stop Online Piracy Act (SOPA) and the Protect IP Act (PIPA) bills, at the US House of Representatives and Senate, respectively, appear to enforce property rights, but are, in fact, trade bills, Sunil Abraham in the Indian Express, 20 January 2012.

Interview

Our Internet and the Law
Nishant Shah was interviewed by the BBC Channel 5 (Radio) for its Outriders section. Jamillah Knowles reports this. Listen to the podcast online, BBC Radio, 24 January 2012.

Event Reports

Privacy Matters — Analyzing the Right to "Privacy Bill"
On January 21, 2012 a public conference “Privacy Matters” was held at the Indian Institute of Technology in Mumbai. It was the sixth conference organised in the series of regional consultations held as “Privacy Matters”. The present conference analyzed the Draft Privacy Bill and the participants discussed the challenges and concerns of privacy in India.

Future of Integrated Science Education in Higher Education in India
The Higher Education Innovation and Research Application (HEIRA) at the Centre for the Study of Culture and Society (CSCS) and the Centre for Contemporary Studies (CCS) at the Indian Institute of Sciences (IISc) hosted a two day workshop on 2 and 3 January 2012 on the Future of Integrated Science Education in Higher Education in India at the Centre for Contemporary Studies, IISc. Nishant Shah participated in the workshop.

Media Coverage

Twitter’s Censorship Move Aimed at Regaining China?
"The region-specific blocking was already being used on video hosting websites like YouTube and Hulu, where due to the wishes of copyright owners many videos are not available in India. Twitter is extending this technology to its tweets.”
Pranesh Prakash in International Business Times, 28 January 2012.

Google's privacy policy raises hackles (Times of India, January 26, 2012)
“Storing data makes it prone to misuse by authorities as well as corporations... I don't want my bakery shop owner to know what kind of medicines I buy from the nearby medical store.”
Sunil Abraham in the Times of India, 26 January 2012.

Google to change privacy policy to use personal info of users
“New changes are not good for a consumer's privacy.”
Sunil Abraham in Punjab Newsline, 27 January 2012.

Tangled Web
“We did a policy sting operation wherein we sent fraudulent notices to big web sites...in one case where we asked for the removal of three comments, they removed all 13. So there is already a private censorship underway.”
Sunil Abraham in the Week, 21 January 2012.

POV: Should user-generated content be monitored?
“We should not fool ourselves into thinking that private sector companies like Google will defend our fundamental rights. The next Parliament session is the last opportunity for parliamentarians to ask for the revocation of the rules for intermediaries, cyber-cafes and reasonable security practices.”
Sunil Abraham in afaqs, 19 January 2012.

Indian Internet Lawsuit Puts Spotlight on Freedom of Expression
“These rules have the potential to curtail debate and discussion on the net... They allow for all sorts of subjective tests by private parties and we predicted they would have a chilling effect on freedom of expression online.”
Sunil Abraham in the Voice of America, 19 January 2012.

India: obscene pics of gods require massive human censorship of Google, Facebook
“It’s difficult to establish exactly what is anti-religious: for example, the Hindu profession of belief in multiple gods is blasphemous to Muslims, Christians and Jews.”
Sunil Abraham in ars technica, 14 January 2012.
Is India Ignoring its own Internet Protections?
“The I.T. Act provides immunity to (Internet companies) and that should be the default starting position.”
Sunil Abraham in the Wall Street, 16 January 2012.

India internet: clean-up or censorship?
Sunil Abraham was quoted in Financial Time’s beyondbrics, 13 January 2012.

Twists and turns of the SOPA opera
“In terms of infrastructure, the U.S. controls critical web resources. Contrasting this to the Chinese firewall that blocks content for users within its jurisdiction, the U.S. decision to redirect a link can act as a ‘global block’.”
Sunil Abraham in the Hindu, 15 January 2012.

Activists cry foul against Aadhaar
Sunil Abraham participated in the meet on Aadhaar convened by the Indian Social Action Forum.
The Telegraph, 12 January 2012.

NGO questions people's privacy in UID scheme
“The UID project was allowed to march on without any protection being put in place.”
Sunil Abraham in the Times of India, 11 January 2012.

Revealed: Bangalore’s Basic Instincts
“If you look at the Google trend or any other website, Bangalore does not figure among the top 10 cities that surfs for porn. But that does not mean that Bangalore does not surf porn. It only means that we have a very sophisticated surfer with a very specific type. They don’t go through Google or other websites. They know how to go about it. But whether it affects their personal lives is lot more complicated.”
Sunil Abraham in the Bangalore Mirror, 8 January 2012.

Facebook, Google face censorship in India
“Traditional intellectual property rights holders like movie studios, music companies and software vendors are trying to protect their obsolete business models by pushing for the adoption of blanket surveillance and filtering technologies.”
Sunil Abraham in SmartPlanet, 5 January 2012.

Trail of the Trolls
“Trolling provokes a non-productive argument and as of now it is not considered a criminal offence anywhere in the world.”
The Telegraph, 4 January 2012.

Constitution of Group of Experts to Deliberate on Privacy Issues
It has been decided to constitute a Small Group of Experts under the Chairmanship of Justice A.P. Shah, Former Chief Justice, Delhi High Court, to identify the privacy issues and prepare a paper to facilitate authoring the Privacy Bill. Pranesh Prakash is one of the members.
Published by the Planning Commission, New Delhi.

2011: The year India began to harness social media
“We saw an increased sharing of digital content whether photos, videos, songs, news or blogs pointing to the Why This Kolaveri Di video, which went viral on YouTube with over 1.3 million views within a week of its release.”
Nishant Shah in the Sunday Guardian, 1 January 2012.

Blog Posts

Section 79 of the Information Technology Act by Pranesh Prakash
How India Makes E-books Easier to Ban than Books (And How We Can Change That) by Pranesh Prakash. This was reproduced in Medianama.

Upcoming Events

The High Level Privacy Conclave
Privacy India in partnership with the International Development Research Centre, Canada, Society in Action Group, Gurgaon and Privacy International, UK is organizing the High Level Privacy Conclave at the Paharpur Business Centre, Nehru Place Greens in New Delhi on Friday, 3 February 2012.

All India Privacy Symposium
Privacy India in partnership with the International Development Research Centre, Canada, and Society in Action Group, Gurgaon, Privacy International, UK and Commonwealth Human Rights Initiative is organizing the All India Privacy Symposium at the India International Centre, New Delhi on Saturday, 4 February 2012.

Events Organised

Workshop on the Standardization of Kannada Computing Terminology, 28-29 January 2012, Centre for Internet & Society, Bangalore.
The Curious Case of Whose Data is it Anyway? The second round of discussions of the Exposing Data Series was co-organized by Tactical Tech and CIS. Siddharth Hande and Hapee de Groot gave lectures.
"ಕನ್ನಡ ಮತ್ತು ತಂತ್ರಜ್ಞಾನದ ಜೊತೆ ಜೊತೆಗೆ..." organised in TERI, Bangalore, 22 January 2012.

Telecom

The growth in telecommunications in India has been impressive. While the potential for growth and returns exist, a range of issues need to be addressed for this potential to be realized. One aspect is more extensive rural coverage and the second aspect is a countrywide access to broadband which is low at about eight million subscriptions. Both require effective and efficient use of networks and resources, including spectrum. In this connection, Shyam Ponappa continues to write his monthly column for the Business Standard.

Article by Shyam Ponappa

Reversing India's Downward Trajectory
The country can regain growth momentum with rate cuts and telecom reforms, writes Shyam Ponappa in this column published in the Business Standard on 5 January 2012.

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June 2012 Bulletin

praskrishna — 2012-07-25T04:56:23Z

Welcome to the newsletter issue of June 2012. The present issue features an updated version of the Unlicensed Spectrum Policy brief for Government of India and a report of the Privacy Matters series organised in Ahmedabad on June 16, 2012.

Digital Natives

Digital Natives with a Cause? examines the changing landscape of social change and political participation in light of the role that young people play through digital and Internet technologies, in emerging information societies. Consolidating knowledge from Asia, Africa and Latin America, it builds a global network of knowledge partners who critically engage with discourse on youth, technology and social change, and look at alternative practices and ideas in the Global South:

New Blog Entries

The Bots That Got Some Votes Home by Nilofar Ansher: The author gives us some startling updates on the "Digital Natives Video Contest" voting results declared in May 2012.
Hyper-connected, Hyper-lonely? by Nilofar Ansher.

Digital Natives Newsletter

Home Alone: Volume 10, Issue 1, April 2012 of the Digital Natives with a Cause newsletter features Hyper-connected, yet Hyper-lonely. It puts the spotlight on an emerging trope in society and media: the more connected we are to our gadgets, peer network and social media, the lonelier we feel.

Access to Knowledge

The Access to Knowledge programme addresses the harms caused to consumers, developing countries, human rights, and creativity/innovation from excessive regimes of copyright, patents, and other such monopolistic rights over knowledge:

Op-ed in the Hindu

The Work of Art in the Age of Mechanical Injunctions (Lawrence Liang, The Hindu, May 23, 2012): “The same ‘Ashok Kumar,' now restrained from infringing the copyright of the film, ‘3,' helped its signature song, ‘Kolaveri,’ go viral by downloading and copying it without any restraints.”

Columns / Articles

ಡಿಜಿಟಲ್ ನಿರ್ಬಂಧಗಳ ನಿರ್ವಹಣೆ (Sunil Abraham, Prajavani, June 9, 2012): Read the English translation here.

ಸೃಜನಶೀಲತೆಗೆ ಸಂದ ಗೌರವ (Lawrence Liang, Prajavani, June 9, 2012): Read the English translation here.
Copyright Amendment: Bad, but Could Have Been Much Worse (Sunil Abraham, Business Standard, June 10, 2012): The changes to the Copyright Act protect the disabled — but are restrictive about cover versions and web freedom.
A Ludicrous Ban (Achal Prabhala and Lawrence Liang, Open Magazine, June 2, 2012): Our courts cannot be used as quack-houses to buy pills for imaginary problems. The copyright industry is not a sick patient; it’s just a hypochondriac. Films don’t fail because of piracy; they fail because they’re not worth watching. The most popular films in this country are also the most pirated, and yet they remain money-spinners. The real problem is the unbending inability of this industry to adjust to the world; to the Internet; to the life-changing technologies that human beings have witnessed and embraced and prospered by over the past two decades.

Openness

The 'Openness' programme critically examines alternatives to existing regimes of intellectual property rights, and transparency and accountability. Under this programme, we study Open Government Data, Open Access to Scholarly Literature, Open Content, Open Standards, Open Access to Law, and Free/Libre/Open Source Software:

Media Coverage

Wiki goes the oral citation way (Cyber Media, Chokkapan S, June 11, 2012): Achal Prabhala who serves on the board of CIS speaks about the Oral Citations Project.

Internet Governance

The Internet Governance programme conducts research around the various social, technical, and political underpinnings of global and national Internet governance, and includes online privacy, freedom of speech, and Internet governance mechanisms and processes:

Announcements

Window on the World: Subsequent to the publishing of a peer reviewed essay titled Resisting Revolutions: Questioning the Radical Potential of Citizen Action, CIS has been listed as one of the global organisations working on issues of participation, citizenship and new technologies along with a list of partner organisations. This was published by Palgrave Macmillan.
2012 Internet Freedom Fellows: The names of the 2012 Internet Freedom Fellows were announced on June 19, 2012. This was published by the US Department of State. Pranesh Prakash was selected as a Fellow.

Press Coverage of the Internet Freedom Fellows Event

Internet Freedom Fellows Program Emphasizes Defense of Fundamental Freedoms Online (by Ambassador Eileen Chamberlain Donahoe in DipNote, June 25, 2012).
Internet Freedom At Home: Governments, Companies Need Accountability, Speakers Say (by Catherine Saez, Intellectual Property Watch, June 22, 2012).

Peer Forum

Global Networks, Individual Freedoms: A Peer Forum on Internet Freedom and Human Rights: In Connection with the 2012 Internet Freedom Fellows Program, the United States Mission to the United Nations in Geneva invited Pranesh Prakash to a peer forum. The event was held on June 21, 2012, from 9.00 a.m. to 3.00 p.m.

Upcoming & Ongoing Events

Privacy Matters — Consumer Privacy (India International Centre, New Delhi, July 7, 2012): Privacy India, in partnership with the Centre for Internet & Society, International Development Research Centre, Society in Action Group and Privacy International, invite you to a public conference focused on discussing the challenges and concerns to consumer privacy in India.
The Fifth Elephant (NIMHANS Convention Centre, Bangalore, July 27 and 28, 2012): The event was organised by HasGeek and CIS. The first day covered the technology track and talks from business and industry were held on the following day.

Events Organised

Privacy Mattes — Medical Privacy (Yashwantrao Chavan Academy of Development Administration, Rajbhavan Complex, Baner Road, Pune, June 30, 2012): Privacy India in partnership with the Indian Network for People living with HIV/AIDS, Centre for Internet & Society, IDRC, Society in Action Group and Privacy International organised this event. The discussions explored the various types of medical privacy including informational privacy, physical privacy, proprietary privacy and decisional privacy.
GeekUp with Alan Knott-Craig (CIS, Bangalore, June 30, 2012): Alan Knott-Craig, founder of World of Avatar and CEO of Mxit, Africa’s largest social network gave a lecture.
Freedom of Expression & Privacy Roundtable Discussion (University of Goa, June 2, 2012): Lawrence Liang and Chinmayi Arun were participants in the discussion.

Connecting People Apart - Events Series

Post-Media Lab organised this events series at Lüneburg/Berlin from June 20 to June 23, 2012. Nishant Shah participated in the event series as a speaker:

Opening presentation – ‘Talk to Me’ (Halle für Kunst, Lüneburg, June 20, 2012): Nishant Shah along with Rasa Smite & Raitis Smits made a presentation.
‘What Would the Community Say?’ (Freiraum, Lüneburg, June 21, 2012): Nishant Shah in cooperation with DialogN reflected on the experiences about the changing face of citizen action in a post-mediatised world.
The Community Complex, A Post-Media Lab conference (Denkerei, Berlin, June 22, 2012): Nishant Shah was one of the participants.

Other Events Participated

India Privacy Meet (Hotel LeMeridien, New Delhi, June 29, 2012): The event was organised by Microsoft, DSCI and Greyhead. Sunil Abraham was a panelist in the session on Citizen Privacy.
Meeting of the two Sub-Groups on Privacy Issues under the Chairmanship of Justice AP Shah (Yojana Bhawan, Planning Commission, June 27, 2012). Sunil Abraham participated in this meeting. The report of the committee will be used in drafting of the new privacy bill.
CENSORSHIP 2020: The Future of Free Speech Online (Communication, Culture and Technology Program of Georgetown University 2nd Floor, Car Barn, 3520 Prospect St., N.W., Washington, DC, June 25, 2012): Pranesh Prakash participated in this event organised by the Internet Society. See the original published by Communication, Culture & Technology here.
Multi-Stakeholder Consultation on ‘Internet Rights, Accessibility, Regulation & Ethics’ (Mirza Ghalib Hall, SCOPE Complex, New Delhi, May 3, 2012): Pranesh Prakash was a speaker in this event organised by Digital Empowerment Foundation, Association for Progressive Communications, Department of Information Technology and National Internet Exchange of India. Watch the video here.
Internet at Liberty 2012 (Washington D.C., May 23 and 24, 2012): Sunil Abraham was a speaker in Plenary IV along with Cynthia Wong, Mohamed El Dahshan and Dunja Mijatović. Watch the video here. The event was organised by Google.
Google Hangout with Ashoka Fellow Sunil Abraham: Ashoka Fellows are leading social entrepreneurs who have innovative solutions to social problems and the potential to change patterns across society. Sunil became an Ashoka Fellow in 1999. Watch the video.
Clear and Present Danger: Attempts to Change Internet Governance and Implications for Press Freedom (National Endowment for Democracy, Washington D.C., June 26, 2012): The event was organised by National Endowment for Democracy. Pranesh Prakash participated in it.
Overview of Google’s efforts to promote Internet Freedom and freedom of expression online, including its work on the following reports: “Google Transparency” and “Enabling Trade in the Era of Information Technologies: Breaking Down Barriers to the Free Flow of Information (California, June 28, 2012): The event was organised by Google. Pranesh Prakash participated in a meeting with Derek Slater from Google.
Stanford University Roundtable Discussion (California, June 28, 2012): IFF Fellows introduced themselves and briefly talked about their background and work in internet freedom and human rights issues. Pranesh Prakash was one of the participants.
EFF’s legislative efforts to defend free speech, privacy, innovation, and consumer rights (California, June 29, 2012): Pranesh Prakash participated in a meeting with Katitza Rodriguez, International Rights Director.
Overview of Twitter’s new censorship policies and its impact on human rights activists around the world (California, June 29, 2012): Pranesh Prakash participated in a meeting with Carolina Janssen, Localization Content Coordinator. This was organised by Twitter.
Best practices in utilizing Ustream’s live interactive broadcast platform to showcase human rights issues (June 29, 2012): Pranesh Prakash participated in this meeting organised by Ustream.

Event Report

Securing e-Governance: Ensuring Data Protection and Privacy (Ahmedabad, Management Association, Ahmedabad, June 16, 2012): Privacy India in partnership with the Centre for Internet & Society, Bangalore, International Development Research Centre, Canada, Privacy International, UK and the Society in Action Group, Gurgaon organised a public discussion. Prashant Iyengar and Nisha Thompson spoke at the event. A total of 30 people participated in the event.

Columns in FirstPost

How Facebook is Blatantly Abusing our Trust (Nishant Shah, FirstPost, June 27, 2012): ‘Don’t fix it, if it ain’t broken’ is not an adage Facebook seems to subscribe to... The million dollar question – or maybe a slightly reduced price, given its public listing status on the stock-exchange right now – is that while Facebook might keep us safe from other people using our data, will it also be able to keep us safe from itself?
Beyond Anonymous: Shit people say on Internet piracy (Nishant Shah, FirstPost, June 7, 2012): FirstPost published Nishant Shah's column along with the video that CIS and ALF had made on 'shit people say about piracy' as a lead story. The post is a series of provocations around piracy, censorship and the state of Internet in India. Like all good tasting things, these observations need to be taken with a pinch of salt. But it is the hope of the author that this serves as a response to otherwise very persistent voices that have been demonizing file-sharing online.

Article in the Times of India

The Web of Our Strife (Pranesh Prakash, The Times of India, June 2, 2012): Given the current trend of states individually wielding excessive powers over various aspects of how their citizens access and use the internet, a Committee on Internet-Related Policies may well be what is needed to safeguard democratic principles and innovation on the internet.

Podcast

An Interview with Nishant Shah by Jamillah Knowles (Outriders, BBC Radio 5): “I think what we need to do is perhaps say that there is something happening with the internet in India and then maybe we can move on to figuring out what is happening to Anonymous because we had a series of challenges on freedom of speech and expression and online space in the country.”

New Fellow at CIS

Chinmayi Arun, former Assistant Professor of Law at the West Bengal National University of Juridical Sciences joined CIS as a Fellow. Chinmayi’s research focus will include privacy, free speech and access to information.

New Blog Entries

CIS entered into a small collaboration with Tata Telecommunications in India to celebrate the IPv6 day on June 6. CIS agreed to write 5500 word vignettes which were sent to their global database consisting of more than 900,000 users in the Asia-Pacific:

News & Media Coverage (International)

India's struggle for online freedom (by Rebecca MacKinnon, Sydney Morning Herald, June 9, 2012): “If you start the drenching early on, by the time you get to 50 per cent [internet penetration], everyone will be well-behaved monkeys.”—Sunil Abraham.

Hackers Take Protest to Indian Streets and Cyberspace (by Shreya Shah, Wall Street Journal, June 8, 2012): “The group attacked the Web site of India’s Supreme Court even when it says it does not attack Web sites used by the common man.” — Pranesh Prakash.
The War for India's Internet (by Rebecca Mackinnon, Foreign Policy, June 6, 2012): “"On free speech I have high faith in the Indian judiciary...There is a good chance to launch a constitutional challenge.” — Sunil Abraham.

