Centre for Internet and Society

Pathways to Higher Education

nishant — 2015-03-30T14:52:54Z

The Pathways Project to Higher Education is a collaboration between the Higher Education Innovation and Research Applications (HEIRA) at the Centre for the Study of Culture and Society (CSCS) and the Centre for Internet and Society (CIS). The project is supported by the Ford Foundation and works with disadvantaged students in nine undergraduate colleges in Maharashtra, Karnataka and Kerala, to explore relationships between Technologies, Higher Education and the new forms of social justice in India.

These colleges are the SIES College of Arts, Science and Commerce, Mumbai, St. Xavier’s College, Mumbai, Ahmednagar College, Ahmednagar, UC College, Aluva, Newman College, Thodupuzha, Farook College, Kozhikode, Vidhyavardhaka College, Mysore, Dr. AV Baliga College, Kumta and St. Aloysius College, Mangalore from the states of Maharashtra, Kerala and Karnataka.

For more details visit https://cis-india.org/digital-natives/pathways/learning-in-higher-education

P.P. Sneha - Mapping Digital Humanities in India

sneha-pp — 2016-12-31T05:56:49Z

It gives us great pleasure to publish the second title of the CIS Papers series. This report by P.P. Sneha comes out of an extended research project supported by the Kusuma Trust. The study undertook a detailed mapping of digital practices in arts and humanities scholarship, both emerging and established, in India. Beginning with an understanding of Digital Humanities as a 'found term' in the Indian context, the study explores the discussion and debate about the changes in humanities practice, scholarship and pedagogy that have come about with the digital turn. Further it inquires about the spaces and roles of digital technologies in the humanities, and by extension in the arts, media, and creative practice today; transformations in the objects and methods of study and practice in these spaces; and the shifts in the imagination of the ‘digital’ itself, and its linkages with humanities practices.

Download: Mapping Digital Humanities in India (PDF)

Foreword

What different forms do digital humanities (DH) research and expertise take around the world? My colleagues and I investigated this question for our report on Building Expertise to Support Digital Scholarship: A Global Perspective. In some places, we struggled to find resources on local practices in DH, but fortunately in India we could draw upon the excellent work of P.P. Sneha and the Centre for Internet and Society. In a series of insightful blog posts, Sneha explored the implications of technology for humanities scholarship and surveyed digital humanities practices in India.

Now Sneha has brought this work together in “Mapping Digital Humanities in India.” Rather than falling into naive boosterism or superficial critique, this report plumbs deep questions about humanistic knowledge in a digital age: What do we make of textuality in a digital environment? How might digital tools and platforms contribute to conflicts about authority? How does digital infrastructure affect how humanities research can be practiced? Sneha probes the complexities of these questions, drawing from theorists such as Benjamin, Derrida and Foucault as well as digital humanities scholars such as Franco Moretti and Patrik Svensson.

From this strong theoretical foundation, “Mapping Digital Humanities in India” explores specific challenges and possibilities for DH in India, synthesizing rich interviews with a range of Indian scholars. Sneha notes that digital humanities is in an “incipient stage” in India, given the persistence of the digital divide in much of the country, the association of the term with a specific history in the Anglo-American context, and concerns about the uncritical embrace of technology. The report highlights several Indian projects that demonstrate how technology can be used to create and disseminate humanistic knowledge. Creating online resources in Indic languages poses challenges, especially inputting languages and translating between them. To create an online variorum of Nobel prize-winning author Rabindranath Tagore’s works, Bichitra had to develop a Bangla character set. Bichitra enables readers to collate texts at the level of the chapter/canto, paragraph/stanza or word. In the realm of film and video, Indiancine.ma (which archives Indian films from the pre-copyright period) and Pad.ma (which houses found and deposited audio, video, and allied materials) offer powerful annotation tools and open up the archive into a space for interpretation and collaboration.

As digital humanities scholars attempt to move past a limited, Anglo-American perspective, “Mapping Digital Humanities in India” provides a model for how we can understand local practices in DH and connect them to ongoing discussions about humanistic knowledge. Through this report, readers can navigate central issues in digital humanities, explore the Indian context, and critically examine culturally based assumptions about DH practices.

- Lisa Spiro, Executive Director, Digital Scholarship Services, Rice University, Texas, USA

Executive Summary

In the short time span that the term ‘digital humanities’ (henceforth DH) has been around in the Indian academic landscape, it had generated much discussion and debate about the changes in humanities practice, scholarship and pedagogy that have come about with the digital turn. What are the spaces and roles of digital technologies in the humanities, and by extension in the arts, media, and creative practice today? How has it transformed objects and methods of study and practice in these spaces? What does it tell us about the relationship between the humanities and technology? Perhaps most importantly, what is our imagination of the ‘digital’ itself, and how does it shape our humanities practices?

These are but a few of the questions that this study on mapping key conversations and actors around the term DH tries to explore in some detail. While the study began as an attempt to understand the growing interest around the term itself in India, its scope has extended to explore what specific contexts and conditions are in place in India that give it critical purchase. Five universities now offer various programmes in DH in India - ranging from a Master’s degree to certificate courses, and there have been several workshops, winter schools, seminars and one national level consultation over the last five years. Academic and applied practices focus on building of digital archives, film studies, game studies, textual studies, cultural heritage and critical making to name just a few. While these efforts have managed to create a growing interest in DH, there is still a lack of consensus on what exactly constitutes the field in India. Thus, questions around definition, ontology, and method remain pertinent, as does the need for recognition by the national academic bureaucracy.

Context is another important factor here - most global narratives of DH reiterate a predominantly Anglo-American narrative that draws from a history in the field of humanities computing, as well as a crisis in higher education, particularly in the humanities and liberal arts. The efforts to map different histories of DH in the last couple of years, seen in the emergence of fields such as postcolonial DH and feminist DH, then point to diverse locations, and more intersectional perspectives from which the discourse around the field is being shaped. This is an important opportunity to better contextualise the debates around the digital as well – where conditions and hierarchies of access and usage, transition from analogue to the digital, and the notion of ‘digitality’ itself need to be defined and understood better. In India, with initiatives such as the Digital India programme, and the increasing push for the adoption of digital technologies in every sphere from education to governance, and now a steady push towards a digital economy, there is already a tremendous amount of investment in the idea of the digital by a diverse group of stakeholders. These advancements, and the enthusiasm, must be read within the context of a rather chequered and uneven history of the growth of science and technology in India, the advent of the internet and adoption of ICT4D, and existence of digital divides at different levels. The changing higher education system in India, and criticism around a profit-driven model of education, along with the entry of a large number of private actors in the field in the form of MOOCs and other online platforms in the last few years also contribute to this growing interest in DH, as also much of its criticism. In fact, the global discourse on DH and its linkages with shifts in government funding has seen increasingly polarized positions, with many humanities scholars being uncertain about the political or critical stake of the field, and a concern about the its focus on certain kinds of methods and skill sets at the expense of more traditional ones.