News & Media Coverage (National)

No more blocking of entire websites? (by Danish Sheikh, Business Standard, June 24, 2012): CIS research on Intermediary Liability in India is referred to in this article.
UID: Are your biometric I-cards stacked against you? (by M Rajashekhar, Economic Times, June 24, 2012): "If biometrics is used as authentication factor then it would be possible for a criminal to harvest your biometrics — such as using a glass to collect fingerprints — without your conscious cooperation. Or the registrar can cache your biometrics and duplicate transactions." — Sunil Abraham.
Net Loss (Abimanyu Nagarajan, The Telegraph, June 20, 2012): “We sent takedown notices to e-commerce, content hosting, and news media sites...in most cases, we found the intermediaries were very risk averse." — Sunil Abraham.
Cos spying on competitors, staff: Study (The Statesman, June 19, 2012): “Whether or not surveillance is legal, depends on the type... There is some private information a person will expect to remain private, and some information that is expected to be public — like Twitter feeds.” — Sunil Abraham.
Recruitment Tracker: 21 students placed out of the 49 who sat for recruitment in Christ University’s School of Law, Class of 2012 (Bar and Bench News Network, June 11, 2012): CIS recruited Snehashish Ghosh.
PPOs save placement-record as Christ Law’s 2nd graduating batch hosts fewer law firms (by Prachi Shrivastava in Legally India, June 10, 2012).
India: The New Front Line in the Global Struggle for Internet Freedom (Atlantic, June 7, 2012): CIS report on Intermediary Liability in India is quoted.

'Anonymous' hackers to protest Indian Internet laws (AFP, June 8, 2012): The news was also published in NDTV, Jagran Post, The Times of India, LiveMint, and Economic Times on June 9, 2012.
The new Internet watchdogs (Ronendra Singh, Hindu Business Line, June 12, 2012): “The Indian Government is not following the letter of the law and bypassing judicial safeguards in its crackdown on political speech...This aggressive enforcement is also having a chilling effect on access to knowledge and freedom of expression.” — Sunil Abraham.
Concerns raised ahead of proposed India-US trade treaty (Hindu Business Line, June 13, 2012).
Attempts to censor the web ill-advised (by Krishs Fernandes, The Times of India, June 3, 2012).
Poor Guarantee of Online Freedom in India (by Geeta Seshu, Economic & Political Weekly, Vol XLVII No. 24, June 2012).
Tata Communications embraces the change to IPv6 (tech 2, June 7, 2012).
Internet opens doors to trillions more Net addresses with IPv6 (by Aaron Tan, techgoondu): “Despite the larger load of information, IPv6 packets are easier to handle and route, just like postcards with pin codes in their addresses are easier to deliver than those without.” — Nishant Shah.
Biz moving to IPv6 but lower costs, support needed (intellasia.net, June 8, 2012).
Govt websites to get new addresses (The Telegraph, June 7, 2012): “The future of our connected networks is IPv6. Not only is it more efficient and faster than IPv4, which we are currently working with, it is also more reliable and secure.” —Nishant Shah.
Anonymous India’s Takedowns Could Be Counterproductive (by Nikhil Pahwa, Medianama, June 6, 2012).
Watch out for cyber bullies (by KV Kurmanath, Hindu Business Line, June 4, 2012): “It would be very useful if both the government and civil society was more aggressive in awareness raising and triggering change in behaviour. Unfortunately this is a bit like smoking — even though people are aware of the issues — they engage in risky behaviour online.” — Sunil Abraham.
Scared by a spoof? You’ve got to be kidding me! (by Dhamini Ratnam, June 3, 2012). Pranesh Prakash is quoted in this article.
Protest@ censorship.com (by Sandhya Soman, The Times of India, June 5, 2012): “There is corporate and private censorship of internet and it is being done without enough proof of who is violating the copyrights of moviemakers. If these protests create awareness about the larger issues and developments in the areas of e-governance, IT Act and copyright law, then they could be helpful.” — Pranesh Prakash.

Telecom

While the potential for growth and returns exist for telecommunications in India, a range of issues need to be addressed. One aspect is more extensive rural coverage and the other is a countrywide access to broadband which is low. Both require effective and efficient use of networks and resources, including spectrum:

Telecom Knowledge Repository

Ford Foundation has given CIS a grant of USD 200,000 to build expertise in the area of Telecommunications in India over a period of two years. The programme outline, the modules covered and the profiles and bios of our expert reviewers can be found here:

Broadcasting

Module 7.2.3 (Mobile Television) by Tina Mani
Module 7.2.3 (FAQs)

Emerging Topics

Module 8.3 (Mobile Television) by Tina Mani
Module 8.3 (Mobile Television FAQs)

Featured Research

Unlicensed Spectrum Policy Brief for Government of India (Satya N Gupta, Sunil Abraham and Yelena Gyulkhandanyan): CIS and the Ford Foundation bring you the Unlicensed Spectrum Policy brief for Government of India. The research recommends unlicensed spectrum to the Government of India based on recent developments in wireless technology, community needs and international best practices. (The present report is an updated version of the draft circulated earlier).

Column in Business Standard

Growth, India's Highest Priority (Shyam Ponappa, Business Standard, June 8, 2012): Telecom and spectrum reforms are overdue, as are energy reforms addressing the fuel supply-power generation and distribution-sustainable tariffs chain. In terms of sequence, the next significant effort could focus on the… telecom sector. The empowered group of ministers can decisively abandon short-term government revenues in favour of user benefits, leading in time to even more government revenues.

New Blog Entry

National Telecom Policy 2012 — Issues and Concerns by Snehashish Ghosh: The author throws light on some of the issues and concerns surrounding the recently passed National Telecom Policy 2012.

Event Report

3^rd IJLT-CIS Lecture Series (National Law School of India University, Nagarbhavi, Bangalore, May 27, 2012): Prof. Rohan Samarajiva, Chairman and CEO, LIRNEasia gave the inaugural lecture on “Tariff Regulation in South Asia”. The presentation slides can be accessed here.

Foreign Press Coverage

India’s telecom success story turns sour (by Simon Denyer, Washington Post, June 1, 2012): “"There are very strong economic reasons for not auctioning spectrum in developing countries.” — Shyam Ponappa.

About CIS

CIS was registered as a society in Bangalore in 2008. As an independent, non-profit research organisation, it runs different policy research programmes such as Accessibility, Access to Knowledge, Openness, Internet Governance, and Telecom. Over the last four years our policy research programmes have resulted in outputs such as the e-Accessibility Policy Handbook for Persons with Disabilities with ITU and G3ict, and Digital Alternatives with a Cause?, Thinkathon Position Papers and the Digital Natives with a Cause? Report with Hivos. With foreign governments we worked on National Enterprise Architecture and Government Interoperability Framework for Govt. of Iraq; Open Standards Policy for Govt. of Moldova; Free and Open Software Centre of Excellence project plan for Saudi Arabia; eGovernance Strategy Document for Govt. of Tajikistan. With the Government of India we have done policy research for Ministry of Communications & Information Technology, Ministry of Human Resource Development, Ministry of Personnel, Public Grievances and Pensions, Ministry of Social Justice and Empowerment, etc., on WIPO Treaties, Copyright Bill, Interoperability Framework in eGovernance, Privacy Bill, NIA Bill, National Policy on Electronics and IT Act.

CIS is an accredited NGO at WIPO and has given policy briefs to delegations from various countries, our Programme Manager, Nirmita Narasimhan won the National Award for Empowerment of Persons with Disabilities from the Government of India and also received the NIVH Excellence Award.

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CIS is grateful to its donors, Ford Foundation, Privacy International, UK, Hans Foundation and the Kusuma Trust which was founded by Anurag Dikshit and Soma Pujari, philanthropists of Indian origin, for its core funding and support for most of its projects.

For more details visit https://cis-india.org/about/newsletters/june-2012-bulletin

Bangalore Thinkathon Surrogacy: Bodies, States, Networks

Wendy Chun & Nishant Shah — 2012-07-20T06:08:16Z

The first workshop of the Habits of Living project will be a Thinkathon (Thinking Marathon) focused on the notion of surrogate structures that have become the visible landmarks of contemporary life and will be hosted by the Centre for Internet & Society, in Bangalore, India.

Scheduled from 26th to 29th September 2012, the event will bring together a range of multidisciplinary scholars and practitioners from the Global South. The aim of the workshop is to produce new conceptual frameworks to help us understand networks and the ways in which they inform our everyday practice and thought.

The Habits of Living project begins with this workshop in Bangalore because Surrogacy is central to the ubiquity and universality of contemporary networks. A surrogate is "a person or … a thing that acts for or takes the place of another" (OED). A surrogate is a "simplified" substitute that represents and wields power for another: a deputy, an authorized stand-in. In contemporary network science—widely used in (and drawn from) sociology, economics, biology, and industry—networks operate as surrogates. Surrogate structures that transcend the material boundaries of modernist concepts like Nation States and Bodies have emerged as a way by which new social, cultural, political and economic configurations get assembled. The idea of networked information societies has forced us to revisit the ways in which we understand fluid and aporetic structures that facilitate flow of ideas, capital and ideologies in the rapidly globalizing world.

As the influential network scientist Duncan Watts has pointed out, "rather than going out into the world and measuring it in great detail, [network scientists] want to construct a mathematical model of a social network, in place of the real thing…" This substitution means "making drastic simplifications" in which real world phenomena are "represented in almost comic simplicity by dots on a piece of paper, with lines connecting them." These simplifications, which cause us to miss real world details, enables network scientists to "tap into a wealth of knowledge and techniques that will enable us to address a set of very general questions about networks that we might never have been able to answer had we gotten bogged down in all the messy details."

Surrogacy supports the self-referential universe that networks create, where all conditions of exteriority are obliterated and each phenomenon is explained only through its relationality with the other phenomena in that networked condition. This co-dependence promotes the idea of universalized networks which are diverse but homogeneous, and specific but replicable. Simultaneously, there is a contained analytical framework that proposes to offer a comprehensive view but only manages to mimic (Bhabha, reference) the status quo of the dominant power structures. Networks become the reified forms and functions of this condition of Surrogacy.

Surrogacy is thus central to making "networks" universal at both a macro and micro level, for not only do networks stand in for other phenomena, the very basic units of network analyses, nodes and edges, depend on the substitution (and thus universalization) of actors and interactions.

Intriguingly, the direction of this substitution is unstable. Modern networks stem from structures, such as electrical grids and highway systems, deliberately built to resemble nets. Remarkably, though, networks have become both constructed technical structures and actually existing phenomena that are empirically discovered. Systems biology, for instance, presumes the existence of networks in animals, from the genetic to the multi-cellular. Similarly, ecology conceptualizes food webs and less lethal animal interactions—or more precisely the potentiality of these interactions—as networks. This insistence on networks as actually existing empirical entities happens even as network scientists’ analysis itself is framed as an abstraction that replaces real world events with a mathematical model. Networks are thus both theoretical diagrams and things that exist out there. Indeed, they compromise the distinction between the constructed and the natural, the theoretical and the empirical. Like Borges’ imfamous map, the map—the surrogate—has become the territory.

Surrogacy, however, localizes as well as abstracts. A surrogate — something that stands in for more complex and often unsustainable forms of life — is often a potent being that is both temporary and unending. The surrogate emerges as an alternative form of producing specialized life and habits, while also performing a universal viability that stands in for the local specificities. Specific surrogacy networks range from:

Global networks of biological surrogacy and reproductive care that mobilize and orchestrate new conditions of labor (in all senses of the word)
Digital networks that help mobilize certain bodies and skills into the larger conditions of contemporary globalization
New combinations of State-Market partnerships enabled by digital and internet technologies that define the precarious conditions of life and living for the citizen subjects
Complexes of emotional surplus and affective relationships that get codified in massive social network systems, redefining the ways in which we understand relationships and relationality
Consortial state and state-like structures that transgress the territorial sovereignty of the nation-state and produce new forms of governance and belonging

For the Bangalore Thinkathon, we are bringing together scholars and practioners whose work touches on at least one of these types of surrogacy in order to outline and comprehend the work networks do. With a special emphasis the emergence and proliferation of large scale networks enabled by the digital turn, the Thinkathon is designed to start a dialogue between these different un-disciplined perspectives and produce a compendium of perspectives on the changing habits of living in contemporary times.

For more details visit https://cis-india.org/raw/digital-humanities/blogs/habits-of-living/bangalore-thinkathon

Civil Society Organisations and Internet Governance in Asia and India – Section Outlines

sumandro — 2015-11-13T05:40:49Z

The Centre for Internet and Society has been invited to contribute two sections to the Asia Internet History - Third Decade (2001-2010) book edited by Dr. Kilnam Chon. The sections will discuss the activities and experiences of civil society organisations in Asia and India, respectively, in national, regional, and global Internet governance processes. The draft outlines of the sections are shared here. Comments and suggestions are invited.

In the (draft) Foreword to the Asia Internet History – Third Decade (2001-2010), Prof. David J. Farber writes:

One of the early attempts to extend the reach of the Internet to Asia was via the “Johnny Appleseed” approach. That is a set of people responded to queries by people in Asian countries asking how they could connect with the growing Internet by offering to supply tapes to key people in the requesting countries, often by physically going with the tapes, as well as providing access points to the USA Internet. The people that we, I was one of the seeders, worked, with became the leaders in their nation and founded the initial national networks that blossomed with time and often formed the basis of commercial Internets. The traditions that these network frontier pioneers established lead to the eventual spread of the benefits of Internet access to not only their nations but became models for the spread to the rest of Asia…

I am honoured to contribute to the pioneering series titled Asia Internet History, edited by Dr. Kilnam Chon, by foregrounding a range of other individuals and organisations that often worked outside but in engagement with the national governments, and technical and academic institutions that govern the connecting tapes of the Internet, to ensure mass access to and effective usages of Internet in Asia.

The two sections, to be authored me, provides an overview of ‘civil society organisations’ working across Asian countries that have played a critical role in the shaping of policy-making and discourse around Internet governance during 2000-2010, and then undertakes a closer look at the organisations working in India and their interventions at national, regional, and global levels.

Please read the draft outlines of the overview section and the section on Indian organisations, and share your comments. The comments can be posted on the GitHub page where the outlines are hosted, on this page, or over email: sumandro[at]cis-india[dot]org.

The outlines can also be directly downloaded as markdown files: the overview and the India section.

Asian Civil Society Organisations and Internet Governance

Here is a tentative list of key civil society organisations from Asia that have participated and intervened in Internet governance processes during 2001-2010. Please suggest organisations missing from the list.

Bangladesh

Cambodia

China

Indonesia

EngageMedia, Australia and Indonesia
ICT Laboratory for Social Change (iLab)
Indonesian CSOs Network for Internet Governance
Indonesian ICT Partnership Association (ICT Watch)
Internet Society Indonesia Chapter [website is under construction]

India

Iran

Iranian Civil Society Organizations Training and Research Centre (ICTRC) [URL is not working]

Japan

Centre for Global Communications (GLOCOM) [Academia?]
Internet Society Japan Chapter
Japan Computer Access for Empowerment (JCAFE) [URL is not working]
Japan Computer Access Network (JCA-NET)

Kuwait

iJMA3 - Kuwait Information Technology Society (KITS)

Lebanon

Lebanese Center for Civic Education (LCCE)

Malaysia

Internet Society Malaysia Chapter

Myanmar

Myanmar ICT for Development Organization (MIDO)

Nepal

Internet Society Nepal Chapter

Pakistan

Philippines

Democracy.Net.PH
Foundation for Media Alternatives (FMA) [URL not working
Internet Society Philippines Chapter

Regional

Singapore

Internet Society Singapore Chapter

South Korea

Sri Lanka

Internet Society Sri Lanka Chapter

Thailand

For more details visit https://cis-india.org/raw/civil-society-organisations-and-internet-governance-in-asia-and-india-outlines

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

Google Policy Fellowship Programme: Call for Applications

praskrishna — 2012-05-24T15:38:28Z

The Centre for Internet & Society (CIS) is inviting applications for the Google Policy Fellowship programme. Google is providing a USD 7,500 stipend to the India Fellow, who will be selected by August 15, 2012.

The Google Policy Fellowship offers successful candidates an opportunity to develop research and debate on the fellowship focus areas, which include Access to Knowledge, Openness in India, Freedom of Expression, Privacy, and Telecom, for a period of about ten weeks starting from August 2012 upto October 2012. CIS will select the India Fellow. Send in your applications for the position by June 27, 2012.

To apply, please send to google.fellowship@cis-india.org the following materials:

Statement of Purpose: A brief write-up outlining about your interest and qualifications for the programme including the relevant academic, professional and extracurricular experiences. As part of the write-up, also explain on what you hope to gain from participation in the programme and what research work concerning free expression online you would like to further through this programme. (About 1200 words max).
Resume
Three references

Fellowship Focus Areas

Access to Knowledge: Studies looking at access to knowledge issues in India in light of copyright law, consumers law, parallel imports and the interplay between pervasive technologies and intellectual property rights, targeted at policymakers, Members of Parliament, publishers, photographers, filmmakers, etc.
Openness in India: Studies with policy recommendations on open access to scholarly literature, free access to law, open content, open standards, free and open source software, aimed at policymakers, policy researchers, academics and the general public.
Freedom of Expression: Studies on policy, regulatory and legislative issues concerning censorship and freedom of speech and expression online, aimed at bloggers, journalists, authors and the general public.
Privacy: Studies on privacy issues like data protection and the right to information, limits to privacy in light of the provisions of the constitution, media norms and privacy, banking and financial privacy, workplace privacy, privacy and wire-tapping, e-governance and privacy, medical privacy, consumer privacy, etc., aimed at policymakers and the public.
Telecom: Building awareness and capacity on telecommunication policy in India for researchers and academicians, policymakers and regulators, consumer and civil society organisations, education and library institutions and lay persons through the creation of a dedicated web based resource focusing on knowledge dissemination.

Frequently Asked Questions

What is the Google Policy Fellowship program?
The Google Policy Fellowship program offers students interested in Internet and technology related policy issues with an opportunity to spend their summer working on these issues at the Centre for Internet and Society at Bangalore. Students will work for a period of ten weeks starting from July 2012. The research agenda for the program is based on legal and policy frameworks in the region connected to the ground-level perceptions of the fellowship focus areas mentioned above.

I am an International student can I apply and participate in the program? Are there any age restrictions on participating?
Yes. You must be 18 years of age or older by January 1, 2012 to be eligible to participate in Google Policy Fellowship program in 2012.

Are there citizenship requirements for the Fellowship?
For the time being, we are only accepting students eligible to work in India (e.g. Indian citizens, permanent residents of India, and individuals presently holding an Indian student visa. Google cannot provide guidance or assistance on obtaining the necessary documentation to meet the criteria.

Who is eligible to participate as a student in Google Policy Fellowship program?
In order to participate in the program, you must be a student. Google defines a student as an individual enrolled in or accepted into an accredited institution including (but not necessarily limited to) colleges, universities, masters programs, PhD programs and undergraduate programs. Eligibility is based on enrollment in an accredited university by January 1, 2012.

I am an International student can I apply and participate in the program?
In order to participate in the program, you must be a student (see Google's definition of a student above). You must also be eligible to work in India (see section on citizen requirements for fellowship above). Google cannot provide guidance or assistance on obtaining the necessary documentation to meet this criterion.
I have been accepted into an accredited post-secondary school program, but have not yet begun attending. Can I still take part in the program?
As long as you are enrolled in a college or university program as of January 1, 2012, you are eligible to participate in the program.
I graduate in the middle of the program. Can I still participate?
As long as you are enrolled in a college or university program as of January 1, 2012, you are eligible to participate in the program.

Payments, Forms, and Other Administrative Stuff

How do payments work?*

Google will provide a stipend of USD 7,500 equivalent to each Fellow for the summer.

Accepted students in good standing with their host organization will receive a USD 2,500 stipend payable shortly after they begin the Fellowship in August 2012.
Students who receive passing mid-term evaluations by their host organization will receive a USD 1,500 stipend shortly after the mid-term evaluation in September 2012.
Students who receive passing final evaluations by their host organization and who have submitted their final program evaluations will receive a USD 3,500 stipend shortly after final evaluations in October 2012.

Please note: Payments will be made by electronic bank transfer, and are contingent upon satisfactory evaluations by the host organization, completion of all required enrollment and other forms. Fellows are responsible for payment of any taxes associated with their receipt of the Fellowship stipend.

*While the three step payment structure given here corresponds to the one in the United States, disbursement of the amount may be altered as felt necessary.

What documentation is required from students?

Students should be prepared, upon request, to provide Google or the host organization with transcripts from their accredited institution as proof of enrollment or admission status. Transcripts do not need to be official (photo copy of original will be sufficient).

I would like to use the work I did for my Google Policy Fellowship to obtain course credit from my university. Is this acceptable?

Yes. If you need documentation from Google to provide to your school for course credit, you can contact Google. We will not provide documentation until we have received a final evaluation from your mentoring organization.

Host Organizations

What is Google's relationship with the Centre for Internet and Society?

Google provides the funding and administrative support for individual fellows directly. Google and the Centre for Internet and Society are not partners or affiliates. The Centre for Internet and Society does not represent the views or opinions of Google and cannot bind Google legally.

Important Dates

What is the program timeline?

June 27, 2012	Student Application Deadline. Applications must be received by midnight.
July 18, 2012	Student applicants are notified of the status of their applications.
August 2012	Students begin their fellowship with the host organization (start date to be determined by students and the host organization); Google issues initial student stipends.
September 2012	Mid-term evaluations; Google issues mid-term stipends.
October 2012	Final evaluations; Google issues final stipends.

For more details visit https://cis-india.org/internet-governance/google-policy-fellowship

Multimedia Storytellers: Panel Discussion

denisse — 2015-10-24T14:26:51Z

This post brings three storytellers together to find points of intersection between their methods. The format will be that of a panel discussion and it features: Arjun Srivathsa from Pocket Science India, Ameen Haque from the Storywallahs, and Ajay Dasgupta from The Kahani Project. They discuss technology, interpretation and action in storytelling.

CHANGE-MAKERS: Arjun Srivathsa, Ameen Haque and Ajay Dasgupta

ORGANIZATIONS:Pocket Science India, The Storywallahs and The Kahani Project

METHOD OF CHANGE: Storytelling

Over the last couple of weeks, I had the privilege of interviewing three storytellers. What struck me the most, besides from their fascinating ideas about storytelling, was how many of their ideas overlapped. As much as I would love to sit all of them in the same room and enjoy the fireworks, there are a number of logistical constraints that shut my storyteller reunion daydreams down; so for this post, I decided to be a self-appointed liaison between you and them. I will mimic this discussion by putting my conversations with them side by side, in the format of a panel discussion. Their interaction will have to happen in the realm of your imagination.

The questionnaire I used for my interviews was open-ended. I was curious to hear what they wanted to share about their work, as opposed to filtering and steering the conversation in a certain direction; so I let them take their own turn. While I clearly inquired about the relationship between storytelling and making change, it was fascinating to see each storyteller reach the question of ‘social impact' through different channels; testimony of the influence of their education and professional backgrounds in their work.

If I were to bring them together, the topic of the discussion would be: 'Technology, Interpretation and Action in Storytelling'. We briefly discussed mediation and semiotics[1] in the Pre-Production section of the Storytelling as Performance post. We mentioned then:

"mediums are combined to enhance the visibility of the message and the power of the experience of stories. [...] Each medium: video, audio, text, music, etc.- becomes “a new literate space” or “symbolic tool” storytellers use to portray narratives about the self, community and society (Hull, 2006)”

These thoughts were triggered by the work of the French philosopher, Paul Ricoeur, who considers our self-identity a result of sign mediation and interpretation. Other themes in his work include: discourse and action, temporality, narrative and identity; also useful and relevant when exploring how storytelling and reality intersect. For example, how does building a narrative develop into a discourse that mirrors our context and existence? How does the medium chosen to carry this narrative define the language system of our discourse? Finally, let’s not forget this discussion is happening amid the digital question: how does the mediation of digital technologies enable or constrain our narratives of change?

Against this background, I would like to propose a discussion around five points of intersection that came up organically* during my conversations with them.

a) The power of storytelling:
What makes it a powerful vehicle of communication? How does this practice break from more traditional strategies of information dissemination?

b) Storytelling as a vehicle to make change:
How does the practice of storytelling intervene in the social imagination of its audience? Is it the experience or the content of stories what drives the message of change forward? Where does change happen: at the value, behavioral, community or macro level?

c) The role of technology in storytelling:
What is the part technology plays in storytelling vis-a-vis traditional storytelling? Is it a static infrastructure or does it shape the force and direction of the story? How does technology influence and impact their work

d) Translating awareness to action through stories:
Can you guarantee the ideas and values imbued by the story will translate into action in the public space?

e) Influence of stories on citizenship and political participation:
Can the power of stories be leveraged to instill a sense of responsibility in the audience?

* With the exception of Arjun Srivathsa, who addressed these points in a conference I attended. He later responded to a questionnaire in which I inquired about the intersections specifically.

Introductions

We first have Arjun Srivathsa. He has a Masters in Wildlife Biology and Conservation and currently works as a Research Associate for the Centre for Wildlife Studies (CWS India). In tandem, he started Pocket Science India, an initiative that combines wildlife science with art and cartoons to promote conservation in India and disseminate information from scientific journal articles. He aims to bridge the gap between the work of scientists and people using art and humour.

Arjun: I find the world of science and scientists very cool. Finding new things, discovering and inventing ways to understand the world better is an awesome way of life. I chose a career in science for this reason, second only to my love for nature and wildlife. But the essence of science, according to me, is not just to discover, but also to communicate. Even though wildlife research in India has progressed massively in the past few decades, the only notion people have is that of exaggerated scenes from television documentaries. When I discovered that most of the work by Indian scientists on wildlife and conservation of India is making no difference to people (mostly because they are unaware), I decided to use the easiest way to bridge the gap: through humour and art.

Second speaker is Ameen Haque from The Storywallahs. In what he calls his past life, he worked for 18 years in Advertising and Brand Strategy Consulting. Ameen also has a background in theatre and now works as as storyteller for The Storywallahs.

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Finally, we have Ajay Dasgupta, the founder of The Kahani Project, who also has a background in theatre and believes listening to stories is a fundamental right of children. His team works to capture stories in audio format and make them accessible.

I will now invite them to share their thoughts on the points described above. Each panelist will respond to the questions using a different medium: Arjun will comment with text and images, Ameen will comment with video and Ajay will comment using audiobytes. The idea is for each storyteller to use the medium and language they use for their own storytelling: cartoons, body language and audio respectively, as we explore how this choice mediates how they conceptualize change. I will act as a moderator and comment on common themes in the light of Paul Ricoeur’s characteristics of narratives.

1. The Power of Storytelling

What makes it a powerful vehicle of communication?

“narrative attains full significance when it becomes a condition of temporal existence” Time and Narrative

The first characteristic of narratives according to Ricoeur is: the ability to bring independent elements and episodes together into a plot within a specific context and time. The relationship between time and narrative is addressed by the philosopher in his work 'Oneself as Another,' in which he frames narratives as the most 'faithful articulations of human time'. This leads to an understanding of time as a framework where we can locate unique events and patterns, trajectories and sequences. Our three storytellers comment on how stories are an effective mean to communicate information, and how this information resonates because it can be located in the frame of our human existence.

Arjun: Storytelling really is the nascence of any communication technique. As kids we were all told stories with bees and birds, which spoke and thought. The moral life lessons and similar “information” were served to us on these fascinating platters.

Dugongs are closely related to whales and dolphins. They are peaceful mammals that swim around gracefully and feed on sea grass.
They are categorized as “VULNERABLE” because there are not too many of them left in the world.

Find full cartoon here

At some point in life, we all seem to stop appreciating the power of storytelling. Plain reporting of information has been done to death. Even an amazing discovery written as a formal report will fail to excite audience. It is time we all get back to appreciating stories. They sell. Movies generally do better than documentaries don’t they?

Ameen:

Ajay:

2. Storytelling as a vehicle to make change

How and where does change happen?

“All action is in principle interaction [...] change happens through interaction, as others are also encouraged to change” From Text to Action

The second characteristic of narratives is how the episodes in our narratives involve contingencies that will be shaped and reformulated through the development of the story. The narratives are constructed in such a way that induce us to imagine possible events in the future and how we would act in said circumstances. This characteristic is supported by Ricoeur's understanding of the 'self' as an 'agent', who can act and influence causation by taking initiative or interfering[2] in the story. Even if the listener cannot necessarily influence the outcome of the story (unless it is participatory storytelling), it triggers thoughts about its capability to act and its ability to change future realities, as he imagines himself n the situation of its characters. This out-of-body experience is what turns story into experience.

Our storytellers comment on how stories can influence and activate our agency and enable listeners to act towards creating change.

Arjun: Of course! Like I said, it is easier to influence people when you are not being preachy. Storytelling sidesteps the moral high ground that change makers are often blamed to occupy and takes a pleasantly shrewd path, as silly as it may sound.


#2: Increase in wildlife tourism has been brought about by the increasing population of the ‘Tourist’. This species is easy to recognize (see figure). The species has created an ecosystem of its own. It eats any kind of high or low profile food. Lives in resorts. Seeks charismatic animals like the tiger. Its daily activity involves excessive use of its camera. This species facilitates wildlife tourism	#9: Wildlife tourism is an excellent way to expose people of India and abroad to its rich natural heritage [...] We definitely need to regulate the number of tourists to avoid crowding in the forests, but we also need to educate tourists, especially the first-timers, about wildlife and its conservation. The tourist can be an important tool in conservation – let’s not let it go waste!"

#2: Increase in wildlife tourism has been brought about by the increasing population of the ‘Tourist’. This species is easy to recognize (see figure). The species has created an ecosystem of its own. It eats any kind of high or low profile food. Lives in resorts. Seeks charismatic animals like the tiger. Its daily activity involves excessive use of its camera. This species facilitates wildlife tourism

#9: Wildlife tourism is an excellent way to expose people of India and abroad to its rich natural heritage [...] We definitely need to regulate the number of tourists to avoid crowding in the forests, but we also need to educate tourists, especially the first-timers, about wildlife and its conservation. The tourist can be an important tool in conservation – let’s not let it go waste!"

Find full cartoon here.

To the question of where we locate change, it depends on what this change is. Through my work, I often target individuals and smaller communities (say students, villagers etc.). I don't necessarily grab my paintbrush and declare that I will change the world. My idea of change is a tailored, targeted and therefore an efficient influence on individuals.

Ameen:

Ajay:

3. The role of technology in storytelling

How does technology influence and impact your work?

Ricoeur’s thoughts on the relationship between text and action, makes us reconsider how we think about ‘text’ and how this reading can be applied to technology. According to him, the distinction between text and action is not at the linguistic, but at the discursive level. This is how he differentiates language from discourse:

	Language	Discourse
Structure	A system: timeless and static	Located at a given time and moment
Composition	A sequence of signs	A sequence of events that describe, claim and represent the world
Meaning	Refers to signs	Refers to the world
Communication	Provides codes for communication. Necessary but not sufficient	Communicates

Using these working definitions, we can understand the medium as a language: a system that provides us with signs and codes for communication. A creative use of language and mediums will hence, enable us to create narratives and produce meaning (which will be generated and negotiated by the audience). Technology is in this case our language, and how each storyteller uses it determines new ways to create meaning: experiences, connections and associations with and within their stories. We now ask them if/how the use of this 'language' mediates and impacts their work.

Arjun: Technology is the best facilitator in the realm of my science-art-communication. I depend on it extensively, to first educate myself. Then to create artwork (computer, tablet, smartphone). And then eventually I depend heavily on social media to broadcast my work. I will definitely credit the power of technology for fostering and enabling effective communication.

# 11: The story of Ajoba was carried far and wide in newspapers, television news and the internet. Find full cartoon here.

In my capacity, I feel most confident targeting students and urban youth. But thanks to the power of social media, putting my work out there has grabbed the attention of change-makers who are capable of things that is beyond my scope. This has led to collaborations through which the reach has become wider. Teachers use my art work in their classes, some organisations are using it in forest department buildings to educate visitors, some local groups have translated my work into regional languages.

Ameen:

Ajay:

4. Translating awareness into action through stories

Can you guarantee the ideas and values imbued by the story translate into action in the public space?

“what must be the nature of action...if it is to be read in terms of change in the world?” From Text to Action

So far they have told us about the power and content of stories. However, we have yet to find out what is it in stories that make listeners translate fiction into real life action. Ricoeur's final characteristic of narratives points us in the direction of empathy and interpretation.

Like discourse, action is open to interpretation. He posits that characters of our stories rise to the status of ‘persons’ when we evaluate their actions, including their doings and sufferings. This ethical verdict determines the identity of the character in the eyes of the audience (above any other physical or emotional characteristics) and this is what ultimately adds meaning to the events of the story, as it inspires the audience to emulate or reject this behavior through their actions.

We asked our storytellers their thoughts on how to translate stories' messages into meaningful action, or if it was even possible to guarantee this transition to begin with:

Arjun: I don’t [know]. One never does, I feel. But a lot of good awareness programs have made me change little things in my life. The people or groups who initiated those campaigns don't know of this, do they? This is somewhat similar. I believe that even if ONE person in the thousand who view my work gets influenced into making little changes, then it was worth my time and effort.

Ameen:

Ajay: (Ajay commented on the impact of stories while we were discussing how to gauge the impact of his work. In our first conversation he said: "Change is happening but there are no tests that can measure it and quantify it." and he elaborates on this idea below:)

5. Influence of stories on citizenship and political participation

Can the power of stories be leveraged to instill a sense of responsibility in the audience?

"You can only achieve power in common by including the opinions of as many people as possible in the discourse"

Finally, as stated in the brief of the project on methods for change, we are also interested in defining how political participation should be manifested in the public space. Ricoeur frames political action as a result of discourse and political deliberation.For a brief discussion of the relationship between storytelling and our political identity visit Part 2 of Storytelling as Performance.)

This last section captures the storytellers' point of view on how stories may affect our sense of citizenship and political responsibility.

Arjun: We are living in a society which is becoming increasingly insensitive and arrogant. There seems to be no time to stop and see the big picture: what are we doing? are our demands and lifestyles sustainable? Is the future generation secure? Impacts of our actions on the natural world.


#1: Most of us love seafood. And why shouldn't we? It tops the charts as some of the most delicious delicacies in the world! It so happens that we rarely think about what goes on “behind-the-scenes” and take many things for granted. The story behind how food reaches your plate is quite a scary one!	#12: So next time you feel like a getting a seafood dinner, do it with some perspective.

Find full cartoon here

Ameen:

Ajay:

Closing Remarks

I hope you enjoyed reading, watching and listening these three wonderful storytellers share their ideas on technology, interpretation and action. The question that remains unresolved is whether the effect of the story is shaped by the use of technology or not. At the end of the day it is the interpretation of stories -more than what it is said and how it is being said- what will determine the sustainability of these intents for change. The answers of our storytellers reinforce the notion that technology is a system, a language, a medium that transports our messages and intentions, but that inherently lacks the ability to provide guarantees for action and sway users into a lifestyle of responsible citizenship the second they pull out from their cartoon, screen or mp3.

The box below includes a quick run through the main ideas discussed throughout the post:

1. On the power of storytelling:

Arjun argues that storytelling is the origin of all communication techniques, and this makes it extremely attractive for the public.
Both Ajay and Ameen bring up the ability to influence behavior, shape the minds of people and transmit experiences, values and beliefs.
Both also brought up how dominant religions, ideologies, markets governments use storytelling to build movements and sustain their support
Finally Ajay comments on the issue of access: stories are powerful yet only a small share of stories are being told Hence, the need for this method to become more pervasive.

2. Storytelling as a vehicle for change:
Each storyteller locates change in different yet complementary spaces:

Arjun believes it must occur at the community level and hence the approach (stories) must be tailored and targeted in order to achieve an effective influence. His approach to change is very contextual.
Ameen locates it at the behavioral level; in our ability to make decisions and choices. His approach to change is based on how we use information from stories to interact with our surroundings.
Ajay locates it at the value level: He believes stories should influence us to adjust our values and only then, we will shape our behavior accordingly.

3. Role of technology:
We approached technology as a 'text' and as a 'language' that creates new possibilities for meaning and interpretation.

For Arjun and Ajay, technology enabled them to connect with other organizations and increased possibilities for partnerships and collaborations.

The three of them believe technology is an accelerator of the journey of stories and that it enables them to reach a larger audience.
Ameen argued that each medium requires different fluencies, and that the language of each medium should be adapted for the story. For example, a story will be told in different ways if using body language, video, audio, etc. He uses the example of the Twitter adaption of the Mahabharata.
Ajay closes by noting that although technology enables, it cannot replace the storyteller.

4. Translating awareness into action

Arjun and Ameen comment on the power of effectively and positively influencing one person. They believe the impact will exponentially spread and grow through that person's network or community.
Arjun believes you can guarantee it will turn into action.
Ameen believes you need to move them and inspire them through your characters to the point they feel they can be the hero of that story and act accordingly.
Ajay takes a more pragmatic approach towards action and shares some of the activities The Kahani Project uses to complement his storytelling sessions, such as: story-thons, story-booths and interactive storytelling, where they engage the audience in the production of their own stories.

5. Impact of storytelling on citizenship and political participation

Arun and Ajay believe this will come as a result of self-reflection and an evaluation of our impact in the world.
Ameen believes effective stories transmit the 'responsibility of action' through rhetoric. He uses the example of the popularity of India Against Corruption movement.
Ajay believes storytelling is a humanizing force that has the power of healing. He recommends institutions should utilize this method to spread confidence and inclusion among society and particularly with excluded groups.

Footnotes

[1] Semiotics is defined as the study of signs and symbols and their use or interpretation. It is the study of making meaning and is essential to understand communication processes. While we will not look at any specific semiotics theory, we will focus on how stories create meaning through different signs and mediums, and how this meaning can be leveraged for making change.

[2] Refer to Stanford Encyclopedia of Philosophy’s page on Paul Ricoeur and the section on ‘Selves and Agents’ to learn more about how action is mediated by causation, interference and intervention. Some interesting thoughts that inspired the above post

“What must be the nature of the world … if human beings are able to introduce changes into it?. Ricoeur adopts the analysis of interference or intervention that G. H. von Wright gives in Explanation and Understanding, and shows that for there to be interference, there must be both: an ongoing anterior established order or course of things and a human doing that somehow intervenes in and disturbs that order. Moreover, interference is always purposeful. Hence an interference is not merely ascribable to an agent. It is also imputable to the agent as the one whose purpose motivates the interference.”

“The second crucial question about action is “What must be the nature of action … if it is to be read in terms of a change in the world?” Ricoeur argues that every action involves initiative, i.e., “an intervention of the agent of action into the course of the world, an intervention that effectively causes changes in the world” (Oneself as Another, 109, translation modified). Initiative requires a bodily agent possessing specific capabilities and vulnerabilities who inhabits some concrete worldly situation.”

Sources:

Dauenhauer, Bernard and Pellauer, David, "Paul Ricoeur", The Stanford Encyclopedia of Philosophy (Winter 2012 Edition), Edward N. Zalta (ed.), URL = <http://plato.stanford.edu/archives/win2012/entries/ricoeur/>.

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

Interviews with App Developers: [dis]regard towards IPR vs. Patent Hype – Part II

samantha — 2014-08-19T03:51:39Z

The following is a second post within a series reporting on interviews conducted with 10 of Bangalore's mobile app developers and other industry stakeholders. Within this research, CIS attempts to understand how they engage with the law within their practice, particularly with respect to IP. Here we examine how these developers responded to a question on legal protection for their works.

Before one can identify the solution, one must first identify the problem. Yet, in order to understand the problem, we must first understand the individuals involved and the how the problem affects these individuals. We hope that the findings of this preliminary research initiative will provide sufficient groundwork to understand the problems that exist and the different ways of approaching them before determining the most suitable prospective option in changes at the policy level. In this case, the individuals under study are the key contributors to the mobile app space within India; and the problem, being those faced by them as they attempt to navigate an emerging and ambiguous ecosystem.

Previously, we looked at responses that were given across these mobile app developers interviewed which revealed how they orient notions of intellectual property within their practice and own products, specifically. Findings that were made included deductions that the majority of those interviewed developed mobile app products for clients, and in turn assigned ownership of their products to their clients. Just as well, they commonly shared an interest in leaving the services sector to create products of their own, with some of them already having made the transition within their business model.

Question 2: “How is your IP protected?”

Next, we asked how they go about protecting their intellectual property to get a feel of who is protecting their apps and who is not. In asking this question, we hoped to learn how they go about protecting their work via legal means. Across their various responses, we observed many patterns and contradictions which are conveyed here with reference to comments made across interviews. It is important to note, however, that no causal relations intend for be argued for, only suggested correlations.