In India, the discourse around DH has largely remained within an academic context so far, although emerging creative practices in art, design and media may have been asking questions of a similar nature for some time now. These include efforts to understand changes in objects of enquiry from analogue to digitised and born digital artifacts, and the need for new methods of work and study that are necessitated by these new digital objects. The process of ‘digitisation’ itself is one fraught with several challenges, and demands a closer look – what are tools, resources and skills available for digitisation or creation of new digital cultural artifacts, and the context that facilitates their creation and active use in humanities research and practice. The ‘text’ as the primary cultural artifact or object of enquiry in the humanities, has undergone several changes with digitisation. Working with digital texts that are fluid and networked, and most often in languages other than English bring forth several new questions that are not only technological but also conceptual. The emergence of new digital cultural archives and online repositories, owing to the (marginally) increased access to internet and digital technologies and the growth of a culture that facilitates collecting and sharing, has greatly expanded the scope of engagement with these questions. The archive in fact forms a significant part of the discourse around DH in India - the challenges and prospects offered by digital cultural artifacts are quite diverse, ranging from modes of documentation, preservation and curation to dissemination over online spaces, and there is a need to understand these in greater detail. Infrastructure emerges as an important political and conceptual question here – while an interest in technological advancement and innovation, and the growth of a culture of free and open access to knowledge to some extent has helped facilitate work in the humanities at large, the lack of access to funding, expertise, and of course adequate, and advanced physical and technological infrastructure , such as computational methods often limits the kind of work that can be done with digital artifacts.

The implications of these changes for the study and practice of humanities are several, particularly with respect to traditional methods of pedagogy and scholarship. The access to resources like Wikipedia and devices like the mobile phone have facilitated a move towards more distributed, non-hierarchical, and individualised models and practices of learning, which simultaneously are premised upon new kinds of centralisation, hierarchies, and aggregation of information. The need to develop new forms of digital pedagogy as well as creating more spaces for such conversations within and outside the academic context would be crucial here. This growth of digitally-engaged humanities practice raises pertinent questions about how exactly the “digital turn” is transforming the humanities, its practice and politics. DH being an interdisciplinary field also offers the possibilities to engage with creative, often alternative practices that exist at the margins of mainstream academia, thus trying to encourage collaborative work across different domains of expertise. The inherited separation of disciplines, or even humanities and technology as suggested by the term DH, may then be contentious here, as it creates the opportunity to explore a twinned history of humanities and technology.

While the field of DH in India continues to develop slowly but surely, and hopefully widely, as more institutions and individuals become engaged with DH and related works, these key questions around its history, methods, and scope will continue to remain pertinent over the next years. For us at the Centre for Internet and Society, studying DH at this historical juncture when the Indian state is rushing towards embracing the “digital” provides a critical lens to understand and engage with the reconfigurations in modes and practices of arts and humanities scholarship and pedagogy in particular, and digital economies of knowledge in general.

CIS Papers

The CIS Papers series publishes open access monographs and discussion pieces that critically contribute to the debates on digital technologies and society. It includes publication of new findings and observations, of work-in-progress, and of critical review of existing materials. These may be authored by researchers at or affiliated to CIS, by external researchers and practitioners, or by a group of discussants. CIS offers editorial support to the selected monographs and discussion pieces. The views expressed, however, are of the authors' alone.

For more details visit https://cis-india.org/papers/mapping-digital-humanities-in-india

Nothing to Kid About – Children's Data Under the New Data Protection Bill

Shweta Mohandas and Anamika Kundu — 2022-03-10T13:19:52Z

The pandemic has forced policymakers to adapt their approach to people's changing practices, from looking at contactless ways of payment to the shifting of educational institutions online.

The article was originally published in the Indian Journal of Law and Technology

For children, the internet has shifted from being a form of entertainment to a medium to connect with friends and seek knowledge and education. However, each time they access the internet, data about them and their choices are inadvertently recorded by companies and unknown third parties. The growth of EdTech apps in India has led to growing concerns regarding children's data privacy. This has led to the creation of a self-regulatory body, the Indian EdTech Consortium. More recently, the Advertising Standard Council of India has also started looking at passing a draft regulation to keep a check on EdTech advertisements.

The Joint Parliamentary Committee (JPC), tasked with drafting and revising the Data Protection Bill, had to consider the number of changes that had happened after the release of the 2019 version of the Bill. While the most significant change was the removal of the term “personal data” from the title of the Bill, in a move to create a comprehensive Data Protection Bill that includes both personal and non personal data. Certain other provisions of the Bill also featured additions and removals. The JPC, in its revised version of the Bill has removed an entire class of data fiduciaries – guardian data fiduciary – which was tasked with greater responsibility for managing children's data. While the JPC justified the removal of the guardian data fiduciary stating that consent from the guardian of the child is enough to meet the end for which personal data of children are processed by the data fiduciary. While thought has been given to looking at how consent is given by the guardian on behalf of the child, there was no change in the age of children in the Bill. Keeping the age of consent under the Bill as the same as the age of majority to enter into a contract under the 1872 Indian Contract Act – 18 years – reveals the disconnect the law has with the ground reality of how children interact with the internet.

In the current state of affairs where Indian children are navigating the digital world on their own there is a need to look deeply at the processing of children’s data as well as ways to ensure that children have information about consent and informational privacy. By placing the onus of granting consent on parents, the PDP Bill fails to look at how consent works in a privacy policy–based consent model and how this, in turn, harms children in the long run.

1. Age of Consent

By setting the age of consent as 18 years under the Data Protection Bill, 2021, it brings all individuals under 18 years of age under one umbrella without making a distinction between the internet usage of a 5-year-old child and a 16-year-old teenager. There is a need to look at the current internet usage habits of children and assess whether requiring parental consent is reasonable or even practical. It is also pertinent to note that the law in the offline world does make the distinction between age and maturity. For example, it has been highlighted that Section 82 of the Indian Penal Code, read with Section 83, states that any act by a child under the age of 12 years shall not be considered an offence, while the maturity of those aged between 12–18 years will be decided by the court (individuals between the age of 16–18 years can also be tried as adults for heinous crimes). Similarly, child labour laws in the country allow children above the age of 14 years to work in non-hazardous industries, which would qualify them to fall under Section 13 of the Bill, which deals with employee data.