How they responded

When asked, those interviewed responded with a variance in answers. Some simply stated that their work is not protected, while a few mentioned that they acquired trademark or intend to apply for trademark protection. One interviewee had a patent pending in India and the US, as well. In many of our conversations, developers mentioned that their code for their apps is under open source licenses, and a couple others entailed sharing that the content is under creative commons licenses, “individual licenses,” or joint copyright. Additionally, within one interview, one mentioned the use of encryption tools as a technical means of protection for their work.

“The concept of securing IP is relatively new within the Indian context... it becomes a question of priority between innovation and protection" — Aravind Krishnaswamy, Levitum

Of the developers interviewed, many exhibited some sort of confusion or misunderstanding related to the protection of their works by means of intellectual property rights (IPR). Those interviewed seemed to either express an interest to acquire IPR in the future for their products in the forms of patent or trademark protection, or expressed their appreciation for openness source licensing—or both! Beneath these immediate responses, however, many repeated patterns, as well as contradictions, are revealed. Conversations that followed within these interviewed entailed the opportunity to hear from personal experiences and opinions on different areas within their practice intersecting IPR.

Reasons for IPR protection

If a startup or SME is bootstrapped with very little cash flow to begin with, what would provoke or inspire one to pursue the process of acquiring patent protection then? Aravind Krishnaswamy of startup, Levitum, considers “the concept of securing IP is relatively new within the Indian context.” So if this is the case, why did so many developers interviewed express an interest in IPR?

For those who did express interest in acquiring IPR as protection for their mobile app products, most seemed to express an interest in proving ownership over their work, or preventing problems in the future. One developer's commented on how the mobile app market is a “new and potentially volatile area for software development.” For this reason, it was imperative that he and his team attempted to avoid trouble in the future, and ensure that they going about mobile app development the right and moral way.

Within another interview, developer, John Paul of mobile app SME, Plackal, explains his motives for seeking to acquire patent protection, the application for which is currently pending in India and the US: "For us, applying for a patent is primarily defensive. And if it does get infringed upon, it would give us a good opportunity to generate revenue from it." For the company's trademark, they sought to be able to enforce their ownership over their product's brand: “As a precautionary, we've trademarked the app so that should there be a situation where the app is pirated, we can claim ownership for that app.”

Security not so easily attainable

“To some extent, IPR law is only accessible after moving away from the startup phase."—John Paul, Plackal

However, for the startup especially, such protection does not come without a cost. For this reason, IPR is generally perceived as a gamble or tradeoff. It becomes a “question of priority between innovation and protection,” says Krishnaswamy. He continues in saying that, "I feel like even if it’s a great idea if someone else copies it, that’s some level of validation, but as a small company I’d rather be nimble in terms of how we build it up and get it to a certain point. We're trying to move fast and get something going, and then figure it out.” For Krishnaswamy and his team, securing a patent on an area where they feel they feel they have unique work is on their list of things to do, “It's something for us to revisit in the future.”

Paul explains that he and his team didn't always have IPR within reach: “To some extent, IPR law is only accessible after moving away from the startup phase.” So what discourages startups from acquiring IPR, or simply seeking it out?

Patent attorney and IP consultant, Arjun Bala explains that “there is a lot to figure out. One aspect is filling it out, the other is how you write it so that it is easily granted and gives you the right sort of patent protection you are looking for. It is a very complex process that requires a lot of technical and legal expertise.” But even if one successfully manoeuvres the IPR system, is protection guaranteed?

Business Financial Strategist of Out Sourced CFO & Business Advisory Services, Jayant Tewari, illustrates the lack of security for the SME in the patent system, specifically, in saying, “Since a patent becomes public domain on filing, it can be effectively infringed based on the filing, even before it is granted.” Tewari continues in stressing the irrelevance of patents for SMEs due to the difficulty of enforcement: “the infringement will be adjudicated after 2 years at an immense cost to the SME patent-holder, who will go commercially belly-up due to the infringement. The regime does not protect the SME at all.”

“It is easy to say 'this is the method and no once can copy', but unless the look and feel is the same, it is very hard to demonstrate that you have been infringed on.”
—Samuel Mani, Mani Chengappa & Mathur

Nevermind enforcement...

Not only did our interviews shed light on the difficulty for a startup developer to apply for and be granted protection for their intellectual property, but also for the enforcement of such. Partnering Lawyer, Samuel Mani, of technology-focused law firm, Mani Chengappa & Mathur, speaks to us about the extensive procedure required to prove one's ownership over their IP: “To demonstrate copyright infringement, it requires going into millions of lines of code—unless it is the interface that is copied, which is easily visible.” Mani continues on the enforcement of patent protection by saying, “For a patent, the scope is even wider. It is easy to say 'this is the method and no once can copy', but unless the look and feel is the same, it is very hard to demonstrate that you have been infringed on.”

Planting the initial seed

If there is arguably so much risk associated with applying for IPR protection, as well with enforcement, what specifically gets startups thinking about IPR initially within their practice? What experiences help them formulate their opinions on the matter, and which forms of IPR do they seek out?

Across interviews conducted, one particular observation entailed the tendency for developers to have worked in the past for corporate employers that have dealt with cases of infringement or have acquired IP protection. Almost half of those interviewed shared the fact that they worked for a corporate employer and became better familiar with different notions of intellectual property through that experience. It may not be too farfetched to suggest, then, that for the developer the idea of acquiring IPR protection is one that may be reinforced from previous employers or other successful development companies with IPR of their own.

Cofounder and developer for a medium-sized software development enterprise, Anoop[1] explained that it wasn't until after the success of his enterprise's first application with $1 million in sales, that they started thinking about intellectual property and began to understand the value of it. This newly attained understanding, however, had not been enough to sufficiently equip his team with the knowledge to properly secure protection. For them, going after patent protection turned out to be a pursuit in vain.

Loss of faith in patents for SMEs

Anoop shares his disappointing experience after attempting to secure a patent for one of their mobile apps:

“We burned our fingers with patents. We spent a lot of money for a game we invented about 3 years ago. We had a law firm in the US to help us. We applied for it, and it went through 3-4 revisions, costing us $25-30,000. We finally closed the file when we could not get it due to an existing patent. We were really surprised."

After much disappointment from not being successful in their attempts to acquire patent protection, however, Anoop came out of the experience with a new outlook on patents and their role for SMEs:

“They're meant for large companies as means to bully your competitor. Only big players with the capacity to file for a patent as soon as it takes off benefit. The existing system doesn’t really work for startup companies. In India and anywhere. It’s an expensive process. If you’re a startup who’s just bootstrapping, there’s no guarantee that you will get it. It’s going to take you years.”

Patent hype
Anoop is a prime example of developers in the startup space that fall victim to the promises of the patent system—only to be spat back out having exhausted their time and earnings. Already being aware of the probability for failure, Mani strongly discourages going after patent protection as a means of staying in the race. “With people spending millions on litigation, it is a recipe for disaster, especially considering the inherent delay of the Indian system.” For this reason, Mani stresses the importance of applying for the right protection.

Mani also suggests that the patent debate is driven by self-interest—people who simply make money off of application filing, regardless of whether or not the case succeeds. As a lawyer in the IT space, Mani claims to have turned away several prospective clients looking to patent their products when he insisted that such means of protection was not suitable for their product and interests...which brings us to an additional area of heated debate: the patentability of mobile apps.

Can mobile apps be patented?[2]

One concept that seemed to receive contested responses across interviews is that of the patentability of mobile apps in the first place. When asked if mobile apps could be patented, former lawyer and startup founder, Vivek Durai, of HumblePaper, put it blatantly in responding, “absolutely not.” Others offered explanations of the Indian Patent Law nuances regarding when a mobile app is patentable and when one is not.

While consulting a SME with their own patent application, Bala explains their approach to ensure the mobile app's eligibility for patent protection, while providing some insight into the Indian patent system:

“One approach that we've taken to getting a patent in India is it's not just a pure software, but a software plus a hardware—as in it requires a specific hardware to function. If [the software] makes the hardware perform better, then it has a technical effect... In which case, we have a better chance of getting a patent in India. If your software is agnostic to hardware, however, it is much more difficult to receive a patent in India.”

To patent or not to patent? (or any IPR for that matter)
To Tewari, on the other hand, the question of whether a mobile app can be patented is one entirely irrelevant. The question Tewari introduces into the developer's market strategy is not 'can I patent my app?' but instead, 'should I do so?' In response to which; he would predominantly reply: No.

“How [startup] mobile app developers regard IP laws—or better yet, disregard—is fine for their sake,” argues Tewari. Alternatively, he suggests developers learn how to maneuver the laws, to prevent themselves from arriving at any sticky situations after unknowingly using another's code. To his clients who have mobile apps of their own, he advises to use an open source equivalent of a piece of code if they do not have the rights to it. Doing so will help keep infringement upon others at a minimal and prevent litigation against oneself.

“How [startup] mobile app developers regard IP laws—or better yet, disregard—is fine for their sake."—Jayant Tewari, Out Sourced CFO & Business Advisory Services

Not all developers interviewed, however, aspired to acquiring patent protection. In fact, some strongly opposed software patents, while expressing their appreciation for openness across the developer community. The other side to the IPR-Open Source dichotomy will be examined in the blog post to follow, after which, we will then look at accounts of infringement and threats of litigation across mobile app developers interviewed.

To recap

By looking closely at the individual experiences across mobile app developers interviewed, we hope to begin to map out the mobile app ecosystem and the ways in which industry players engage with each other regarding their IPR. We also hope to begin to shed light on the different attitudes towards the law within one's practice, and how they shape their decisions related to their work. Only after doing so, may we be able to sufficiently assess how India's current IP laws govern this landscape.

Stay tuned for the next in this blog series! We hope that you may benefit from our findings in your own practice as a mobile app industry player or enthusiast, as well.

Notes:
[1] Name changed to protect the interviewee's identity

[2] In conducting interviews, our goal was not to test the legitimacy of responses, but instead, to map them out across various industry stakeholders. For this reason, this blog series will not be able to sufficiently respond to legal question, such as whether or not mobile apps are patentable to begin with. We intend to, however, undergo legal analysis of the Indian IPR system at its intersection with the mobile app space in India at a later stage in this project.

For more details visit https://cis-india.org/a2k/blogs/interviews-with-app-developers-dis-regard-towards-ipr-vs-patent-hype-2013-part-ii

Banking and Accessibility in India: A Study on Banking Accessibility in India — Call for Comments

Vrinda Maheshwari — 2012-10-30T04:50:56Z

The adoption of accessible features and technologies by banks in India is low despite there being legislative and executive push for it. It is important for the banks to understand not just their obligations but also the benefits that will accrue to them if they follow the suggested guidelines.

Executive Summary

India is a signatory to the United Nations Convention on the Rights of Peoples with Disability, and has an obligation to provide equal opportunities and facilities to everyone, irrespective of any disabilities they might suffer from. This is guaranteed in the right to equality and the right to life, which are enshrined in the Fundamental Rights in the Constitution of India. There are also specific Reserve Bank of India notifications that mandate banks offer banking facilities in a non-discriminatory manner to all customers. However, there are still many problems faced by people with disabilities when accessing banking and financial services in India. Many banks and ATMs aren’t physically accessible, the staff has no training or expertise in dealing with customers who have special needs, and despite the existence of the technology, ATMs are not equipped to be used by people with disabilities.

There are several guidelines which are in place internationally which can be referred to when formulating policy on banking and accessibility in India. These include guidelines on ATM construction and modification (USA) and guidelines on making websites accessible for people with disabilities (the Web Content Accessibility Guidelines), as well as voluntary standards that have been taken up by Banking Associations in countries like Australia and New Zealand in order to making banking more accessible to people with disabilities and the older population.

Currently the adoption of accessible features and technologies in banks in India is very low, despite there being a legislative as well as executive push for the same. Banks which do not follow these guidelines are not meeting their legal requirements, and it is important for them to understand not just their obligations, but also the benefits that will accrue to them if they follow the suggested guidelines. To that end, this report looks at the current notifications and guidelines that govern this area, the problems faced by people with disabilities, and looks at guidelines from other countries to suggest solutions that can be incorporated by different banks in India.

The full report can be accessed by clicking on the link below:

Banking and Accessibility Report [PDF, 555Kb]

For more details visit https://cis-india.org/accessibility/blog/banking-and-accessibility-in-india

Now Streaming on Your Nearest Screen

nishant — 2011-12-24T08:58:13Z

Digital cinema, especially the kinds produced using mobile devices and travelling on Internet social networking systems like YouTube and MySpace, are often dismissed as apolitical and ‘merely’ a fad. Moreover, content in the non-English language, due to incomprehensibility or lack of understanding of the cultural context of the production, is labeled as frivolous, or inconsequential, writes Nishant Shah in this peer reviewed essay published in the Journal of Chinese Cinemas, Volume 3, Issue 1, June 2009.

Contextualising new digital cinema through Kuso[1]

Deploying the aesthetic framework of kuso as political engagement, this essay analyzes how its ‘aesthetic’ form of expression offers spaces of political participation and negotiation for the ‘Strawberry Generation’ digital natives in Taiwan. This paper draws from various youth phenomena like the emergence of the ‘BackDorm Boys’ as iconic representations of flawed stardom, the adoption of kuso lifestyles and the consumption/distribution cycles of cinema on the web to see the possibilities they offer for political engagement and participation through cultural expressions and productions, that are otherwise dismissed in contemporary discourse.

New digital technologies, initially developed for surveillance and strategic communication, because of the proliferation of the internet/s and the cyberspaces, have now become freely available at very inexpensive rates around the world. The easy availability of these technologies enables new conditions of production of hitherto privileged art forms. The new globalised circuits of un-contextualized distribution lead to the imagination of a deterritorialized community of consumers who share common systems of making meaning and receiving these objects. As has been noted in earlier cybercultures studies, objects found on the internet/s – the people and the narratives that they produce - are often consumed as outside of time and geographical space. William J. Mitchell (1996) in his now much critiqued conception of the ‘Infobahn’, conflates all geographical distinction in his imagining of the larger neural circuits of digital information and economy. Similarly, in his extraordinary book. Everything is Miscellaneous, David Weinberger (2007), explores the role that digital dissemination and distribution (as also storage and archiving) play in evolving a new miscellaneous form of sorting and classification, thus deconstructing established coda of knowledge determination. Weinberger, despite the keen insight into the importance of metadata and user-based personalised galaxies of information, is unable to talk of the entire range of phenomena as rooted in particular geo-political contexts. In fact, as Gasser and Palfresy (2008) make evident in their book Born Digial, whenever a body is referred to within cybercultures studies, it is the body of a white, upper class, masculine body; whenever a place is evoked, it is unequivocally the economic centres of the North-West; Time, which is an affiliate of the space and the body, is also then the linear and historical time determined by these concrete referents.

The West, with its wide consumer base and widespread proliferation of new digital technologies, often becomes the hegemonic legitimising authority as objects produced elsewhere are understood through ‘foreign’ aesthetics and logistics. Imagining the internet/s as residing outside of the time-space continuums, allows for a cyclical re-assertion of the Western paradigms as credible and authentic, and other forms as parodic or derivative in nature. New forms of cultural expression and narrativisation, received outside of the context of their production or the circuits of distribution and reception, are often mis-read and interpreted to fit the existing modes of making meaning.

This paper is an attempt to look at a specific form of new digital cinema in North East Asia that challenges the west-centric modes of understanding these objects. New digital cinema is a category that needs to be more sharply defined. In the last three decades of extensive technological advent and deployment in the fields of cinematic production, many different forms have claimed the space of new digital cinema. Post-celluloid cinema,[2] production of movies augmented by technologies, studio house experiments in animation and 3D technologies, distribution of movies and the networks of piracy that come into being with peer2peer networks,[3] conditions of reception and movie watching with digitally owned copies of movies,[4] the emergence of multiplex cinema and conditions of consumption,[5] etc. have been looked upon by different theoreticians and practitioners as new digital cinema.

I use the term ‘new digital cinema’ in the rest of the paper in a very specific sense of the phrase to make a very clear point of departure from the aforementioned approaches, which, though exploring the possibilities that digital technologies offer, still, often, stay with contained and unquestioned understanding of the established cinematic practices of production, authorship, distribution and spectatorship. New digital cinema is located in the new wave of cinematic forms produced by people who are enabled to do so by the easy availability of conditions of production and distribution that are framed by new digital technologies. Instead of looking at movies being produced by ‘film-makers’ or ‘film-studios’, maintaining the distinctions of authorship, readership and distribution circuits, I explore movies which are produced by people who are otherwise relegated to the realm of spectatorship and consumption. For the scope of this paper, new digital cinema refers to the cheaply produced cinematic forms, shot through inexpensive and slowly-becoming ubiquitous camera enabled devices. Geared towards an almost obscene abundance of details and demanding an untiring self-narrativisation,[6] these sites of social networking and expression have led to the production of videos and distribution of the self in unprecedented ways. These videos are further marked in their distribution through cyberspatial forms like YouTube, MySpace, and Google video, Television based reality shows based that run on user based programming consisting of personal videos, personal webcam sites, and MMS forums, to millions of users who enter into an interaction that is no longer limited to spectatorship.

There are three dialectic processes around the ‘personal’ videos broadcast on such sites of digital social networking and sharing, that need to be mapped in order to understand the impulse of this paper as well as to look at the dialectic reconstruction of earlier categories as understood by non-digital, pre-internet cultural forms. The first trope of dialectic comes in the form of continuity. Histories of technology taking the When Old Technologies were New (Marvyn, 1988) approach, often produce these digital moving images as bearing a relational value with the emergence of earlier technological forms and the use of these forms to produce personal narratives – print, camera, video, to name the three most influential forms of self expression and narrativisation. Such a historical narrative, unless carefully inflected with the growth and development of indigenous technologies and the indigenisation of these technologies, reads both, the technological development as well as the cultural forms thus produced, only through a West-centric paradigm of aesthetics, glossing over the differences that might be present in the very process and methods of reading such technologised forms. This non-disruptive, uninterrupted historicisation, while it is fruitful in questioning some presumed categories in the process of cultural production,[7] still reinforce these digital moving images as merely a new form of old cinema.

The second tension that needs to be mapped out occurs in the form of carefully maintained distinctions between the Sacred Cow of originality and the much maligned miasma of derivative, plagiarised, copied (left, right, centre), forms that have been facilitated by the proliferation of copy-paste digital technologies and internet networks. In the public as well as the theoretical discourse around these digital moving images, there is almost a Universal original (generally Western, otherwise canonised by the Western gaze in other geo-political contexts), to which everything else has a relation that is either praodic or uniformly derivative in nature. Even within the West, these videos on youtube and myspace are easily dismissed as plagiarised or unoriginal, often leading to a wide range of public controversy and exchange.[8]

The third dialectic is in the blurring of the pre-digital accepted terms of producers, spectators and processes of reading that these digital moving images produce. It is necessary to realise that the context of not only the production but also that of the reader is crucial to understanding the aesthetics of cyberspatial forms. The author in the digital world is as digital and ephemeral as the object itself. The tension between the corporeal and the digital has been effectively resolved by conceptualising the ‘interface’ – the space between the two conflicting and tense oppositional ideas- as the bearer of thought, idea, meaning and intention for digital objects. Such a complex structuring challenges the earlier crystalised practices authorship, spectatorship, distribution and reception, thus marking new digital cinema as not merely a cinematic practice augmented by technology but as a new form of cinema that challenges, quite radically, the earlier cinematic forms, in very much the same way that, in another historical and cultural moment, the print did to the manuscript.

This paper locates itself in these three dialectical flows to explore new digital cinema as a form of popular and cultural expression in Asia, specifically in Taiwan. It hopes to dismantle the myth of the universal/accessible/west-centric view of new digital cinema and demonstrate the need to assert the geo-socio-cultural contexts of their origin through exploring the aesthetics and genre of Kuso.