A 2019 report suggests that two-thirds of India’s internet users are in the 12–29 years age group, accounting for about 21.5% of the total internet usage in metro cities. With the emergence of cheaper phones equipped with faster processing and low internet data costs, children are no longer passive consumers of the internet. They have social media accounts and use several applications to interact with others and make purchases. There is a need to examine how children and teenagers interact with the internet as well as the practicality of requiring parental consent for the usage of applications.

Most applications that require age data request users to type in their date of birth; it is not difficult for a child to input a suitable date that would make it appear that they are over 18. In this case they are still children but the content that will be presented to them would be those that are meant for adults including content that might be disturbing or those involving use of alcohol and gambling. Additionally, in their privacy policies, applications sometimes state that they are not suited for and restricted from users under 18. Here, data fiduciaries avoid liability by placing the onus on the user to declare their age and properly read and understand the privacy policy.

Reservations about the age of consent under the Bill have also been highlighted by some members of the JPC through their dissenting opinions. MP Ritesh Pandey suggested that the age of consent should be reduced to 14 years keeping the best interest of the children in mind as well as to support children in benefiting from technological advances. Similarly, MP Manish Tiwari in his dissenting opinion suggested regulating data fiduciaries based on the type of content they provide or data they collect.

2. How is the 2021 Bill Different from the 2019 Bill?

The 2019 draft of the Bill consisted of a class of data fiduciaries called guardian data fiduciaries – entities that operate commercial websites or online services directed at children or which process large volumes of children’s personal data. This class of fiduciaries was barred from profiling, tracking, behavioural monitoring, and running targeted advertising directed at children and undertaking any other processing of personal data that can cause significant harm to the child. In the previous draft, such data fiduciaries were not allowed to engage in ‘profiling, tracking, behavioural monitoring of children, or direct targeted advertising at children’. There was also a prohibition on conducting any activities that might significantly harm the child. As per Chapter IV, any violation could attract a penalty of up to INR 15 crore of the worldwide turnover of the data fiduciary for the preceding financial year, whichever is higher. However, this separate class of data fiduciaries do not have any additional responsibilities. It is also unclear as to whether a data fiduciary that does not by definition fall within such a category would be allowed to engage in activities that could cause ‘significant harm’ to children.

The new Bill also does not provide any mechanisms for age verification and only lays down considerations that verification processes should be undertaken. Furthermore, the JPC has suggested that consent options available to the child when they attain the age of majority i.e. 18 years should be included within the rule frame by the Data Protection Authority instead of being an amendment in the Bill.

3. In the Absence of a Guardian Data Fiduciary

The 2018 and 2019 drafts of the PDP Bill consider a child to be any person below the age of 18 years. For a child to access online services, the data fiduciary must first verify the age of the child and obtain consent from their guardian. The Bill does not provide an explicit process for age verification apart from stating that regulations shall be drafted in this regard. The 2019 Bill states that the Data Protection Authority shall specify codes of practice in this matter. Taking best practices into account, there is a need for ‘user-friendly and privacy-protecting age verification techniques’ to encourage safe navigation across the internet. This will require looking at technological developments and different standards worldwide. There is a need to hold companies accountable for the protection of children’s online privacy and the harm that their algorithms cause children and to make sure that they are not continued.

The JPC in the 2021 version of the Bill removed provisions about guardian data fiduciaries, stating that there was no advantage in creating a different class of data fiduciary. As per the JPC, even those data fiduciaries that did not fall within the said classification would also need to comply with rules pertaining to the personal data of children i.e. with Section 16 of the Bill. Section 16 of the Bill requires the data fiduciary to verify the child’s age and obtain consent from the parent/guardian. The manner of age verification has also een spelt out. Furthermore, since ‘significant data fiduciaries’ is an existing class, there is still a need to comply with rules related to data processing. The JPC also removed the phrase “in the best interests of, the child” and “is in the best interests of, the child” under sub-clause 16(1), implying that the entire Bill concerned the rights of the data principal and the use of such terms dilutes the purpose of the legislation and could give way to manipulation by the data fiduciary.

Conclusion

Over the past two years, there has been a significant increase in applications that are targeted at children. There has been a proliferation of EduTech apps, which ideally should have more responsibility as they are processing children's data. We recommend that instead of creating a separate category, such fiduciaries collecting children's data or providing services to children be seen as ‘significant data fiduciaries’ that need to take up additional compliance measures.

Furthermore, any blanket prohibition on tracking children may obstruct safety measures that could be implemented by data fiduciaries. These fears are also increasing in other jurisdictions as there is a likelihood to restrict data fiduciaries from using software that looks out for such as Child Sexual Abuse Material as well as online predatory behaviour. Additionally, concerning the age of consent under the Bill, the JPC could look at international best practices and come up with ways to make sure that children can use the internet and have rights over their data, which would enable them to grow up with more awareness about data protection and privacy. One such example to look at could be the Children's Online Privacy Protection Rule (COPPA) in the US, where the rules apply to operators of websites and online services that collect personal information from kids under 13 or provide services to children that are directed at a general audience, but have actual knowledge that they collect personal information from such children. A form of combination of this system and the significant data fiduciary classification could be one possible way to ensure that children’s data and privacy are preserved online.

The authors are researchers at the Centre for Internet and Society and thank their colleague Arindrajit Basu for his inputs.

For more details visit https://cis-india.org/internet-governance/blog/ijlt-shweta-mohandas-and-anamika-kundu-march-6-2022-nothing-to-kid-about-childrens-data-under-the-new-data-protection-bill

Notes for India as the digital trade juggernaut rolls on

basu — 2022-02-09T15:04:36Z

Sitting out trade negotiations could result in the country losing out on opportunities to shape the rules.

The article by Arindrajit Basu was published in the Hindu on February 8, 2022

Despite the cancellation of the Twelfth Ministerial Conference (MC12) of the World Trade Organization (WTO) late last year (scheduled date, November 30, 2021-December 3, 2021) due to COVID-19, digital trade negotiations continue their ambitious march forward. On December 14, Australia, Japan, and Singapore, co-convenors of the plurilateral Joint Statement Initiative (JSI) on e-commerce, welcomed the ‘substantial progress’ made at the talks over the past three years and stated that they expected a convergence on more issues by the end of 2022.

Holding out

But therein lies the rub: even though JSI members account for over 90% of global trade, and the initiative welcomes newer entrants, over half of WTO members (largely from the developing world) continue to opt out of these negotiations. They fear being arm-twisted into accepting global rules that could etiolate domestic policymaking and economic growth. India and South Africa have led the resistance and been the JSI’s most vocal critics. India has thus far resisted pressures from the developed world to jump onto the JSI bandwagon, largely through coherent legal argumentation against the JSI and a long-term developmental vision. Yet, given the increasingly fragmented global trading landscape and the rising importance of the global digital economy, can India tailor its engagement with the WTO to better accommodate its economic and geopolitical interests?

Global rules on digital trade

The WTO emerged in a largely analogue world in 1994. It was only at the Second Ministerial Conference (1998) that members agreed on core rules for e-commerce regulation. A temporary moratorium was imposed on customs duties relating to the electronic transmission of goods and services. This moratorium has been renewed continuously, to consistent opposition from India and South Africa. They argue that the moratorium imposes significant costs on developing countries as they are unable to benefit from the revenue customs duties would bring.

The members also agreed to set up a work programme on e-commerce across four issue areas at the General Council: goods, services, intellectual property, and development. Frustrated by a lack of progress in the two decades that followed, 70 members brokered the JSI in December 2017 to initiate exploratory work on the trade-related aspects of e-commerce. Several countries, including developing countries, signed up in 2019 despite holding contrary views to most JSI members on key issues. Surprise entrants, China and Indonesia, argued that they sought to shape the rules from within the initiative rather than sitting on the sidelines.

India and South Africa have rightly pointed out that the JSI contravenes the WTO’s consensus-based framework, where every member has a voice and vote regardless of economic standing. Unlike the General Council Work Programme, which India and South Africa have attempted to revitalise in the past year, the JSI does not include all WTO members. For the process to be legally valid, the initiative must either build consensus or negotiate a plurilateral agreement outside the aegis of the WTO.

India and South Africa’s positioning strikes a chord at the heart of the global trading regime: how to balance the sovereign right of states to shape domestic policy with international obligations that would enable them to reap the benefits of a global trading system.

A contested regime

There are several issues upon which the developed and developing worlds disagree. One such issue concerns international rules relating to the free flow of data across borders. Several countries, both within and outside the JSI, have imposed data localisation mandates that compel corporations to store and process data within territorial borders. This is a key policy priority for India. Several payment card companies, including Mastercard and American Express, were prohibited from issuing new cards for failure to comply with a 2018 financial data localisation directive from the Reserve Bank of India. The Joint Parliamentary Committee (JPC) on data protection has recommended stringent localisation measures for sensitive personal data and critical personal data in India’s data protection legislation. However, for nations and industries in the developed world looking to access new digital markets, these restrictions impose unnecessary compliance costs, thus arguably hampering innovation and supposedly amounting to unfair protectionism.

There is a similar disagreement regarding domestic laws that mandate the disclosure of source codes. Developed countries believe that this hampers innovation, whereas developing countries believe it is essential for algorithmic transparency and fairness — which was another key recommendation of the JPC report in December 2021.

India’s choices

India’s global position is reinforced through narrative building by political and industrial leaders alike. Data sovereignty is championed as a means of resisting ‘data colonialism’, the exploitative economic practices and intensive lobbying of Silicon Valley companies. Policymaking for India’s digital economy is at a critical juncture. Surveillance reform, personal data protection, algorithmic governance, and non-personal data regulation must be galvanised through evidenced insights,and work for individuals, communities, and aspiring local businesses — not just established larger players.

Hastily signing trading obligations could reduce the space available to frame appropriate policy. But sitting out trade negotiations will mean that the digital trade juggernaut will continue unchecked, through mega-regional trading agreements such as the Regional Comprehensive Economic Partnership (RCEP) and the Comprehensive and Progressive Agreement for Trans-Pacific Partnership (CPTPP). India could risk becoming an unwitting standard-taker in an already fragmented trading regime and lose out on opportunities to shape these rules instead.

Alternatives exist; negotiations need not mean compromise. For example, exceptions to digital trade rules, such as ‘legitimate public policy objective’ or ‘essential security interests’, could be negotiated to preserve policymaking where needed while still acquiescing to the larger agreement. Further, any outcome need not be an all-or-nothing arrangement. Taking a cue from the Digital Economy Partnership Agreement (DEPA) between Singapore, Chile, and New Zealand, India can push for a framework where countries can pick and choose modules with which they wish to comply. These combinations can be amassed incrementally as emerging economies such as India work through domestic regulations.

Despite its failings, the WTO plays a critical role in global governance and is vital to India’s strategic interests. Negotiating without surrendering domestic policy-making holds the key to India’s digital future.

Arindrajit Basu is Research Lead at the Centre for Internet and Society, India. The views expressed are personal. The author would like to thank The Clean Copy for edits on a draft of this article.

For more details visit https://cis-india.org/internet-governance/blog/the-hindu-arindrajit-basu-february-8-2022-notes-for-india-as-the-digital-trade-juggernaut-rolls-on

NIPFP Seminar on Exploring Policy Issues in the Digital Technology Arena

Admin — 2019-10-20T07:40:16Z

Anubha Sinha participated in this seminar as a discussant on the "Regulating emerging technologies" panel. The event was held at Indian Institute of Advanced Study, Shimla on October 10 - 11, 2019.

Click to view the agenda here. The session briefs can be seen here.

For more details visit https://cis-india.org/internet-governance/news/nipfp-seminar-on-exploring-policy-issues-in-the-digital-technology-arena

New Modes and Sites of Humanities Practice

sneha-pp — 2016-06-30T04:45:25Z

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

Sections

01. Digital Humanities in India?

02. A Question of Digital Humanities

03. Reading from a Distance – Data as Text

04. The Infrastructure Turn in the Humanities

05. Living in the Archival Moment

06. New Modes and Sites of Humanities Practice

07. Digital Humanities in India – Concluding Thoughts

Introduction

From a brief exploration of the problem of new objects and methods of research in the digital context, we have come to or rather returned to the problem of location or contextualising DH, and whether it may be called a field or discipline in itself, in India. As the previous sections may have illustrated, most of the prominent initiatives around DH in India have largely been within the university context, or have at least focused around the university as the centre of the processes of knowledge production, and emphasise a move away from more traditional ways of doing humanities, and at a larger level the more established and disciplinary modes of knowledge formation. In the context of pedagogy, DH seems to be developing in a very specific role, which is that of training in a certain set of skills and topics, which the existing disciplines have so far not been able to provide or even accommodate. These include tools for working with digitisation processes, digital archives, and the use of computational methods in the study of cultural artifacts. Thus processes such as topic modelling, data visualisation, cultural analytics, sentiment analysis and several more become increasingly prominent in discussions about DH. The university or more specifically the traditional classroom offers a particular kind of teaching-learning experience which may not always have within its ambit the necessary resources or strategies to foster new methods of knowledge production, and a lot of DH work has been posited as trying to plug knowledge gaps in precisely this area.