Knowing Miso from Kuso

Kuso, though it is a relatively new term, is highly popular in describing the new cybercultural forms that emerged with the proliferation of the internet/s. Anime fans are familiar with Kuso as an expletive or an interjection, used as the English equivalent of ‘Shit!’ Though Japanese in origin, it was made popular as a word, an aesthetic and a lifestyle in Taiwan around 2000, subsequently spreading to Hong Kong and China. Now, Kuso, along with other N.E. Asian products like Hentai,[9] and Manga, is a popular way of identifying cybercultural forms. The wikipedia mentions that

[t]he roots of Taiwanese “Kuso’ was Kuso-ge’s from Japan. The word Kuso-ge is a portmanteau of Kuso and game, which means, quite literally, “shitty games.” The introduction of such a category is to teach gamers how to appreciate and enjoy a game of poor quality – such as appreciating the games’ outrageous flaws instead of getting frustrated at them.
(Wikipedia, 2006)

It was an attempt to not only identify or locate flaws but to celebrate them and encourage an active production of them. Kuso, for the younger generation in Taiwan (and the thousands of fans all around the world, who subscribe to Kuso Bulletin Boards and discussion forums) is not just a cursory form of parody but a lifestyle. A Taiwanese artist, Yeh Yi-Li, in her solo exhibition, seems to suggest that as well. Her introduction to her exhibition titled ‘KUSO – Red, Spring Snow, Orange Flower’ says

In Taiwan’s pop culture, internet subculture and video gamers’ communities, it (Kuso) became a trendy term that suggests “making fun of anything, playing practical jokes on everything.” KUSO subverts conventional values and turns things into garbage. It has no limits, history, agendas or logic. Like an amoeba, it is a subculture phenomenon that has no rules. (Yi-Li, 2006)

Making a list of characteristics of what might be Kuso is futile. As Yi-Li seems to suggest, Kuso, on the surface, is located on the ‘fun’ and ‘hilarity’ of an object. However, Kuso actually resides in the processes of subversion and resistance. Kuso not only makes ‘things into garbage’ but also, by logical corollary, turns ‘garbage into things’. It started as a subculture phenomenon but is now highly popular in mainstream cultures – on reality TV on youth oriented channels like MTV and Channel V, in local performances and spectacles, and in Stephen Chou movies. Kuso seems to refer to not just the discourse around a particular object but a subjective mode of representing the self into different narrative conditions enabled by new digital technologies. Kuso is about the ability to create fluid and transitory spectacles of the self as a trope of social interaction and communication. While Yi-Li might look upon Kuso as without ‘limits, history, agendas or logic’, she forgets that Kuso has been the way for organising political protests, flash mobs and social awareness collectives in many part of Asia.[10] It is in this very ‘free’ and ‘excessive’ structure of Kuso that one can locate the politics and processes by which New Digital Cinema can be understood.

In her Kuso exhibition, Yi-Li created the ‘Worm-man’ that

drags its body and slithers in the ever-changing world. In different kinds of worlds, the Worm-man develops into different phases. As phenomena are happening, it is also transforming. The Worm-man has multipe possibilities, multiple personalities and multiple identities.
(Yi-Li, 2006)

While Kuso is often understood as parody, trash culture or camp humour, and is even attributed to MTV style movies by enthusiasts, for the large section of Kuso consumers, it is the governing principle for social interaction, dressing and appearance, hair and accessories, consumption of products and modes of expression. Kuso seems to be a way in which they produce themselves as parodic forms of themselves – producing themselves in conditions of constant transformation with ‘multiple possibilities, multiple personalities and multiple identities.’ As Yi-Li suggests in her art, Kuso is not just about producing parodies and mimicking popular art forms but it is also a way of producing the spectacle of the self. It is not surprising then, that Kuso emerges as an aesthetic with the proliferation of technologies and tools which allow for a narrativisation of the self for distribution and consumption in the public.

Contexualising Kuso

I look at two specific instances of Kuso to understand and frame the concept in this paper. The first emerged out of my own involvement with some of the students and their scheduled performances at the annual sports day.[11] My Chinese language teacher Mandy Hua, who is an undergraduate student at the NCU, is also a professional hip hop dancer. For her annual day performance at the university, Mandy chose (with some inputs from me) a popular Bollywood song that was creating raves in India at that time.[12] Mandy chose the song, edited the audio to make it tighter and shorter in duration and started the practice. Along with a flock of dancers from other schools on the campus, Mandy replicated an ‘Indian’ aesthetic for the song, doing elaborate costumes which included a lot of flowing skirts, veils, sequins and shimmer – the kind that was shown in the song. The female performers were in a state of erotic relationship – not only in their imitation of the seductive postures and movements of the dance sequence in the original movie song but also in presenting themselves as eroticised objects of glamour and desire to a young audience made primarily of students. The expected reactions of cat calls, of hooting, of lascivious laughter and of gasps of wonder and awe were all present in the crowd. However, a brief minute into the performance, their narrative of seduction, eroticism and obvious parody-imitation was disrupted and somehow harmoniously irrupted by a group of boys, wearing glasses, their bodies far from the perfectly sculpted eroticised bodies of the female performers, wearing clumsy looking ill-fitting karate dresses and making unrehearsed animal movements around the female performers.

It was the introduction of these dancers that completely displaced the element of parody within which I understood the performance. The male performers, who were completely unfamiliar with the original song, were imitating the female dancers on the ground. They were not interested in replicating either the movements of the female dancers or the sequences they were following. They were more interested in undermining the very aesthetic that the female dancers were trying to replicate or produce. Their movements were jerky, unpractised, bordering on the ridiculous. Their half naked bodies were un-sculpted and uneroticised. These were not the college hunks or super jocks coming out to parade their masculinities but the ‘geeks’ or the ‘dorks’ who were ravelling in their un-eroticised status and celebrating it with gusto.

What was more interesting was the way in which the audience was receiving these male performers. In spite of the engaged erotic relationship with the female performers, the audience was extremely appreciative of the male performers’ attempts at overthrowing the female performers’ spectacle. The audience was egging them to constantly be more ridiculous, be more flamboyant, be more self mocking, guiding their movements and actions, leading to a final mock chase sequence, where the male performers chased the female performers off the ground, stripped themselves to their shorts, flexed their un-muscled bodies and made their exit among huge cheering and applause. They were obviously the star attraction of the performance. Such a response was puzzling. It was the women who had put in hours of practice to produce themselves as erotic objects of consumption. The audience, in the beginning had engaged with them at that level. And yet, it was this bunch of slightly ‘with an L on my head’ guys who emerged in their buffoonery and antics as the heroes of the minute.

My first impulse was to read in it, the dynamics of a gendered space and a certain mock valorisation of this hyper masculinity. While gendered readings of the performance are indeed valuable and might offer an entry into looking at the construction of eroticism, desire, spectacle and the performative self, I am going to focus on the Kuso in this performance. My own gendered impulses were quickly overshadowed by the repeated use of the word Kuso that the members of the audience were using in order to explain the male performances. It was obvious that these male performers, in spite of their actions, were not really clowns but some sort of heroes and embodying this peculiar word – Kuso.

When I started asking around for Kuso, people pointed at several different objects, from Stephen Chou movies to Reality TV on Channel V, from personal videos to popular Kuso shows where people engaged in a set of ludicrous, often bizarre performances to make a public spectacle of themselves. The more I encountered these Kuso forms, the more difficult and incomprehensible it became to understand either the appeal or the aesthetic of the form. It looked like cheesy camp or an extension of a certain MTV aesthetic as a result of vulgarisation of technologies. When I crawled on the web looking at discussion forums that were devoted to Kuso, I found a huge number of people sharing my incomprehensibility and raised eyebrows at the Kuso objects, trying to figure out what it was that was attracting thousands of users to produce and consume Kuso with such dedication.

Especially in the context of Taiwan, Kuso belongs to the realm of what is called the ‘Strawberry Generation’ (Tsao-Mei Yi-Dai). The Strawberry generation in Taiwan refers to the people born between 1981 and 1991, and, despite its suggestions in English, carries negative connotations with it. The three most popular characteristics of the Strawberry generation – a phrase that has huge currency in popular media – have been severally explained. Rachel, who writes on the National Central University’s (Taiwan) website, explains:

In Taiwan, the Strawberry Generation refers to those who were born between 1981 and 1991, ranging from the 22-year-old university students to the 12-year-old junior high school students. This generation is labeled as “strawberry” due to two reasons: first, this generation of youth was raised in a better environment, as strawberries grown and nourished in a greenhouse, than the earlier generation. Second, strawberries are known for their beauty, delicacy and high price, suggesting that the young people can not withstand pressure, difficulties, and frustration as they grew up in a nice and comfortable environment and are able to get almost whatever they ask for.
(Rachel, 2008)

Henrry (2006), a student who also belongs to the Strawberry Generation, writes in his classroom assignment, ‘People of this generation are said to be fragile when facing pressure, just like the strawberries.’ He further goes on to suggest that the problems of the Strawberry Generation are largely economic in nature and might lead to serious problems for Taiwan’s economy. Myr Lim (2006) also looks at the economic and political instability of this generation and describes them as ‘Like the fruit, they look extremely good and sinfully juicy, who wouldn’t want one? But they have a very limited shelf life.’ Built into this criticism is also the understanding that the Strawberry Generation is also in a state of political disavowal.

And yet, when introduced to the different manifestations of Kuso, there was a very clear idea of resistance, subversion and mobilisation. A local incident, which made temporary heroes of two teenage boys who stripped in Public, on a university campus, was read as a sign of resisting the University’s attempts at regulating dress-codes for the students.[13] Other videos which were made for internet circulation had the digital natives refusing the Western models of masculinity or heroism and producing buffoon-like images to correspond with the glorified pop icons from the West – often producing infantile and juvenile forms of behaviour to exaggerate the effect. Other Kuso manifestations were in consumption, as different objects which were seemingly ‘cute’ (se-jiao) or ‘innocent’ were invested with sinister or often ludicrous intent.[14] The same kinds of aesthetics were also seen on the ‘LOL Cat’[15] and ‘All your base are belong to us’[16] internet memes which have gained currency online. It is while browsing through these worlds that I was introduced to a Kuso phenomenon which was garnering huge media and popular attention globally. This was a phenomenon which has now popularly been dubbed as the Backdorm Boys.

BackDorm Boys were three graduate students, two of whom became instant celebrities – Huang Yi Xin and Wei Wei - from the Guangzhu Academy of Fine Arts in China, who shot to instant fame when, in a state of boredom, they made a lip-sync cover version of popular Backstreet Boys singles, using nothing more than cheap digital cameras on their computers, in the restrictive space of their dormitories, and distributing them through video sharing spaces like YouTube, MySpace and other blogs (The Full Plate, 2008). These weren’t, at a first glance, very different from the ‘funny’ videos that one encounters online all the time – cheaply produced, shot with a webcam mounted on the screen, an almost unedited, uninterrupted full frontal frame, and an exaggerated attempt creating a certain Kitsch video that have gained popularity in the past. However, within my own contexts, the BackDorm Boys had strong resonances with the earlier dance performance I described. Once again, the three students in the videos were not the hyper eroticised masculinities that the boy bands like Backstreet Boys have embodied in popular cultures. Given the Confucian model of academia and studentship, students are not easily granted such erotic value to begin with. These were also not students who were particularly talented at singing. In fact, they were not singing at all, they were lip synching the songs in their videos. The videos did not involve any attempts at shooting but were in the full-frontal, almost pornographic frames of spectacle where the camera was mounted over the screen and the two performers were being caught in that frame. Dressed in identical clothes, the two main performers sang with extraordinary histrionics, the otherwise mellow and slightly cliché ridden love ballads that the Backstreet Boys had made their signature. In the background, one of their other dorm mates, played a Kuso-ge called Quaker throughout the video. He occasionally simulated the actions of a music mixer or a DJ or sometimes helped them with props.[17]

There was, at the first glance, nothing spectacular about the Backdorm Boys. As one of the responders on a blog dedicated to the Backdorm Boys very succinctly puts it:

Let’s face it: it doesn’t take a lot of talent to make faces. They didn’t write the song, didn’t sing the song, didn’t play any musical instructions, etc. Their sole accomplishment is they made faces at a camera. That’s not talent, man!!! And if they weren’t Chinese—i.e., didn’t have the freak factor of Chinese boys lip-synching to Backstreet Boys songs—NOBODY will notice this.
Da Xiangchang 2005

And yet, the Backdorm Boys, apart from cults developing around them and various internet memes devoted to them,[18] were featured live on NBC and both dropped out of their academic programmes to become hugely successful brand ambassadors and spokespersons for some of the largest mass media brands in China. They have both acquired a celebrity status and are role models and now popular media persons on TV channels, hosting their own shows.[19] In trying to understand these Kuso products in the realm of parody one starts asking the wrong kind of questions: where is the talent? Several respondents, including Da Xiangchang very pointedly pointed out that ‘it takes very little talent to make a fool out of yourselves.’ The more interesting question to ask would be the question that Yi-Li asked in her exhibition: How does Kuso manage to make garbage out of things? And further, is it possible, to read into Kuso, a new politics which guises itself as ‘fun’ or ‘hilarity’.

Differentiating between parody and Kuso

The Western gaze will only allow Kuso to be understood in a relationship of parody. However, looking at the contexts within which Kuso emerges and its ability to ‘make garbage out of things’, Kuso changes the relationship between the ‘original’ and the ‘discursive’ objects. parody, as a literary and a narrative form, resides more in the object being parodied (original) rather than in the parodic creation (discursive). To understand, appreciate or enjoy the discursive object, it becomes necessary to be familiar with, sometimes at a very intimate level, with the original object. The chief aim of a parody is to invoke the original object by introjecting it into new frames of references and meaning making, establishing a tenuous relationship of invocation between the original and the discursive objects. Parody seeks, not to replace the original but add to the ‘aura’ of the original object. Legends, myths, cult-stories and folklores can be understood as parodic in nature as they add to the understanding of the original or the core object. In the case of cinema especially, parody is not simply a process of poking fun at an earlier cinematic form or object but is an effort to evoke the original as a way of making meaning and seeking sense in the narrative.

The relationship between the original object and the discursive object is one of invocation where the parody invokes, glorifies and seeks justification for its existence through the original object. parody also resides in a certain historical reading of cinema as it produces often unintentional but present residues of earlier forms. parody can be looked upon as enabling a certain genealogical reading of cinematic narratives and forms. In the non-linear consumption patterns of cinema reception, especially with cable television and global distribution, the boundaries between the original and the discursive are often blurred and reconfigured. Often the audiences and consumers encounter the discursive before they get familiar with the original and hence they change the way in which the original object is understood or received, often mis/reading it through the lens of the parody instead of the other way round. Cinema also makes more visible, the ways in which the parody can also work through different genres and media – be it in the production of books that try to appropriate the cinematic language of telling stories or in the production of movies that are based on books or sometimes try to deploy the narrative conditions of books in the cinematic narratives. The only way to talk of parody is to read it in the cinematic object itself and in the invocations that it produces with the imagined or the real object. The concept of an original is necessary to the understanding of the parody.

It is exactly this relationship between the original and the parody that Kuso disrupts from the within. Kuso does not produce the definitive terminal points of the original and the discursive objects that parody requires. In the instance of any Backdorm Boys video, there is no presumed knowledge of either the Backstreet Boys videos or the kind of globalised consumption that they can be contextualised under. While there are many references – almost at the level of invocation, in the clothes that they wear, in the choices they make in songs etc. – they are not necessarily the frameworks through which their videos can be made meaning of. If it was merely a question of parody of Backstreet Boys, their subsequent videos where they also ‘Kuso-ed’ other performers and local artists would not have worked for their fans.

Like a network, the relationship between the original and the discursive objects of Kuso is masked so that each constantly feeds back into the other. Hence, in the case of the Backdorm Boys, if you tried to understand their work as simply a Chinese/Asian parody of a Western form of popular culture, you end up bewildered, unable to account for the huge popularity and success. However, if we place their production as Kuso, it allows us to realise that the objects being parodied in the videos, are not American popular cultural forms or specifically Backstreet Boys videos. What is being parodied is the original self of the performers.

Instead of the framework of parody or intertextuality, we can locate the Backdorm Boys Kuso videos as embedded in a particular lifestyle choices and consumption of cultural forms, accessories, appearances, class differences, language and most importantly the conditions made available by technologies. The original object is the three boys and their ‘real’ or ‘original’ status in their lived practices. The discursive object is also the three boys and their projected selves or desired selves which they are expected to either appropriate or wish for. The Kuso is in exaggerating the differences between these two and celebrating the obvious flaws in them and making them available as a public spectacle. While I shall steer away from discussions of talent, it becomes more evident that Kuso allows for us to recognise the aesthetics, politics and proliferation of these new digital cinema artefacts which earlier notions of parody did not.

Kuso establishes more non-linear, sometimes disruptive relationships, between different objects that it refers to in its production. The relationship between the various objects is not invocative but evocative in nature. The Kuso narrative does not presume specific knowledge of some other object being invoked. Instead, it produces a redolent relationship where the different objects mutually explain each other. Like any cyberspatial form, Kuso seems to produce a system of self-referential, almost cannibalistic meaning making where a range of objects seem to co-exist in improbably frames of non-real and in-credible, each forming a node through which the others are understood. The references Kuso makes in its narrative, are not to the other, original object in a wistfully reconstructed or imagined past but to the other back-tracking objects present in the narrative itself. This produces an almost infinite chain of inter-referencing objects that justify each others’ existence. Kuso thus disrupts the more linear and historical constructions that parody (and the subsequent attempts to read parody as a relationship between new digital cinema and Cinema) establishes. It is located in the materiality of the object, its reception, its manipulation, its distribution, its transformation and its ability to escape the more effective-causal circuits of meaning making.

While parody seeks to reaffirm the similarities between the original and the discursive objects, Kuso emphasises the inability of the original to explain the discursive, thus producing a relationship of difference rather than one of similarity. While parody deals with the questions of representation, Kuso enters into conditions of simulation. It is this evocative relationship that allows me to locate Kuso as an aesthetic of understanding New Digital Cinema in Asia and to materialise it as a lifestyle and as a condition of reception in the body of the Asian consumer.

Politicising Kuso

An uncontextualised notion of Kuso only allows for a relationship at the level of the Parodic. Hence, the discussants of the Backdorm Boys were always in a condition of unintelligibility about why these slightly clownish characters would become imitable heroes for a particular generation. Given the highly polarized nature of political orientations in Taiwan, it has been the despair of many educators and practitioners that the Strawberry Generation, which is also the largest subscriber base to Kuso, has no apparent interest in politics. It is a generally lamented as a generation that is unashamedly devoted only to having fun. I propose, in my reading and understanding of Kuso objects and Kuso as an aesthetic, that the participatory and performative nature of Kuso paradigm, offers space for negotiation and expression of political intent. I shall demonstrate this particular argument at two levels – the level of the body and the personal, and at the level of the public and the national.

The question of the body becomes central to almost all representation studies. Analysis of Kuso videos or objects lends itself easily to see how the accessorisation and the freedom to produce unsupervised spectatorial narratives of the self lead to new spaces of negotiation. There is also, very clearly, a definite deconstruction of the traditional, masculine and often imported forms of masculinity, femininity and sexuality which the videos lend themselves to. Cross dressing, excessive make-up, exaggerated actions, etc. all create a fluid world where gender structures used to define the body are dismissed and indeed, enter into parodic relationship with traditional perceptions or expectations. However, for the scope of this paper, I shall more narrowly focus on the construction of the heroic body in the Kuso videos.

The body comes to materialise Kuso through various practices and becomes the site upon which the Kuso self is enacted. As Kuso celebrates the flaws and exaggerates the imperfections, it allows for a certain masked relationship between the private self and the public politics. As is demonstrated in the case of the Backdorm Boys, Kuso, with its self referential boundaries, allows for a critical engagement with the very practices of the generation that subjects them to sever criticism. The Kuso bodies or the narratives of self are not longer in relation with the imagined body of the star or the aura of the star vehicle but in masked relationship with the larger politics of its time. The bewilderment or unintelligibility that the discussants of the Backdorm videos exhibit, is not particularly about why or how the video was created but how heroism or stardom was created by the celebration of the un-iconic or the unheroic.

And it is to answer this question that we go back to the Strawberry Generation again. The Strawberry Generation in Taiwan was not merely marked by economic transitions and infidelity. It is also a generation that has seen a severely politicised state of nationalism and national identity in Taiwan. The younger generation that grew up after the removal of the martial law has engaged in serious consumerism as a part of their national identity. As Chen Kuan Hsing (1998) points out, ‘From 1994 onwards…the cultural atmosphere was mediated through commodity structures.’ Chen further goes on to explain how the political economy and the question of the national are intrinsically linked. Given the hegemonic presence of the West in the cultural galaxy of Taiwan and the constant negotiations between the political position vis-à-vis China as well as the cultural imperialism of Japan, the Taiwanese Strawberry Generation finds itself without a particular model of national identity to follow. Along with these are the allegations of widespread corruption and the complete disinterest of the current political parties in the ill-effects of liberalisation (Asian Economic News, 2007) which contribute to a high rate of mental ill-health and suicides in the Strawberry Generation (The China Post, 2008). Given such a murky situation, the Strawberry Generation has indeed withdrawn from active political participation of fighting in the streets and has taken to new forms of expression, which, outside of the context, appear as solipsistic or merely for fun.