Wikipedia and internet-based sources of information are entering classrooms with the proliferation of gadgets and tools, and with this there is a tendency towards adopting a more open, participatory and customised model of learning based on collaboration. DH has been characterised by many as a space, or method that intervenes in the traditional ‘hierarchies of expertise’ (Davidson and Goldberg, 2010) – not only in terms of people, but also spaces, methods and objects of learning - to present a significant ‘alternative’ that is now slowly becoming more mainstream. A rather direct example of this in the global discourse on DH is the growth of a number of ‘alt- academics’ [1]: people with training in the humanities who now inhabit what earlier seemed to be a rather nebulous space between academics and an array of practices in computing, art and community development among many others. But it is the in-between, or the liminal space that holds the potential for new kinds of knowledge to be generated. The connotations of this notion however are many and problematic, as seen particularly in the emphasis on new kinds of skills or competences that are now required to inhabit such a space, as also the narrative of loss of certain critical skills that are part of the disciplinary method and the resistance from certain quarters within the university to acknowledge such a trend. Conversely, it is also reflective of how certain kinds of skills in writing, reading, visualisation and curation have now become essential and therefore visible. While the DH discourse in India has developed mostly within the university space, given its multidisciplinary interests and methods, it is often seen as bearing potential in terms of working outside the academic norm. Through an examination of changes in teaching-learning methods, creative and critical practices that come about with the adoption of the digital, it may be useful to explore whether it indeed opens up such alternate modes of humanities practice and how it informs the way we do DH in India; as practitioners, researchers, students, teachers or the lay person. The growth of the internet and digital tools and technologies has led to many changes in teaching-learning practices, and engendered new methods and forms of humanities practice, all of which may now be found within the university or academic space. It is therefore imperative to examine these new modes of research and practice, to arrive a better understanding of the changes in and possibilities available for humanities work after the digital. The notion of the ‘alternate’ is also an important concern here, and the emergence of these new modes of humanities practice help unpack and understand this term better.

Technology in the Classroom

This state of being within and to a certain extent outside of a certain predominant discourse is a peculiar one with several possibilities, and DH, owing to its interdisciplinary content and methods, seems to be a suitable space to foster new and alternate knowledge-making practices. India is also still a multi-layered technological space very much in a moment of transition, and the debates remain largely confined to the English and History departments and to some extent library and archival spaces. Outside of the university circle however, there are a number of initiatives, such as online archival efforts, media, art and design practices and research, where one may see DH–related work being done. What remains an important part of the discourse in the context of the university is the access to and a more substantial and critical engagement with technology in the classroom.

The use of technology in education has grown by leaps and bounds in the last decade or so in India, as evidenced by the number of initiatives taken to introduce ICTs in the classroom [2]. However, the digital divide still persists, as a result of which many initiatives come with problems of their own, the most important being the lack of connection among practice, content and pedagogy [3]. Vikram Vincent, a doctoral scholar in the Interdisciplinary Program in Educational Technology, Indian Institute of Technology, Mumbai, attributes this to a problem of understanding technology itself and what it can do for learning. He looks at technology as an extension of the human body and not something alien to it. Over the course of his research, he has found that the prevalent attitude to the use of technology in the classroom, particularly in early ICTs in education projects, has been more techno-centric rather than learner-centric, which is not the most effective approach [4]. Technology has always been around in some form or the other, from drawing on walls to the blackboard to now the smart board; it has always been in the classroom. How you choose to use it determines the outcomes, and one needs to ensure that the learning environment evolves with the new technology that is introduced, because it does not happen automatically but over a period of time.

The Wikipedia India Education programme pilot project, implemented in Pune in 2011 is an example of the number of challenges that the introduction of a new technology in the classroom brought forth, in terms of skills, content and pedagogy [5]. The need to focus on the educational component of the technology, the improvement of skills of the learner in writing, research and communication, rather than on the tool itself has been an important learning from the programme, even as it continues in a different university today. As Vincent adds further, the problem arises with looking at technology as a disruptive element or merely a tool to aid learning, which prevents institutions from envisioning a more holistic model of learning that takes some amount of time and effort. This also requires the appropriate stimulus and other conditions such as training of teachers, access to resources and training in certain required skills, addressing barriers of language and so forth, which is a feature of some programmes, such as the IT @ school in Kerala which have seen a measure of success [6]. Vincent further mentions examples of programmes he has been part of, some of them under the MHRD-NMEICT initiative which focussed on the teaching-learning process rather than the technology itself, key to which is building teacher capacity to use new and already available resources better [7]. These would be crucial steps to take before envisioning a model of teaching-learning that is premised largely on digital technologies and the internet.

While educational technology is a separate field in itself which looks at better interactions between teaching-learning practices and technology [8], it does form part of the context, or landscape in India within which DH would perhaps develop as a discipline, practice or a pedagogic approach.

Another predominant discourse that informs DH is that of Information Communication Technologies for Development (ICT4D) which is often used as a rather broad, catch-all term, and has been variously defined and used by different groups and stakeholders across domains (Saith et al, 2008). ICT4D is premised largely around the question of access, and seeks to bridge the digital divide in terms of knowledge, resources, people and infrastructure, among other things. This has also been an intensely debated term, given its social and political implications, particularly in the manner in which it informs a larger discourse on development, technology and globalisation in the global South.(Sundaram, 2005) It is important to understand whether DH has been posited as making an intervention into these prevailing systems of knowledge – so that the mode of understanding both technology and the humanities, and the interaction between the two domains (assuming that they are separate) undergoes a significant change. What then goes into promoting more institutional stability for DH, in other words, in teaching and learning it – will be a question to contend with in the years to come, as more universities take to incubating research around digital technologies and related components and incorporating this into the existing curricula.

Towards a Digital Pedagogy

Dr. Abhijit Roy, Assistant Professor at the Department of Media, Communication and Culture, Jadavpur University is positive about the changes he sees in pedagogy and research with the advent of digital technologies. According to him, while a media or film studies department would be close to the concerns of DH, and use some form of digital technology such as video clips or blogs as part of coursework, it is particularly important to see what change it has brought about in traditional humanities disciplines like History and languages. While some of these changes are elementary, such as the use of digital technologies in classroom teaching and learning exercises, it is in the practice of research that he sees a vast change now. Many researchers, many of his students also, have found this a useful part of the research process, through the use of blogs and social media and the possibilities to publish and engage in discussions with other researchers through platforms and tools like Academia or Scalar [9]. It not only makes the process more transparent, but also encourages an ethos of constant sharing, dissemination and a network of usage and storage online. This has transformed the way research and pedagogy can be imagined now, and opened up several possibilities for teaching-learning practices.

It is in realising this potential for new research and pedagogical models that universities have slowly begun to adopt digital technologies, but the institutional efforts at building curricula specifically around DH-related concerns have been few, with the prominent ones in India being the courses at Jadavpur University and Presidency University in Kolkata, and more recently Srishti School of Arts, Design and Technology in Bangalore. The change is recent, as several researchers have pointed out. There have always been concerns about privacy and regulation of content, whether on a university archive or its network. The enthusiasm towards ‘anything digital is good’ is relatively new, and comes from a larger (and sometimes rather utopian) development discourse focussed around modernity and technology. Curricularisation comes with its own issues too, and they stem largely from the fact that one is still unable to understand fully the nature of the digital and its facets - we also inhabit a time when there is a transition from analogue to digital, and both modes exist simultaneously - but the rate of change is faster with the digital than with other domains of knowledge, so much so that the curricula developed may often seem provisional or arcane, which makes it doubly challenging to demonstrate its various facets in practice, particularly in the classroom. A useful distinction would be between DH being brought in as a problem-solving approach to address the extant issues of the humanities, thus also seen as threat to the disciplines themselves, but to see if it has its own epistemological concerns which may be related to but also distinct from the humanities - in short to help us ask new questions, or provide new ways of asking old ones.

The development of courses on DH in three universities in India, and the manner in which the field has been ‘curricularised’ so to say, would be an indication of its specific academic concerns in the Indian context, and the disciplinary challenges and questions that it may throw up for the teaching-learning process. Expectedly, the three courses mobilise a set of resources and expertise that the schools have built over the course of many years. In doing so they also foray into areas that existing humanities courses at the university may not have explored enough, within their own disciplinary framework. For example the course on Digital Humanities and Cultural Informatics at Jadavpur University [10] comprises of components on software studies and digital music preservation, building on work done at the large archives at the School of Cultural Texts and Records. Similarly, the course at Presidency University [11] has components on storytelling in digital media through video games, while the course at Srishti [12] has a focus on design practice and critical making amongst other interests. The courses therefore follow a decidedly interdisciplinary framework, which no doubt interesting, also makes curriculum development and course assessment a challenge. While the ‘digital’ aspect of ‘DH’ forms a significant part of these explorations, the manner in which it is being studied is an important point of focus – whether as a condition, space, concept or object, rather than just a set of tools and methods that facilitate the enquiry of the humanities. Digitisation significantly alters the cultural artifact, and there is a need to understand and theorise this digital object better. As Padmini Ray Murray points out, the digital is one way to mediate the material object, particularly those that are not textual, since that kind of experiential access can only be provided by the digital, especially in the case of archival objects. A critical understanding of the digital needs to therefore be a key aspect of such an enquiry in DH.

Alternate Spaces of Humanities Practice

While these are the developments within academia or the university space, there are a number of spaces outside this circle that have also been asking similar questions, and producing new kinds of scholarship and research around these ideas. The Indiancine.ma and Pad.ma archives have not only served as rich repository of material on film and video, used by scholars and film enthusiasts alike, but also as a pedagogic tool in spaces like the Media Lab at Jadavpur University. Through an innovative fellowship programme, Pad.ma has supported research and film making using the archive as a platform. An interesting example here would be a documentary film on power plants in Chhattisgarh made by Sunil Kumar. Available as a film treatment/script on Pad.ma, Kumar’s work is based on research in mainly two districts of Chhattisgarh, where he met and spoke with people, collected documents and shot several hours of video, which he then published in the form of 80 footage series on Pad.ma [13]. There are several other examples on Pad.ma, such as the video-art project on the Radia tapes, and the work on "perfume arts" in Bangalore [14]. The Sound and Picture Archives for Research on Women (SPARROW) through its workshops on oral and visual history has tried to engage with the more pedagogic aspects of the archive [15]. While the possibilities are many, the uptake of such platforms in universities has been slow, due to issues that range from lack of internet connectivity to a discomfort or unfamiliarity with the internet and other kinds of technology. This eventually relegates initiatives like these to the space of an alternate, extracurricular or outlier, even though they seem to be asking the same questions as the mainstream institutions and doing similar work.

What this also refers to is the space for new modes of knowledge production that an increased interaction with digital and internet technologies now engenders or even brings to the fore in already existing practices. With these however, also come the questions about the legitimacy of these forms and methods of knowledge production, as seen in the rather polarised positions around DH in its global discourse. The Wikipedia is one example of this, and illustrates some of the core concerns of and about DH as it calls into question notions about authorship, expertise and established models of pedagogy and learning. Lawrence Liang (2011) describes this as a larger conflict over the authority of knowledge, the origins of which he locates in the history of the book, and specifically in the print revolution and pre-print cultures of the 15th -18th centuries. He likens the debate over Wikipedia’s credibility, or more broadly over technologies of collaborative knowledge production ushered in by the Internet to similar phenomena seen before in early print culture and how it contributed to the construction and articulation of the idea of authority itself. He says:

The authority of knowledge is often spoken of in a value-neutral and ahistorical manner. It would therefore be useful to situate authority in history, where it is not seen to be an inherent quality but a transitive one 6 located in specific technological changes. For instance, there is often an unstated assumption about the stability of the book as an object of knowledge, but the technology of print originally raised a host of questions about authority. In the same way, the domain of digital collaborative knowledge production raises a set of questions and concerns today, such as the difference between the expert and the amateur, as well as between forms of production: digital versus paper and collaborative versus singular author modes of knowledge production. Can we impose the same questions that emerged over the centuries in the case of print to a technology that is barely ten years old?

He further goes on to elaborate that the question of the authority of knowledge should ideally be located within a larger ‘knowledge apparatus’, comprising of certain technologies and practices, (in this case that of reading, writing, editing, compilation, classification and creative appropriations) which help inflate the definitions of authority and knowledge even more.

The above argument throws into sharp relief the notion of the ‘alternate’–often posited as the outlier or a vantage point, or even as being in resistance to a certain dominant discourse or body of knowledge. While resistance itself is discursive; the ‘alternate’ has also always existed in various forms, such as the pre-print cultures illustrated in the argument above, and particularly in India where several kinds of prominent practices and occupations are but alternatives - from alternative medicine to education - to the already established or mainstream system in place. As mentioned earlier, these practices may just be increasingly visible and acknowledged now. The attempts to subsume these alternate practices under a unifying term such as DH, which began as and may perhaps have been relegated to the status of a sub-culture for long, within academia then seem to be one way of trying to circumvent the authority of knowledge question.