Kuso, as an aesthetic then, transcends the analysis of gender and sexuality, performativity and spectatorship, and becomes a site of national representation and subversion and the Kuso stars like the BackDorm boys embody these positions for a Strawberry Generation in Taiwan. The notion of flawed heroism, which simultaneously mocks the ubiquitous presence of the pop-culture from the West, the inability of the local cultural industries to produce original works of art, the apathy of the younger generation caught in the mechanisms of a liberalised globalisation, and the unavailability of spaces for political negotiations that they are built in. This is the defence that many of the Taiwanese and other Chinese speaking individuals produce on the discussions around Kuso. On the discussions on the Sinosplice blog, one of the most vocal defenders, John, who starts with calling this condition, a ‘rare talent’ goes on to say,

Have you ever tried to make a funny video? It’s much harder than you give these boys credit for. The fact that they were able to do it merely by lip synching is testament to their talent. If they’re using certain cultural expectations for humorous effect, then that’s further evidence of talent.
(John, Sinosplice, 2005)

However, John’s idea of ‘playing with cultural expectation’ remains a solitary voice. The other discussants go on to talk about how this particular series is only interesting because of the ‘freak value’ of the videos. Karen, another participant who introduces herself as a student in the West, writes

I have to reluctantly admit, as politically incorrect and offensive (sic) some of the comments may be, they are mostly valid in my opinion. I’m not saying that the “Back Dormitory Boys’” talent doesn’t play a part in why it’s so funny but the fact that the they’re Chinese with no doubt plays a huge role in the humour that that you could easily find elsewhere. How hard is it to find a few college students making goofball videos and putting them on the internet?
(Karen, Sinosplice, 2005)

The opinions that Karen and XiangChang express, resonate with the general perception of the BackDorm boys on many different discussion groups and media talks around the world. As they gained more popularity and exposure, there were more and more people exclaiming at why these antics were being heralded as heroic. However, there were no explanations which were forwarded. The interesting part is that a similar predecessor called the ‘Numa Numa Boy’ (Wolk, 2006), who also had a parodic relationship with the Romanian song, while he gained equal amounts of popularity, was not at the centre of any debate. His claim to fame was slapstick humour and very clearly complied with the Western understanding of parody. However, in the case of the Backdorm Boys, the debates continue as the existing understanding of parody as a universal value fail to account for the aura that surrounds them.

Kuso, as a way of looking at it, offers that the Backdorm Boys were not mere imitators. Imitation would have been in them trying to do a representation of the original Backstreet Boys videos. Instead, the Backdorm Boys are in a world of simulation, where they are simulating the flawed masculinities and identities that are excluded within popular cultures. In this method of simulation, they are able to produce a new and perhaps more believable ‘reality’ which needs to be dealt with in the larger context of the production.

The reason why Kuso makes garbage of things is because that is the only way to deal with the way things are – demolish them, look at their flaws, and find, within those flaws, interstices of negotiation and interaction, which are no longer available. The Kuso, refuses to identify a homogeneous way of understanding digital cinema on the web and insists on thus, contextualising the cultural products through their geo-political status. Because of the geographical origins of digital technologies – the West, and the generally assumed audience and paradigms of understanding it – the West again, most of these new digital cinema forms are looked upon as derivative or engaging in a parodic relationship with the original which is placed in the West. Kuso is a way of complicating the relationship between the two.

This is the first step in thinking about ways in which one can formulate a digital aesthetic which does not presume a homogenised community online but asserts, not only the physical bodies that are behind the production of these narratives but also the geographical boundaries and socio-cultural locations, without which the objects become incomprehensible and indecipherable. Moreover, it is necessary to rescue such ‘popular’ ‘aesthetic’ forms from discussions that confine them to the realms of performance or solipsism and look at the larger potential they have in creating new conditions of political engagement. For Taiwan’s Strawberry Generation, Kuso is a lifestyle, by which they are able to establish discursive and subversive relationships with the very actions and practices which subject them to sever criticism. The wave of new digital cinema, streaming on a screen near us, thus emphasise the need to revisit the relationship between aesthetics and politics on the one hand and the connections between the universal and the contextual on the other.

References

Asian Economic News. 2007. “Thousands Protest Against Taiwan President”. Retrieved on 5th March, 2007 from http://findarticles.com/p/articles/mi_m0WDP/is_2007_Sept_15/ai_n27465185
Kuan-Hsing, Chen. 2005. “Interview with Kuan-Hsing Chen” by Greert Lovink. Retrieved on 12th March, 2007 from http://www.nettime.org/Lists-Archives/nettime-l-
9803/msg00002.html
China Post, The. 2008. “Disturbing Suicide Rate Among Young People”. Retrieved on 11th August, 2008 from http://www.chinapost.com.tw/editorial/taiwan%20issues/2008/08/01/168122/Disturbing-suicide.htm
Fischer, Herve. 2006. The Decline of the Hollywood Empire. Tr. Rhonda Mullins. New York: Talon Books.
Full Plate, The. 2008. “Back Dorm Boys: Where are they now?”. Retrieved on 18th March, 2008 from http://escapetochengdu.wordpress.com/2008/02/24/back-dorm-boyswhere-are-they-now/
Gasser, Urs and John Palfrey. 2008. Born Digital: Understanding the first generation of Digital Natives. New York : Basic Books.
Henrry. 2006. Retrieved on 5th March, 2008. from Michel Cheng’s blog for her Writing Class at NCCU, available at http://nccujuniorwriting.blogspot.com/2006/06/weaknessesof-strawberry-generation_09.html
Ko, Yu-Fen. 2000. “Hello Kitty and the Identity Politics in Taiwan”. Retrieved on 10th January, 2007 from http://www.international.ucla.edu/cira/paper/TW_Ko.pdf
Lessig, Lawrence. 2008. “In Defence of Piracy”. The Wall Street Journal retrieved on 11th October 2008, available at http://online.wsj.com/article/SB122367645363324303.html?mod=googlenews_wsj
Liang, Lawrence. Forthcoming. “A brief history of the internet in the 14th and the 15th Century”
Lim, Myr. 2006. Retrieved on 5th March, 2008 from her blog titled ‘Wanderlust’ available at http://myr_fashionstylist.blogs.friendster.com/myr/2006/08/strawberry_gene.html
Mark Mclelland. 2006. “A Short History of Hentai”. Intersections: History and Culture in the Asian Context. Issue 12 http://intersections.anu.edu.au/issue12/mclelland.html
Marvin, Carolyn.1990. When Old Technologies Were New: Thinking about Electric communication in the earliest 19th Century. London: Oxford University Press.
Mitchell, William J. 1996. City of Bits: Space, Place and the Infobahn. Massachusetts: MIT Press
Rachel. 2008. Retrieved on 5th March, 2008 from the National Central University’s (Taiwan) PR Team Page available at http://www.sinosplice.com/life/archives/2005/10/25/back-dorm-boys
Yi-Li, Yeh. 2006. KUSO –Red, Spring Snow, Orange Flower. Taipei National University of the Arts, Taipei. Retrieved on 20th November, 2006 from http://www2.tnua.edu.tw/etnua/modules/news/article.php?storyid=28
Sinosplice. 2005. “Backdorm Boys”, a blog entry on a blog. Retrieved on 10th November 2006 from http://www.sinosplice.com/life/archives/2005/10/25/back-dorm-boys
Turkle, Sherry. 1996. Life on the screen: Identity in the age of the internet. London: Weidenfeld and Nicolson.
Weinberger, David. 2007. Everything is Miscellaneous The Power of the new digital disorder. New York : Times Books.
Wolk, Douglas. 2006. “The Syncher, Not the Synch : The irresistible rise of the Numa Numa Dance”. Retrieved on 10th November, 2007 from http://www.believermag.com/issues/200606/?read=article_wolk

[1].A first draft of this article was first presented at the ‘New Cinemas in Asia’ conference organized by the Centre for the Study of Culture and Society at the Christ University, Bangalore. The paper owes its gratitude to S.V. Srinivas for his support both for my journey to Taiwan and for the confidence required to write such an essay on cultures and phenomena that I cannot with confidence claim to be my own.
[2]. The Jadavpur University Film and Media Lab, as recently as November 2008, organized a conference to discuss The Future of Celluloid,where, there were many engrossing presentations on what celluloid can mean in the digital age and where its futures reside. Ashish Rajadhyaksha, in his key-note speech, made a significant remark that the Celluloid is the original object that the digital shall always invoke in its manifestation; not merely in its aesthetics, which might change, but in the sheer capacity that the digital has to pay unprecedented attention to the moving image and reconstruct it for new meanings.
[3]. Hervé Fischer, in The Decline of The Hollywood Empire, arrives in a long line of prophets who have been announcing the demise and the end of Celluloid Cinema as we know it. Fischer announces, quite early in the book, ‘[d]igital distribution will end this archaic system of distribution and hasten the decline of the Hollywood Empire: Two giant steps forward for film in one fell step!’
[4]. The large undivided screen gets replaced by a small ‘Window’ on the right hand corner of the monitor which also houses various other contesting media forms that vie for the users’ attention. Sherry Turkle, in her study of MUD users also talks of how the Window has become a metaphor of our times.
[5].In a much more measured tone, Kim Soyoung, in her formulation of a trans-cinema and new public spheres simulated by Korean Cinema, suggests that ‘new digital cinema…attentive to the transformation of its production, distribution and reception modes as shown by independent digital filmmaking and its availability on the net’. She further goes on to propose ‘digital and net, cinema LCD screens (installed in subways, taxis and buses) and gigantic electrified display boards (chonkwangpan in Korean) should be seen as spaces into which cinema theories and criticism should intervene.’ This paper adds to the list, the extremely personalised but virtually public and shared space of the computer monitor and portable media devices.
[6]. In another essay exploring the aesthetics of social networking and blogging (especially with the increasing implementation of Web 2.0), I make a claim at these sites being sustained through a constant and incessant production of both the virtual persona of the author as well as the body of the author that serves as an anchor to the virtual reality. I further suggest that this process of continuous translation leads to the self as being recognised and gratified only in a state of performativity over inter-looped surfaces.
[7]. Lawrence Liang, in his forthcoming essay, “The History of the Internet from the 15th to the 18th Century”, examines the history of the print and pre-print cultures, to make a brilliant argument around the questions of knowledge, the authority of the knowledge, and the problems of legitimacy or authenticity that have surrounded the Wikipedia in recent years.
[8]. The anxiety around such objects primarily circulates around questions of copyright infringements and piracy. The Music And Film Independent Association, for instance, claims that due to the re-mix, unlicensed distribution, and/or re-working of their material, they are suffering a heavy financial loss, leading to ridiculous legal cases that seem to hold no legitimacy in their sense or sensibility. Lawrence Lessig looks at a recent controversy on youtube where a mother, who broadcast digital moving images of her 13 month old son dancing to Prince’s song Let’s go Crazy was accused of copyright violation by the License owners who demanded the withdrawal of the video from YouTube.
[9]. In A short History of Hentai, Marc Mclelland, defines Hentai as follows: “Hentai is a Sino-Japanese compound term widely used in modern Japanese to designate a person, action or state that is considered queer or perverse, particularly in a sexual sense. Unlike the English term 'queer', however, hentai does not have predominantly homosexual connotations but can be used to describe any sexual acts or motivations other than what might be termed 'normal' sexual relations. Indeed the loanword nōmaru (normal) is sometimes used as an antonym for hentai. Apart from this general use of the term hentai, it can also be used to designate a specific genre of Japanese manga and animation that features extreme or perverse sexual content and it is in this sense that hentai has become well-known among western fans of Japanese popular culture.”
[10]. Professor Yu-Fen Ko (2000) at the Hsih-Shin University in Taipei, locates similar receptions of the ‘Hello Kitty’ phenomenon in Taiwan. Yu-Fen Ko examines how, the larger reception of popular cultural artifacts fail to look at the political potential that these objects have in the way they reconfigure the existing relationship between the personal and the political.
[11]. This paper owes great intellectual and emotional debt to many people. Mandy Hua, who, apart from teaching me Chinese, also helped me get introduced to the intricacies of youth fashion and trends in Taiwan. Ted Cheng, who introduced me to many different Kuso objects and helped, whenever my own skills at access or analysis flailed. Amie Parry, Naifei Ding, David Barton, Chen Kuan-Hsing and Josephine Ho who made my stay in Taiwan so fruitful, providing emotional support, and listened to me patiently, correcting me when I was wrong and directing me to people and resources that helped me frame this argument and understand the entire new digital cinema phenomenon in a new light.
[12]. After much screening and watching of Indian movie songs from Bollywood, we finally narrowed down to “Kajrare Kajrare” from the movie Bunty aur Bubly, with Aishwarya Rai doing a special dance number.
[13]. The particular video can be viewed at http://tw.youtube.com/watch?v=9NlZaDGPEOg The original video that is supposed to make this particular kind of Kuso-streaking is the video which also shot two young men into becoming Television celebrities and can be viewed at http://tw.youtube.com/watch?v=0caIbkYfWTY
[14]. One of the most popular icons of such consumption is in the popularity of Hello Kitty – a young female cat without a mouth (and hence without speech or the need to eat) - and has elicited much popular discourse. An example of how Hello Kitty is used as a way of also resisting the Western, Disneyfied, Barbie concepts of femininity can be seen in the video available at http://www.youtube.com/watch?v=JFBHPbEtfqA
[15]. LOLCat started as an internet meme which displayed a set of cat pictures, with cheeky captions, parodying ot only the internet slang known as ‘netspeak’ but also reflecting upon how central internet discussions and arguments were to the lives of the digital natives. Some of the most famous examples of LOLCat captions are ‘I can haz cheezburger’, ‘Ceiling Cat’ and then subsequently ‘Basement Cat’. More information and almost an exhaustive range of pictures can be seen at http://icanhascheezburger.com/ More interesting LOLCat phenomena also include the under construction LOLCat Bible translation project available at
http://www.lolcatbible.com/
[16]. ‘All your base are belong to us’ started as a successful parody of the obsession with UFO and space travel in the late nineties. The meme borrows this slightly cryptic line from European Sega Mega Drive Version of the video game Zero Wing, where it signified victory and total takeover of enemy territories by aliens, and specializes in putting up the caption on different familiar images taken from contemporary as well as historical times. A large collection of ‘All your base are belong to us’ images can be found at http://www.allyourbasearebelongtous.com/
[17]. A full list of their videos is available to view and download at http://twochineseboys.blogspot.com/
[18]. A quick glimpse of their popularity can be obtained on fan and internet monitoring sites like http://www.milkandcookies.com/tag/backdormboys/ and http://www.tian.cc/2005/10/asian-backstreetboys.html
[19]. This trajectory from Reality TV to popular cultural icons is not unfamiliar or new. Various popular shows like American Idol in the USA, Big Brother in the UK, SaReGaMaPa in India, and Kuso Kuso in China, have all spawned instant celebrities who have cashed their media presence and fame to bag roles in featured television programming, cinema, etc. This particular ability of making one’s self popular and recognizable, often by using the internet as a medium for the same, and then penetrating more corporatized and affluent mass media markets, is a ploy that many aspiring media professionals are employing these days.

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Reading from a Distance — Data as Text

sneha — 2015-11-13T05:29:12Z

The advent of new digital technologies and the internet has redefined practices of reading and writing, and the notion of textuality which is a fundamental aspect of humanities research and scholarship. This blog post looks at some of the debates around the notion of text as object, method and practice, to understand how it has changed in the digital context.

The concepts of text and textuality have been central to the discourse on language and culture, and therefore by extension to most of the humanities disciplines, which are often referred to as text-based disciplines. The advent of new digital and multimedia technologies and the internet has brought about definitive changes in the ways in which we see and interpret texts today, particularly as manifested in new practices of reading and writing facilitated by these tools and dynamic interfaces now available in the age of the digital. The ‘text’ as an object of enquiry is also central to much of the discussion and literature on Digital Humanities, given that many scholars, particularly in the West trace its antecedents to practices of textual criticism and scholarship that stem from efforts in humanities computing. Everything from the early attempts in character and text encoding (see TEI) to new forms and methods of digital literary curation, either on large online archives or in the form of apps such as Storify or Scoop it have been part of the development of this discourse on the text. Significant among these is the emergence of processes such as text analysis, data mining, distant reading, and not-reading, all of which essentially refer to a process of reading by recognising patterns over a large corpus of texts, often with the help of a clustering algorithm[1]. The implications of this for literary scholarship are manifold, with many scholars seeing this as a point of ‘crisis’ for the traditional practices of reading and meaning-making such as close reading, or an attempt to introduce objectivity and a certain quantitative aspect, often construed as a form of scientism, into what is essentially a domain of interpretation. But an equal number of advocates of the process also see the use of these tools as enabling newer forms of literary scholarship by enhancing the ability to work with and across a wide range and number of texts. The simultaneous emergence of new kinds of digital objects, and a plethora of them, and the supposed obscuring of traditional methods in the process is perhaps the immediate source of this perceived discomfort. There are different perspectives on the nature of changes this has led to in understanding a concept that is elementary to the humanities. Apart from the fact that digitisation makes a large corpus of texts now accessible, subject to certain conditions of access of course, it also makes texts ‘ massively addressable at different levels of scale’ as suggested by Micheal Witmore. According to him “Addressable here means that one can query a position within the text at a certain level of abstraction”. This could be at the level of character, words, lines etc that may then be related to other texts at the same level of abstraction. The idea that the text itself is an aggregation of such ‘computational objects’ is new, but as Witmore points out in his essay, it is the nature of this computational object that requires further explanation. In fact, as he concludes in the essay, “textuality is addressability” and further...this is a condition, rather than a technology, action or event”. What this points towards is the rather flexible and somewhat ephemeral nature of the text itself, particularly the digital text, and the need to move out of a notion of textuality which has been shaped so far by the conventions of book culture, which look to ideal manifestations in provisional unities such as the book.[2]

The notion of the text itself as an object of enquiry has undergone significant change. Various disciplines have for long engaged with the text - as a concept, method or discursive space - and its definitions have changed over time that have added dimensions to ways of doing the humanities. With every turn in literary and cultural criticism in particular, the primacy of the written word as text has been challenged, what is understood as ‘textual’ in a very narrow sense has moved to the visual and other kinds of objects. The digital object presents a new kind of text that is difficult to grasp - the neat segregations of form, content, process etc seem to blur here, and there is a need to unravel these layers to understand its textuality. As Dr. Madhuja Mukherjee, with the Department of Film Studies, at Jadavpur University points out, with the opening up of the digital field, there are more possibilities to record, upload and circulate, as a result of which the very object of study has changed; the text as an object therefore has become very unstable, more so that it already is. Film is an example, where often DVDs of old films no longer exist, so one approaches the ‘text’ through other objects such as posters or found footage. Such texts also available through several online archives now offer possibilities of building layers of meaning through annotations and referencing. Another example she cites is of the Indian Memory project, where objects such as family photographs become available for study as texts for historiography or ethnographic work. She points out that this is not a new phenomenon, as the disciplines of literary and cultural studies, critical theory and history have explored and provided a base for these questions, but there is definitely a new found interest now due the increasing prevalence of digital methods and spaces. One example of such a digital text perhaps is the hypertext[3]. George Landow in his book on hypertext draws upon both Barthes and Foucault’s conceptualisation of textuality in terms of nodes, links, networks, web and path, which has been posited in some sense as the ideal text. Landow’s analysis emphasises the multilinearity of the text, in terms of its lack of a centre, and therefore the reader being able to organise the text according to his own organising principle - possibilities that hypertext now offers which the printed book could not. While hypertext illustrates the post-structural notion of what comprises an open text as it were, it may still be linear in terms of embodying certain ideological notions which shape its ultimate form. Hypertext, while in a pragmatic sense being the text of the digital is still at the end of a process of signification or meaning-making, often defined within the parameters set by print culture.

But to return to what has been one of the fundamental notions of textual criticism, the ‘text’ is manifested through practices of reading and writing [4]. So what have been the implications of digital technologies for these processes which have now become technologised, and by extension for our understanding of the text? While processes such as distant reading and not-reading demonstrate precisely the variability of meaning-making processes and the fluid nature of textuality, they also seem to question the premise of the method and form of criticism itself. Franco Moretti, his book Graphs, Maps and Trees talks about the possibilities accorded by clustering algorithms and pattern recognition as a means to wade through corpora, thus attempting to create what he calls an ‘abstract model of literary history’. He describes this approach as ‘within the old territory of literary history, a new object of study’...He further says, “Distant reading, I have once called this type of approach, where distance is however not an obstacle, but a specific kind of knowledge: fewer elements, hence a sharper sense of their overall interconnection. Shapes, relations, structures. Forms. Models.” The emphasis for Moretti therefore is on the method of reading or meaning-making. There seem to be two questions that emerge from this perceived shift - one is the availability of the data and tools that can ‘facilitate’ this kind of reading, and the second is a change in the nature of the object of enquiry itself, so much so that close reading or textual analysis is not engaging or adequate any longer and calls for other methods. An example much closer home of such new forms of textual criticism is that of ‘ Bichitra’, an online variorum of Rabindranath Tagore’s works developed by the School of Cultural Texts and Records at Jadavpur University. The traditional variorum in itself is a work of textual criticism, where all the editions of the work of an author are collated as a corpus to trace the changes and revisions made over a period of time. The Tagore varioum, while making available an exhaustive resource on the author’s work, also offers a collation tool that helps trace such variations across different editions of works, but with much less effort otherwise needed in manually reading through these texts. Like paper variorum editions, this online archive too allows for study of a wider number and diversity of texts on a single author through cross-referencing and collation.

As is apparent in the development of new kinds of tools and resources to facilitate reading, there is a problem of abundance that follows once the problem of access has been addressed to some extent. Clustering algorithms have been used to generate and process data in different contexts, apart from their usage in statistical data analysis. The role of data is pertinent here; and particularly that of big data. But the understanding of big data is still shrouded within the conventions of computational practice, so much so that its social aspects are only slowly being explored now, particularly in the context of reading practices. Big data as understood in the field of computing is data that is so vast or complex that it cannot be processed by existing database management tools or processing applications[5]. But if one were to treat data as text, as is an eventual possibility with literary criticism that uses computational methods, what becomes of the critical ability to decode the text - and does this further change the nature of the text itself as a discursive object, and the practice of reading and textual criticism as a result. Reading data as text then also presupposes a different kind of reader, one that is no longer the human subject. This would be a significant move in understanding how the processes of textuality also change to address new modes of content generation, and how much the contours of such textuality reflect the changes in the discursive practices that construct it. Most of the debate however has been framed within a narrative of loss - of criticality and a particular method of making meaning of the world. Close reading as a method too came with its own set of problems - which can be seen as part of a larger critique of the Formalists and later American New Criticism, specifically in terms of its focus on the text. As such, this further contributes to canonising a certain kind of text and thereby a form of cultural and literary production. [6] Distant reading as a method, though also seen as an attempt to address this problem by including corpora, still poses the same issues in terms of its approach, particularly as the text still serves as the primary and authoritative object of study. The emphasis therefore comes back to reading as a critical and discursive practice. The objects and tools are new; the skills to use them need to be developed. However, as much of the literature and processes demonstrate, the critical skills essentially remain the same, but now function at a meta-level of abstraction. Kathleen Fitzpatrick in her book on the rise of electronic publishing and planned technological obsolescence dwells on the manner in which much of our reading practice is still located in print or specifically book culture; the conflict arises with the shift to a digital process and interface, in terms of trying to replicate the experience of reading on paper. Add to this problem of abundance of data, and processes like curation, annotation, referencing, visualisation, abstraction etc acquire increased valence as methods of creatively reading or making meaning of content. [7]

Whether as object, method or practice, the notion of textuality and the practice of the reading have undergone significant changes in the digital context, but whether this is a new domain of enquiry is a question one may ask. Matthew G. Kirschenbaum in his essay on re-making reading suggests that perhaps the function of these clustering algorithms, apart from serving to supplant or reiterate what we already know is to also ‘provoke’ new ideas or questions. This is an interesting use of the term, given that the suggestion to use quantitative methods such as clustering and pattern recognition in fields that are premised on close reading and interpretation is itself a provocative one and has implications for content. The conflict produced between close and distant reading, the shift from print to digital interfaces would therefore emerge as a space for new questions around the given notion of text and textuality. But if one were to extend that thought, it may be pertinent to ask if the Digital Humanities can now provide us with a vibrant field that will help produce a better and more nuanced understanding of the notion of the text itself as an object of enquiry. This would require one to work with and in some sense against the body of meaning already generated around the text, but in essence the very conflict may be where the epistemological questions about the field are located.

References:

Fitzpatrick, Kathleen, “Texts”, Planned Obsolescence – Publishing, Technology and Future of the Academy, New York and London: New York University Press, 2011. pp.89 – 119.
Kirschenbaum, M.G, “The Remaking of Reading: Data Mining and the Digital Humanities”, Conference proceedings; National Science Foundation Symposium on Next Generation of Data Mining and Cyber-Enabled Discovery for Innovation, Balitmore, October 10-12, 2007, http://www. cs. umbc. edu/hillol/NGDM07/abstracts/talks/MKirschenbaum. pdf.
Landow, George. P, Hypertext: The Convergence of Critical Theory and Technology, Balitmore: John Hopkins University Press, 1992 pp 2-12
Moretti, Franco, Graphs, Maps and Trees: Abstract Models for a Literary History, Verso: London and New York, 2005. p.1
Whitmore, Michael , “Text: A Massively Addressable Object”, Debates in the Digital Humanities, ed. Mathew K. Gold, University of Minnesota Press: 2012 pp 324 – 327 http://dhdebates.gc.cuny.edu/debates/text/24
Wilkens, Mathew, “Canons,Close Reading and the Evolution of Method” Debates in the Digital Humanities, ed. Mathew K. Gold, University of Minnesota Press: 2012 pp 324 – 327 http://dhdebates.gc.cuny.edu/debates/text/24

[1] For more on cluster analysis and algorithms see http://en.wikipedia.org/wiki/Cluster_analysis

[2] See Witmore, 2012. pp 324 - 327

[3] A term coined by Theodor H. Nelson, which he describes as “a series of text chunks connected by links which offer the reader different pathways” ( As quoted in Landow, 1991. pp 2-12)

[4] Barthes, 1977. pp 155 - 164

[5] See http://en.wikipedia.org/wiki/Big_data

[6] See Wilkens (2012). pp 249-252

[7] See Fitzpatrick (2011), pp 89 -119

For more details visit https://cis-india.org/raw/digital-humanities/reading-from-a-distance

Figures of Learning: The Conditional Artist

Tara Kelton — 2015-11-13T05:42:25Z

As part of its Making Methods for Digital Humanities project, CIS-RAW organized two consultations on new figures of learning in the digital context. For a proposed journal issue on the theme of ‘bodies of knowledge’ which draws upon these conversations, participants were invited to write short sketches on these figures of learning. This abstract by Tara Kelton explores the conditional artist, and the outcomes of inserting chance in the realization of art work through the use of new multimedia and digital technologies.

For five weeks George Korsmit and his assistants worked from a platform on a mobile scaffold to create this largescale mural. The corner points of each quadrilateral and the colors used to fill it in were determined within specific parameters by throwing dice.

This annotated visual essay presents the strategy in which artists provide instructions/parameters for the creation of artworks, to be executed by hired labour / users and describes how contemporary practitioners have employed this strategy across new technologies and webbased services such as Amazon’s Mechanical Turks, YouTube and Facebook.

By inserting chance into the realization of artworks, a distance is created between the artist and the product, and the artist cannot predict a precise outcome this results in new, unexpected visual forms and potentially infinite variation. The relationship between human gesture and interface is inverted rather than using a mouse to command software interfaces, instead, computational parameters direct human gestures. The essay will also demonstrate how instructional art strategies are used as tools for critiquing systems of power, both on and offline, drawing attention to the invisible labor that powers these systems, using their own mechanisms.

Visual examples include both the historical and contemporary, from the work of early conceptual and computer artists (Sol Lewitt, John Baldessari) to present day art and design practitioners (Studio Moniker, IOCOSE).

For more details visit https://cis-india.org/raw/the-conditional-artist

Bridging the Information Divide - Political Quotient

denisse — 2015-10-24T14:28:06Z

On this post, we will unpack 'information poverty'- a problem lying at the very foundation of the crises that inspired this project and a barrier impacting political action. We interview Surabhi HR, the founder director of the political consulting firm Political Quotient, an initiative that seeks to change how youth interacts with politics in India

CHANGE-MAKER: Surabhi H R

ORGANIZATION: Political Quotient

METHOD OF CHANGE: Building an information service for citizen grievances, designed to keep elected representatives accountable for what happens in their constituency.

STRATEGY OF CHANGE: Building a new breed of politically conscious youth in India through technology and an interdisciplinary approach to change.

The deeper we delve into this project, the more the ‘information question’ rises to the surface as the decisive factor shaping political participation in democracies. Most of the initiatives we have learned about are focused on providing spaces, resources and opportunities to enable voices, participation and richer exchanges of information and knowledge. Yet, framing these as ‘empowering’ overlooks citizens who are trapped in an information gap or suffocated by an information overflow. People who find themselves in either side of the spectrum, are for the most part discouraged from engaging with this information, participating in public discussions (Jaeger, 2005), and do not have the same political opportunities as people with wider and freer access to information.

As we continue to explore how youth is redefining civic action in digital and information societies, we must thoroughly understand the different ways in which information barriers are affecting political action. On this post, we will go over a short glossary of terms that will help us understand information poverty better- a problem lying at the very foundation of the crises that inspired this project. These terms will be somewhat similar to each other, but will be unpacked from three different points of view, describing the implications of information poverty for social justice, technology disparity and democracy. The glossary will be coupled by our conversation with Surabhi HR, the founder director of the political consulting firm Political Quotient, an initiative that seeks to change how youth interacts with politics in India. Her background in Economics added new nuances to our analysis, as we explore the workings of political action through the lenses of economic theory.

Political Quotient

Political Quotient wants to “build a new breed of politically conscious youth that engages with the political system and equips them with the necessary skills to do so”. They have been running two programs: the ‘Political Internship Programme’ where young people have the opportunity to join party lines and support with legislative research, performance auditing, media management and event organization. And the second program is ‘Politicking’, in which they organize Google hangouts and panels between student leaders, political commentators, and party heads to debate and discuss policy-making and politics.

Now PQ is moving on to a new phase, in which they recognize it is not only youth who must be empowered. Similarly to Janaagraha, they also believe there must be an information structure in place to support elected representatives, who have been chosen to govern without the resources to effectively do so. “Things are changing, elected representatives are being held accountable, asked to be more transparent and to be more active, but the honest truth is they don’t have the necessary support to do this” comments Surabhi on the situation that led her and her team to develop a set of services and products to engage people in direct conversation with their elected representatives. These including the following:

a) A grievance addressing service: designed to keep elected representatives accountable for what happens in their constituency. Citizen grievances can be sent by e-mail, smartphone, sms, etc. to the elected representative’s office, where it will reach a multi-platform software that redresses the grievance to the right department; (for example, if the grievance is related to a tree fall, it will be redressed to the forestry department as opposed to staying in the MLA office). The whole process will be transparent, as both the citizen and the MLA will be able to track the status of the complaint, from the day it was issued to the day it was implemented, using technology.

b) A government schemes and subsidies information service: Citizens will have access to information about schemes through digital technologies, and find out if it is reaching the right beneficiaries.

Glossary:

(or crash course on concepts we should be familiar with when discussing making change in information societies)

To understand what information poverty is and how Political Quotient’s intervention in the information landscape will impact political action, will refer to the work of Johannes Britz, Doctor in Information Science and that of Anthony Downs, Economist specialist in public policy and public administration. This choice is inspired by a natural tension in our research as we continue to negotiate: what change ‘should’ look like from the lens of social justice and sustainable development, and what the ecosystem of change actually looks like when we deconstruct the political and economic structures enabling and constraining intents of change.

1.Information poverty:
According to Johannes Britz, : “the situation in which individuals and communities do not have the skills, abilities or material means to obtain efficient access to information, interpret it and apply it.”

Britz believes that information poverty must be addressed from a social justice perspective that considers the social, political and economic consequences of lack of information for our ability to fulfill our capabilities and freedoms. He posits a 'fair information society' as an ideal, in which social institutions work towards eradicating the four main characteristics of information- poor societies (See box below)

Characteristics of information-poor societies

1. Lack of essential information
2. Lack of financial capital to access information
3. Lack of technical infrastructure to access information
4. Lack of intellectual capacity to filter and evaluate
the benefits of information

The third characteristic: 'inefficient information infrastructures' is the main gap, both Janaagraha and Political Quotient, are addressing in urban India. They are both providing services to connect the citizen with their elected representatives; establishing a reliable exchange of information between parties, and as a consequence, more autonomy, transparency and accountability in the governance process.

How does Political Quotient brings us closer to a fairer information landscape in governance? Surabhi responds: “The [grievance addressing] system is using the benefits of filling the information gap to create tangible assets: greater accountability, interaction, participation in the citizen-elected representative relationship and thereby fundamentally changing the way they interact.”

Following Britz's reading of John Rawls' categories of justice[1]. PQ’s work addresses social justice in the following ways:

Recognition and participation: Enhancing the citizen’s ability to file a complaint is in itself an act of recognition of the citizen’s power to affect its own environment and his possibility to participate in the governance process.
Reciprocity: The system enables interaction between the elected representative and the citizen, setting forth reciprocity, transparency and a horizontal platform for exchanges where both parties manage the same information.
Development of capabilities: Assuming a successful implementation, grievances addressed imply the realization of the power of the citizen and a more functional infrastructure that enables their development as individuals.
Distribution and enablement: Assuming all citizens in Karnataka have access to ICTs, this service distributes power and bridges the distance between them and the government.

"In a society where we depend on the creation, access and manipulation of information, [lack of information] questions the fundamental freedoms of people”. Britz, 2004

While all these are highly idealistic assumptions, the last one is the most problematic (in a country where the Internet and mobile penetration rate remain as low as 16% and 26% respectively). While information and communication technologies do play an important role in bridging the gap between those who have access and produce information and those who don’t, as Britz outlines, the growth of ICT’s takes information poverty to a “whole new dimension”; in most cases dividing the info-haves and the info-have nots even further. Britz ideal of an fair information society is what we aspire to, yet there are structural limitations in place which might prevent information-based initiatives, such as Political Quotient, from achieving its social justice objectives.

2.Information Poverty
Information poverty can also be thought of as ‘information inequity’, which for the last 20 years has been strongly correlated to the digital divide. From this perspective, we can define it as the “economic inequality between groups in terms of access to and use of knowledge and ICTs.”

Analyzing information precariousness from the technology perspective brings us to the elements contributing to the digital divide and how they are affecting our ability to be informed by and of digital technologies. According to Britz, the three main elements contributing to the divide are the following:

Factors Contributing to Digital Divide

a) Connectivity: Lack of infrastructure and material access to ICTs
b) Content: Inability to access content because it is unaffordable, unavailable or unsuitable.
c) Human approach: Lack of education and digital literacy to understand and use information and data as knowledge.

This is a paramount consideration for Political Quotient if they aspire to reach all the constituencies in Karnataka; both rural and urban. Surabhi recognizes the firm will have to overcome the socioeconomic barriers that impede a pervasive adoption of her product. “When one travels between rural and urban, the differences are many. Nothing has been done on the ground and there is a lot of potential. What is encouraging is that they want to learn.” This limitation is conflicting with the amount of information the stakeholders of this project need to handle in order to successfully bridge the information gap (between the elected representatives and the citizens) and have it be a “mutually beneficial relationship between the voter and the voted” as they envision:

Information stakeholders need in order to use this service
Infographic generated using info.gram

While the service PQ is developing seeks to leverage technology to bridge this gap, digital illiteracy might not only prevent citizens from using the system, but could potentially exclude them further from the democratic process. As Shah posits in the project’s thought piece (on increasing the access to ICTS): “the analogue citizen is expected to transition to the emerging new paradigms: earlier categories of discrimination or exclusion are now replaced by technology exclusion.” The team plans to work with their clients (representatives) in digital technologies and organizational skills capacity building, yet an information inequity strategy needs to be put in place in order to guarantee the fulfillment of all the stakeholders’ capabilities -particularly equitable participation from the citizen’s front.

3. Information Poverty:
Information poverty can also take the economic avatar of ‘imperfect knowledge’. According to Anthony Downs, “lack of complete information on which to base decisions is a condition so basic to human life that it influences the structure of almost every social institution”.

Downs' perspective is based on public choice theory, which is “the use of economic tools to deal with traditional problems in political science”. This is a subset of positive political theory, that models voters, bureaucrats and politicians as self-interested. He posits in his work ‘Economic Theory for Political Action in a Democracy’ that political parties in democracies formulate policy and serve interest groups merely as a means to gaining votes.

Surabhi and her team align with this thinking: “Politics is not benevolent; ours is a for-profit model that seeks to engage with the elected representative in providing him a mechanism to ensure that he gets more votes. At the same time, we also engage with citizens in ensuring that their interests and issues are looked into. Our basis is that politicians work for votes and the same should be leveraged to solve problems”. Downs’ thesis is that given these assumptions, a democracy –a political system where the parties compete for the control of the government –can only function to its fullest potential when there is perfect information and information is costless. This is what makes democracy the gold standard of governance and the great model on paper that promises to secure our equality and freedoms.

Yet, democracy does not cease to bring disappointment and a sense of helplessness towards politics amongst youth. The advent of digital technologies has been a glimpse of hope for their political engagement, and this entire research is grounded on the question of how is it they can renew trust and mobilize youth towards civic engagement. A first step towards this direction is assuming the inherent faults in the system, as opposed to focusing on citizen apathy. Democracy has been implemented in a system where there is imperfect knowledge and where there is a high degree of both voluntary and involuntary ignorance [2],. This, according to Downs, means that:

Consequences of imperfect knowledge in governance

Parties do not know what citizens want
Citizens do not always know what the government is doing or should be doing
Information to overcome this gap is costly

“Ignorance of politics is not a result of unpatriotic apathy, rather it is a highly rational response to the fats of political life in a large democracy” Downs, 1957

If information is costly, so is democracy. The highest risk of deeming citizens apathetic is ignoring the information barriers that prevent them from participating fairly in decision-making processes. Political Quotient cannot intervene by encouraging citizens to be informed, but it can provide them with tools to bring them closer to constituency related information, bringing down the costs of both participation and information. As put by Surabhi: “We want to be an ally of the political system. They need to do good. They are there for 5 years and need to do something.”

Making Change

While my glossary of terms may seem repetitive (I did define the same term three times), I want to make an emphasis on how important it is to unpack our concepts through various lens of analysis. We started this project exploring multi-stakeholderism and partnerships on the ground, however we are naturally moving on to spaces of knowledge collaboration where change is conceived through the amalgamation of different disciplines. These convergences do not necessarily happen in the most visible ways though, and one of the project’s objectives is to identify undocumented yet significant interventions to make change in the landscape of information societies.

Political Quotient’s initiative breaks the following paradigms in the discourse of 'change in the digital era':

a) It removes the spotlight from the citizen: while the focus of the project is to level citizens-citizen and citizen-government power relations (in terms of access to information), the political firm is focusing on improving the efficiency of the government apparatus, which brings new light to how 'citizen action' unfolds in the context of urban governance.

b) Political Quotient’s methods are far from what we see in the ‘spectacle imperative’ where the intent for change is scaled up through visibility in the public sphere. The firm was conceived in the private sector and its work will take place from within the elected representative’s offices.

c) The firm, in the same way as Vita Beans, applies an interdisciplinary approach to the design of its technology. (Fun fact: Political Quotient is working alongside Amruth’s team to create mobile applications for the service; which means the infrastructure will include both behavioural science and economic thinking behind its design. Read one of our previous posts, to learn more about Amruth's approach to change and digital design)

d) Technology is indeed framing their understanding of change, but in this case, the question is how technology can be amplified by human behaviour and education, as opposed to how technology determines or amplifies our ability to make change as it is commonly conceived.

Not including an analysis of information poverty, and how it both inspires and limits intents of change, devoids the project from understanding the dynamic nature of information and how it interferes in social justice and political action. Furthermore, info-poverty is not a condition characteristic of digital and information societies. Our ability to access information has always determined our dexterity to navigate institutions and infrastructures; indistinctive of what technologies are available at the time. We hope that Political Quotient’s initiative locates not only the information gaps, but also the inherent obstacles the digital divide might represent for their work, and as stated by Surabhi in their theory of change, take them “as an opportunity for a solution. Going from mere ideas to action”. We wish them the best and will follow up on them after June, once the new elected representatives are in office, to see the extent to which information poverty has been addressed through their service.