Humanities and Technology: A Twinned History

Another factor in this reduced visibility of the alternate and now re-emergence is the invisible ‘technologised’ history of the humanities, which prompts us to rethink the separation between the humanities and technology as mutually exclusive domains. Therefore by extension then, the term DH itself may be a misnomer or yet another creative re-appropriation of various knowledge practices already in existence. David Berry (2012) in his essay on the computational turn speaks of possibilities that computationality, and specifically new software and code offer in terms of unifying multiple kinds of knowledge in the university. He says that:

In trying to understand the digital humanities our first step might be to problematize computationality, so that we are able to think critically about how knowledge in the 21st century is transformed into information through computational techniques, particularly within software. It is interesting that at a time when the idea of the university is itself under serious rethinking and renegotiation, digital technologies are transforming our ability to use and understand information outside of these traditional knowledge structures. This is connected to wider challenges to the traditional narratives that served as unifying ideas for the university and, with their decline, has led to difficulty in justifying and legitimating the postmodern university vis-à-vis government funding. (5)

Berry therefore indicates that this turn towards computationality is the result of an emerging need to demonstrate the relevance of the university structure to processes of knowledge production, therefore reiterating the ‘crisis’ argument. The notion of the postmodern university has been examined in detail by Bill Readings, who Berry quotes in his paper. Readings (1997) is sceptical of the term postmodern, preferring instead the idea of a post historical university, which is divested from the notion of the nation-state and further culture as a unifying idea, and is moving towards a notion of excellence that he sees as techno-bureaucratic, a result of several factors including globalisation and the fact that processes of knowledge production and institutionalisation are no longer centred around a liberal subject. If the demonstrated project of the university has changed, the emergence of such new discourse, and specifically concepts and terms such as the ‘alt – academy’ has relevance to how one may now imagine new spaces, objects, processes and figures of knowledge itself.

The significance of the university system to knowledge production has been a recurring point of much debate and discussion in India. Although not explicitly stated as a crisis in humanities by the people interviewed, there are problems of content, pedagogy, infrastructure, and vision that continue to plague higher education at large [16], and very often technological fixes are seen as a solution to these, in some part due to the imagination of a techno-democracy as described in the introduction to this report. As Berry points out then, computationality is a promise, or possibility to do things differently, which is then also inherently assumed to be a way of doing things better. The computational possibilities of DH still need to be explored, but how much of these contribute qualitatively to addressing or even furthering certain disciplinary concerns, still remains an open question. As Jan and Sebastian point out from their experience of working on Indiancine.ma and Pad.ma, the computational aspects of the archives are still to be developed, as there are still restrictions in terms of speed and feasibility (see chapter on infrastructure [17]); the kind of new questions it produces for cinema studies at large will remain a contention. Further, as Padmini Ray Murray observes, drawing on archival material, or data to develop new computational hypotheses would be a direction to work towards, as not much work has been done in this respect in India (See chapter on archives [18]). The challenges with computationality then demand, as Berry argues, a more critical exploration of the term itself, and in fact can be extended to a critical analysis of the state of digitality more broadly.

Final Notes

The problems with the crisis in the humanities and the contribution of technology to these changes could be located to this change in what has traditionally been seen as the space of culture and reason, which has now moved on to something else, a notion of excellence in Readings’ example, thereby changing the questions at the centre as well. This is perhaps the underlying challenge to the ontological and epistemological stake in the field. At best then DH may be seen as the result of a set of changes in the last couple of decades, the advancements in technology being at the forefront of them, whereby certain new and alternative modes of humanities practice have been brought to the foreground, but have also challenged the manner in which we asked questions before to a certain extent. As the field gains institutional stability, it remains to be seen what the new areas of enquiry that emerge shall then be in the years to come. Some of the questions or points or focus that open up are as follows:

The role of extra-institutional/non-academic or alternate spaces in humanities practice, and in producing and creating new kinds of knowledge.
The increased visibility of new objects and methods within informal and marginal spaces of knowledge production. This demands different, and often innovative methods of enquiry, and whether they alter disciplinary modes of humanities practice and research.
The notion of a moving away from established modes of humanities practice, research and scholarship (therefore the question of a ‘crisis’) which would open up a larger debate around the authority of knowledge.
The ontological and epistemological stake of DH, in short the kinds of new questions it enables us to ask.

As important and visible as the idea of the alternate is in DH, it also presents the mainstream itself as fractured space that imbibes several contradictions of the practices in question, which cannot be confined to these watertight silos of formal/informal, academic or creative. Nevertheless, the mainstream spaces remain crucial for widening and deepening creative digital practice and research in arts and humanities disciplines, and will be the spaces to watch to understand the development of a substantive DH discourse in India.

Endnotes

[1] For more on this see: Nowviskie, Bethany, (Ed.) Alternative Academic Careers for Humanities Scholars, July 2011, http://mediacommons.futureofthebook.org/alt-ac/cluster/alternative-academic-careers-humanities-scholars, last accessed December 23, 2015.

[2] The largest and most ambitious has been the Ministry of Human Resources and Development’s National Mission in Education through ICT programme (NMEICT), started in 2009. See: http://mhrd.gov.in/technology-enabled-learning-0 Last accessed December 23, 2015.

[3] To stay with the example of the NMEICT, an evaluation of the programme pointed out several challenges to technology-enabled learning, namely in the areas of connectivity, content, and pedagogy. See http://www.sakshat.ac.in/Document/NMEICT_Evaluation_Report.pdf. Last accessed December 23, 2015.

[4] For more see this position paper by the NCERT on education technology in India: http://www.ncert.nic.in/new_ncert/ncert/rightside/links/pdf/focus_group/educational_technology.pdf. Last accessed December 23, 2015.

[5] See an evaluation report on the programme by Tory Read: http://oceanwork.com/portfolio/wikipedia-education-program-reputation-management/. Last accessed December 23, 2015.

[6] See: http://education.kerala.gov.in/index.php?option=com_content&view=article&id=51&Itemid=59. Last accessed December 23, 2015.

[7] For more on these projects see: http://www.et.iitb.ac.in/sanket/?p=87. Last accessed December 23, 2015.

[8] See: Spector, J. Michael. Fundamentals of Educational Technology: Integrative Approaches and Interdisciplinary Perspectives. New York: Routledge, 2015; and Toru Iiyoshi and M.S. Vijay Kumar. (Eds.) Opening up Education. Massachusetts: MIT Press, 2008, https://mitpress.mit.edu/sites/default/files/titles/content/9780262515016_Open_Access_Edition.pdf. Also see: http://ciet.nic.in/. Last accessed December 23, 2015.

[9] See: https://www.academia.edu/ and http://scalar.usc.edu/scalar/. Last accessed December 23, 2015.