Footnotes:

[1] Britz based his categorization in John Rawls work on principles of justice. Particularly on 'A Theory of Justice' a work of political philosophy and ethics where he discusses inequality, distributive justice and his theory of Justice as Fairness. We did not refer to his work for this post, but it is worth a read in the context of the digital divide and the question of fair redistribution of digital technologies.

[2] Read more on voluntary or involuntary lack of knowledge in Downs' work on economic theory and political action. Particularly his reading on persuasion, ideologies and rational ignorance -in a context of imperfect knowledge and democracy. Some interesting ideas on persuasion: "Persuasion can only occur in the midst of ignorance; reality is: there are votes who are less informed than others and they need more facts; and we are mostly approached by biased versions of facts" and on rational ignorance: "when information is costly, no decision-maker can afford to know everything [...] ignorance of politics is not a result of unpatriotic apathy; rather it is a highly rational response to the facts of political life in a large democracy".

Sources

1. Britz, Johannes J. "To know or not to know: a moral reflection on information poverty." Journal of Information Science 30, no. 3 (2004): 192-204.

2. Downs, Anthony. "An economic theory of political action in a democracy." The Journal of Political Economy (1957): 135-150.

3. Jaeger, Paul T., and Kim M. Thompson. "Social information behavior and the democratic process: Information poverty, normative behavior, and electronic government in the United States." Library & Information Science Research 26, no. 1 (2005): 94-107.

4. Norris, Pippa. Digital divide: Civic engagement, information poverty, and the Internet worldwide. Cambridge University Press, 2001.

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

For more details visit https://cis-india.org/digital-natives/making-change/information-divide-political-quotient

From Taboo to Beautiful - Menstrupedia

denisse — 2015-10-24T14:25:59Z

On this post, we take a look at 'menstrual activism' -a movement that despite its trajectory in feminism, remains unnoticed in most accounts of traditional and digital activism. We interview Tuhin Paul, the artist and storyteller behind Menstrupedia, an India-based social venture creating comics to shatter the myths and misunderstandings surrounding menstruation around the world.

CHANGE-MAKER: Tuhin Paul, Aditi Gupta and Rajat Mittal
ORGANIZATION: Menstrupedia
METHOD OF CHANGE: Storytelling and comics
STRATEGY OF CHANGE: To shatter the myths and misunderstandings surrounding
 menstruation, by delivering accessible, informative and entertaining 
 content about menstruation through different media.

Most of us think we know what menstruation is; except...we don’t. Many of my male friends still cringe at the mention of the phrase “I’m on my period”, or use it as a derogatory justification for my occasional cranky mood at the office: “It’s that time of the month, isn’t it?” Poor menstruation has been the culprit of femininity; always bashful, tiptoeing for five days straight, trying its best to remain incognito. The social venture Menstrupedia is committed to change this. Aditi, Tuhin and Rajat want to shift how we look at menstruation and remove the stigma that haunts the natural, self-regulation process women undergo to keep their bodies healthy and strong to sustain life in the future.

Now, if you are already wondering what menstruation has to do with internet and society, just wait for it. This post manages to bring art, punk, menstruation and technology together, all within the scope of the Making Change project! Before though, we shall start with some definitions. Let us first lay conceptual grounds about menstruation and Menstrupedia, to then locate and unpack their theory of change.

What is menstruation?

It can be defined as:

Menstruation is the periodic discharge of blood and mucosal tissue (the endometrium) from the uterus and vagina. It starts at menarche at or before sexual maturity (maturation), in females of certain mammalian species, and ceases at or near menopause (commonly considered the end of a female's reproductive life).

And it looks something like this:

But, I believe, most women will agree the following are much more accurate depictions of the spectrum of thoughts, emotions and sensations that menstruation spurs:

The Beauty of RED

My Periods: A Blessing or a Curse

By Naina Jha

My periods
Are a dreadful experience
Because of all the pain.
Myths and secrets make it a mystery
What worsens it most though, are members of my family
Especially my mother, who always make it a big deal
They never try to understand what I truly feel
I face all those cramps and cry the whole night long
None of which is seen or heard or felt by anyone.

Instead of telling me, what it is,
They ask me to behave maturely instead.
Can somebody tell me how I am supposed to
Naturally accept it?
My mother asks me to stay away from men
And a few days later, she asks me to marry one!
When I ask her to furnish
the reason behind her haste
She told me that now that I was menstruating,
I was grown up and ready to give birth to another.

I don’t know whether to feel blessed about it
Or consider it to be my curse.
For these periods are the only reason for me to be disposed.
Since my childhood, I felt rather blessed to be born as a girl
But after getting my periods now,
I’m convinced that it’s a curse...

Find it in Menstrupedia's blog.

Despite all this, it is still perceived as a social stigma in society. There is clearly a dissonance between the definition, experience and perceptions around menstruation, that calls for a reconfiguration of the information we are using to define it.

Stigma as a Crisis

However, re-defining 'menstruation' is no popular or easy task. The word belongs to a group of contested terminology around womanhood and is the protagonist of its own breed of feminist activism: menstrual activism. [1] Although I would consider many of the stigmas surrounding menstruation to be quite self-explanatory (we've all experienced and perpetuated them in one way or another -and if they are not, then you are the product of an obscenely progressive upbringing for which I congratulate your parents, teachers and all parties involved), I will still outline the main reasons why menstruation is a source of social stigma for women, and refer to scholarly authority on the subject to legitimize my rant.

Ingrid Johnston-Robledo and Joan Chrisler use Goffman's definition of stigma [2] on their paper: The Menstrual Mark: Menstruation as a Social Stigma to explain the misadventures of menstruation:

Stigma: 
stain or mark setting people apart from others. it conveys the information 
that those people have a defect of body or of character that spoils their 
appearance or identity

Among the various negative social constructs deeming menstruation a dirty and repulsive state, this one made a particular echo: “[menstruation is] a tribal identity of femaleness”. Menstruation is the equivalent of a rite of passage marking the lives of girls with a 'before' and an 'after' on how the world sees them and how they see themselves. From the dreaded stain on the skirt and the 5-day mission to keep its poignant color and smell on the down low, to having to justify mood and body swings to the overly inquisitive; menstruation is imagined as inconvenient, unpleasant and unwelcome. As Johnston-Robledo and Chrisler point out: the menstrual cycle, coupled with stigmas, pushes women to adopt the role of the “physically or mentally disordered” and reinforce it through their communication, secrecy, embarrassment and silence (Kissling, 1996).

Why does it matter?

Besides from strengthening attitudes that underpin gender discrimination and attempting against girls' self-identity and sense of worth, there are other tangible consequences for their development and education. I'm going to throw some facts and figures at you, to back this up with the case of India.

An article published by the WSSCC, the Geneva based Water supply and Sanitation Council, shows the Menstruation taboo, consequence of a “patriarchal, hierarchical society”, puts 300 million women at risk in India. They do not have access to menstrual hygiene products, which has an effect on their health, education (23% of girls in India leave school when they start menstruating and the remaining 77% miss 5 days of school a month) and their livelihoods.

In terms of awareness and information about the issue, WSSCC found that 90% didn't know what a menstrual period was until they got it. Aru Bhartiya's research on Menstruation, Religion and Society, shows the main sources of information about menstruation come from beliefs and norms grounded on culture and religion. Some of the related restrictions (that stem from Hinduism, among others) include isolation, exclusion from religious activities, and restraint from intercourse. She coupled this with a survey where she found: 63% of her sample turned to online sites over their mothers for information, 62% did not feel comfortable talking about the subject with males and 70% giggled upon reading the topic of the survey. All in all, a pretty gruesome scenario

Here's where Menstrupedia comes in

The research ground work attempted above was done in depth by Menstrupedia back in 2009 when the project started taking shape. They conducted research for one year while in NID and did not only find that awareness about menstruation was very low, but that parents and teachers did not know how to talk about the subject.


							Facts about menstruation awareness in India. Video courtesy of Menstru pedia Youtube channel.

Their proposed intervention: distribute an education visual guide and a comic to explain the topic. They tested out the prototype among 500 girls in 5 different states in Northern India and the results were astonishing.

A workshop conducted by MJB smriti sansthan to spread awareness about mensuration.
Find full album of Menstrupedia Comic being used around India on Menstrupedia's Facebook page.

"To my surprise, they [the nuns] all agreed that until they read the information given in the Menstrupedia comic, even they were of the opinion that Menstruation was a ‘dirty’ and 'abominable' thing and they wondered 'why women suffered from it in the first place'? But after reading the comic book, their view had changed…now they felt that this was a 'vital' part of womanhood and there's nothing to feel ashamed about it! The best part was while this exercise clarified their ideas, beliefs, concepts about menstruation, it also helped me to get over my innate hesitancy to approach such a sensitive issue in ‘public’ and boosted my confidence for taking this up as a 'mission' to reach out to the maximum possible girls across the country."

Ina Mondkar,
on her experience of educating young nuns about menstruation.

Testimonial after a workshop held in two Buddhist monasteries in Ladakh.

Their mandate today reads: ‘Menstrupedia is a guide to explain menstruation and all issues surrounding it in the most friendly manner.’ They currently host a website with information about puberty, menstruation, hygiene and myths, along with illustrations that turn explaining the process of growing up into a much friendlier endeavour than its stigma-ladden alternatives.

Snipbit of the first chapter. Read it for free here.

Through the comic and the interactions around it, Menstrupedia strives to create a) content that frame menstruation as a natural process that is inconvenient, yes; but that should have no negative effects on their self-esteem and development; and b) an environment where girls can talk about it openly and clarify their doubts.

Technology's role in the mix

"We want to reach out to as many girls as possible”. Tuhin, Menstrupedia

The role of digital technologies basically comes down to scalability. Opposite to The Kahani Project's views on scaling up, Menstrupedia makes emphasis on using technology to reach a larger audience. Currently they have a series of communication channels enabled by technology that include: a visual quick guide, a Q&A forum (for both men and women), a blog (a platform of self-expression on menstruation), a you tube channel (where they provide updates on their progress) and the upcoming comic.

Upon the question of the digital divide and whether this expands the divide between have and have nots, Tuhin was very set on the idea of producing the same content in both its digital and print form. “parents or schools should be able to buy the comic and give it to their daughters, so whenever they feel like it, they can refer to it”. The focus is on making this material as readily available as possible, in order to overcome the tension between new and old information: “workshops are conducted but the moment they go back home, their mothers impose certain restrictions. It becomes a dilemma. But if you provide [The girl] with a comic book, she has something she can take home and educate her mother with”

And here's why it works

More than the comic book itself, what is truly remarkable about Menstrupedia is Tuhin, Rajat and Aditi’s guts to pick up such a problematic theme in the Indian social imaginary and challenge the entrenched, stubborn beliefs surrounding the issue. The comic book, asides from being appealing to the eye and an accessible format of storytelling (a method we have unpacked in previous posts), fits right into the movement of menstrual activism and what it stands for.

“We thought of creating something: a tool that can help girls understand menstruation without having to rely on anybody else”. Tuhin, Menstrupedia

First, it is a self-reliant resource. Once the comic book leaves Menstrupedia's hands and lands on those of kids and adults, it takes its own journey. The format of the comic is accessible enough for someone to pick it up and learn about menstruation without the intervention or the support of a third party. This makes Menstrupedia's comic highly flexible and mobile. It can be shared from teacher to child, from mom to daughter, from peer to peer: “[it should teach] how to help your friends when they get their period” (Tuhin) However, it has the autonomy to also take roads less travelled: from mom to dad, from child to teacher, from boy to girl. The goal at the end of the day: a self-reliant, solidarity-based community where information circulating about menstruation highlights its capacity to give life and overshadows its traditional stigmatized identity.

This self-reliance is characteristic of previous manifestations of menstrual activism. Back in the 80s, the feminist movement, tightly linked to punk culture, embraced the do it yourself movement,[3] that enabled women to materialize personalized forms of resistance. They published zines promoting “dirty self-awareness, body and menstrual consciousness and unlearning shame” through “raw stories and personal narratives” (Bobel, 2006). According to Bobel using the self as an example is a core element in the “history of self-help” within the DIY movement. The role of the Menstrupedia blog is then crucial to sustain the exposure and production of “raw narratives”. Tuhin adds: “We don't write articles on the blog. It is a platform where people from different backgrounds write about their experiences with menstruation and bring in a different perspective”: For example,

Red is my colour by Umang Saigal

Red is my colour,
To make you understand, I endeavour,
Try to analyse and try to favour.
It is not just a thought, but an attempt,
To treat ill minds that are curable.

When I was born, I was put in a red cradle,
I grew up watching the red faces for a girl-children in anger,
Red became my favourite,
But I never knew,
That someday I would be cadged in my own red world.

Red lover I was,
All Love I lost,
When I got my first red spots,
What pain it caused only I know,
When I realized, Red determined my ‘class’

I grew up then, ignoring red,
At night when I found my bedsheet wet,
All day it ached,
All day it stained,
And in agony I would, turn insane.

At times I would think,
Does red symbolize beauty or pain?
But when I got tied, in the sacred knot,
I found transposition of my whole process of thought,
When from dirty to gold, Red crowned my bridal course.

As I grew old,
All my desires vanished and got cold,
My mind still in a dilemma,
What more than colour in itself could it unfold?
What was the secret behind its truth untold?

Is Red for beauty, or is it for beast?
It interests me now to know the least,
All I know is that Red is a Transition,
From anguish to pride
Red is a sensation.

Red is my colour, as it is meant to be,
No matter what the world thinks it to be,
No love lost, one Love found,
Red symbolizes life and also our wounds,
I speak it aloud with life profound,
That red is my colour, and this is what I’ve found.

Submission to the Menstrupedia blog

'Self-expression' is not a concept we usually find side by side with 'menstruation'; however, if we look at what has been done in the past, we find that Menstrupedia is actually contributing to a much larger tradition of resistance. For instance, Menstrala, by the American artist Vanessa Tiegs. Menstrala is the name of a collection of 88 paintings “affirming the hidden forbidden bright red cycle of renewal”.

Another interesting example is American feminist Gloria Steinem's[4] text If Men Could Menstruate.

“What would happen, for instance, if suddenly, magically, men could menstruate and women could not?
The answer is clear:
Menstruation would become an enviable, boast worthy, masculine event:
Men would brag about how long and how much.
Boys would mark the onset of menses, that longed- for proof of manhood,with religious and stag parties.”

Gloria Steinem
[excerpt]

Opportunities like these, enable Menstrupedia's community to actively participate in the reconfiguration of 'menstruation' as a concept and as an experience. By exposing new narratives and perspectives on the issue and by disseminating menstrual health information, the community is able to crowd source resistance and dismantle the stigma together.

Making Change through Menstrupedia

The case of Menstrupedia reminds us of Blank Noise because of its approach to change. Both locate their crises at the discursive level and seek to resolve them by creating new forms of meaning-making. They advocate for a reconsideration of 'givens', for a self-reflection on our role perpetuating these notions and for resistance against conceptual status quos: be it socially accepted culprits like 'eve-teasing', or more discrete rejects like 'menstruation'. Both seek to dismantle power structures that give one discourse preference over others, and both count with a strong gender dynamic dominating the context where these narratives unfold. They are producing a revolution in our system of meaning making, yet only producing resistance in the larger societal context they inhabit.

On the question of where is Menstrupedia's action located, Tuhin replied by pinning it at the individual level: “if a person is aware of menstruation and they know the facts, they are more likely to resist restrictions and spread awareness”. However, they still acknowledge the historicity behind menstrual awareness (as knowledge passed down from generation to generation) that precedes the project. While the introduction of Menstrupedia, to an extent, does shake up household dynamics in terms of content, it also provides tools and resources to sustain the traditional model of oral tradition and knowledge sharing within the community.

In terms of their role as change-makers ,Tuhin stated that the possibility to intervene was a result of their socio-economic status and the resources they had at hand as “educated members of the middle class with access to information and communication technologies”. Is this the role the middle class should play? I asked. To which he gave a two fold answer: First, in terms of responsibility of action: “it is a role that anyone can play depending on what kind of expertise they have. It comes to a point where [intents of change] cannot be sustained by activism if you want to achieve long term impact” And second, in terms of setting up a resilient infrastructure: “I believe we can create an infrastructure people can use and create models that can help low income groups overcome their challenges and become self-sustainable.” Both answers highlight the need for sustainability in social impact projects, hinting a retreat from wishful thinking upon the presence of technology and a more strategic allocation of skills and resources by middle class and for-profit interventions.

As far the relationship between art, punk, menstruation and technology goes; that was just a hook to get you through the unreasonable length of my blog post, but if anything, it represents an effort to portray the importance of contextuality and interdisciplinary we have been exploring throughout the series. Identifying the use of various mediums and language systems, such as different art forms and modes of self-expression, as well the acknowledgement of the theoretical and social contexts preceding and framing the project, as is feminist activism and the cultural and religious backdrop in India, contribute immensely to fill gaps in the stories of how we imagine change making today; especially at the nascence of new narratives, as we hope is the case for menstruation in a post-Menstrupedia era.

Sources:

Bhartiya, Aru: “Menstruation, Religion and Society” IJSSH: International Journal of Social Science and Humanity. Volume: Vol.3, No.6.

Bobel, Chris. "“Our Revolution Has Style”: Contemporary Menstrual Product Activists “Doing Feminism” in the Third Wave." Sex Roles 54, no. 5-6 (2006): 331-345.

Johnston-Robledo, Ingrid, and Joan C. Chrisler. "The menstrual mark: Menstruation as social stigma." Sex roles 68, no. 1-2 (2013): 9-18.

Footnotes

[1] Refer to Chris Bobel's work including New Blood: Third-Wave Feminism and the Politics of Menstruation. Access it here

[2] Johnston Robledo and Chrisler made reference to Erving Goffman's 1963 work: Stigma: Notes on the management of spoiled identity. "According to Goffman (1963), the word stigma refers to any stain or mark that sets some people apart from others; it conveys the information that those people have a defect of body or of character that spoils their appearance or identity Goffman (1963, p. 4) categorized stigmas into three types: "abominations of the body” (e.g., burns, scars, deformities), “ blemishes of individual character” (e.g., criminality, addictions), and “tribal” identities or social markers associated with marginalized groups (e.g., gender,race, sexual orientation, nationality)".

[3] For a short run through on DIY as part of the Punk Subculture, refer to Ian P. Moran's paper: Punk - The Do-it-Yourself culture."Punk as a subculture goes much further than rebellion and fashion as punks generally seek an alternative lifestyle divergent from the norms of society. The do-it-yourself, or D.I.Y. aspect of punk is one of the most important factors fueling the subculture." Access it here.

[4] Gloria Steimen is a journalist, and social and political activist who became nationally recognized as a leader of, and media spokeswoman for, the women's liberation movement in the late 1960s and 1970. Visit her official website here.

For more details visit https://cis-india.org/digital-natives/making-change/menstrupedia-taboo-beautiful

Ethical Research Guidelines

praskrishna — 2018-10-13T12:21:48Z

The Centre for Internet and Society will endeavour to protect the physical, social and psychological well-being of those who participate in their research. The guidelines below state the necessary steps to follow while doing research.

The ethical research guideline requires CIS staff and consultants to consider and take the following steps while engaging in research.

Providing notice to the individual of the: Aims, methods, his/her right to abstain from participation in the research and his/her right to terminate at any time his/her participation; the confidential nature of his/her replies and any limits on such confidentiality.
Providing informants and other participants the right to remain anonymous.
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- Purpose(s) of the study, and the anticipated consequences of the research;
- Identity of funders and sponsors
- Anticipated uses of the data
- The degree of anonymity and confidentiality which may be afforded to informants and subjects.
Ensuring that when audio/visual-recorders and photographic records are being used, participants that are being recorded will be made aware of the use of the devices, and have the option to request that they not be used.
Ensuring that the identity and identifying information of the participant (if not already in the public domain) is destroyed at the end of project, unless the individual has consented to otherwise.
At public events organized by CIS, it will be announced and publicly posted that the event is being recorded. Individuals will be given the choice object to being recorded or their name and organization shared in conference reports, blogs, articles etc. If the individual does not object, it will be considered that they have given their consent.
The Centre for Internet and Society strictly follows a policy of No Plagiarism.

For more details visit https://cis-india.org/about/policies/ethical-research-guidelines