[10] See: https://sctrdhci.wordpress.com/. Last accessed December 12, 2015.

[11] See: http://dhgenedpresi.blogspot.in/2014/01/welcome-to-digital-humanities-presidency.html. Last accessed December 12, 2015.

[12] See: http://srishti.ac.in/programs/pg-program-ma-in-digital-humanities. Last accessed December 12, 2015.

[13] See: http://pad.ma/texts/sunil_kumar:Future_Power_Plants_in_Chhattisgarh:_a_Documentary_Film_Treatment_%2F_Script. Last accessed December 12, 2015

[14] See: http://pad.ma/texts Last accessed December 12, 2015.

[15] See: http://www.sparrowonline.org/.

[16] See the report of 'The Committee to Advise on Renovation and Rejuvenation of Higher Education: by the Ministry of Human Resources and Development: http://mhrd.gov.in/sites/upload_files/mhrd/files/document-reports/YPC-Report.pdf; and Roy, Kum Kum, "Decoding 'New Education Policy,'" Economic and Political Weekly, Vol. 50, Issue No. 19, May 09, 2015, http://www.epw.in/journal/2015/19/web-exclusives/decoding-new-education-policy.html, last accessed December 23, 2015.

[17] See: http://cis-india.org/raw/the-infrastructure-turn-in-the-humanities.

[18] See: http://cis-india.org/raw/living-in-the-archival-moment.

References

Berry, D.M. "The Computational Turn." Culture Machine. Vol 12, 2012 http://www.culturemachine.net/index.php/cm/article/viewArticle/440. Last Accessed April 12, 2016.

Davidson, Cathy N and David Theo. Goldberg. The Future of Thinking: Learning Institutions in a Digital Age. The John D. and Catherine T. MacArthur Foundation Reports on Digital Media and Learning. Cambridge: MIT Press, 2010.

Iiyoshi, Toru and M.S. Vijay Kumar. (Eds.) Opening up Education. Massachusetts: MIT Press, 2008.

Liang, Lawrence. "A Brief History of the Internet from the 15th to the 18th Century." In Critical Point of View: A Wikipedia Reader. Geert Lovink and Nathaniel Tkacz (Eds). Amsterdam: Institute of Network Cultures, 2011.

Readings, Bill. The University in Ruins. Cambridge: Harvard University Press, 1997.

Saith, A, M. Vijayabaskar and V. Gayathri. ICTs and Indian Social Change. New Delhi: Sage Publications, 2008.

Spector, J. Michael. Fundamentals of Educational Technology: Integrative Approaches and Interdisciplinary Perspectives. New York: Routledge, 2015.

Sundaram, Ravi. "Developmentalism Redux." In Incommunicado Reader. Geert Lovink and Soenke Zehle (Eds.). Amsterdam: Institute of Network Cultures, 2005.

For more details visit https://cis-india.org/raw/new-modes-and-sites-of-humanities-practice

New Contexts and Sites of Humanities Practice in the Digital (Paper)

sneha-pp — 2019-12-06T05:03:33Z

The ubiquitous presence of the ‘digital’ over the couple of decades has brought with it several important changes in interdisciplinary forms of research and knowledge production. Particularly in the arts and humanities, the role of digital technologies and internet has always been a rather contentious one, with more debate spurred now due to the growth of fields like humanities computing, digital humanities (henceforth DH) and cultural analytics. Even as these fields signal several shifts in scholarship, pedagogy and practice, portending a futuristic imagination of the role of technology in academia and practice on the one hand, they also reflect continuing challenges related to the digital divide, and more specifically politics around the growth and sustenance of the humanities disciplines. A specific criticism within more recent debates around the origin story of DH in fact, has been its Anglo-American framing, drawing upon a history in humanities computing and textual studies, and located within a larger neoliberal imagination of the university and academia. While this has been met with resistance from across different spaces, thus calling for more diversity and representation in the discourse, it is also reflective of the need to trace and contextualize more local forms of practice and pedagogy in the digital as efforts to address these global concerns. This essay by Puthiya Purayil Sneha draws upon excerpts from a study on the field of DH and related practices in India, to outline the diverse contexts of humanities practice with the advent of the digital and explore the developing discourse around DH in the Indian context.

This essay was published in Vol 22 No 1 (2016): SummerHill, Indian Institute of Advanced Study, Shimla. Edited by Dr. Bindu Menon. Download the essay here (PDF).

Abstract

The last couple of decades have seen an increasing prevalence of digital technologies and internet in the study and practice of arts and humanities. With the growth of fields like humanities computing, digital humanities (henceforth DH) and cultural analytics, there has been a renewed interest in the increasing role of the ‘digital’ in interdisciplinary forms of research and knowledge production. DH in particular has become a field of much interest and debate in different parts of the world, including in India. Globally, in the last two decades, there have been several efforts to organize the discourse around this field which seeks to explore various intersections between humanities and digital methods, spaces and tools1. But DH also continues to remain a bone of contention, with several perspectives on what exactly constitutes its methodology and scope, and most importantly its epistemological stake.

A specific criticism has been the Anglo-American framing of DH, located within a larger neoliberal imagination of the university and the higher education system at large. As a result, the connection of these two threads—a history of DH located in humanities computing and textual studies and its contextualization within the American university—is often represented as the history of DH. This has been met with resistance from several scholars and practitioners across the world calling for more global perspectives on the field. Drawing upon excerpts from a recently completed study on mapping the field of DH and related practices in India, this essay will attempt to outline the diverse contexts of humanities practice emerging with the digital turn, along with a reading of some of the global debates around DH to understand the discourse around the field in the Indian context.

For more details visit https://cis-india.org/raw/new-contexts-and-sites-of-humanities-practice-in-the-digital-paper

Mobility Shifts 2011 — An International Future of Learning Summit

praskrishna — 2015-03-30T14:55:16Z

The summit was organised by the New School and sponsored by MacArthur Foundation and Mozilla. It was held from October 10 to October 16, 2011 at the New School, New York City.

Nishant Shah participated in the summit and spoke on Digital Outcasts: Social Justice, Technology and Learning in India. The video of the event is online.

Agenda and Program details PDF document, 1611 kb

VIDEO

Mobility Shifts 2011, Nishant Shah from The Politics of Digital Culture on Vimeo.

For more details visit https://cis-india.org/digital-natives/pathways/blog/mobility-shifts-2011

Mapping Digital Humanities in India - Concluding Thoughts

sneha-pp — 2015-11-13T05:36:10Z

This final blog post on the mapping exercise undertaken by CIS-RAW summarises some of the key concepts and terms that have emerged as significant in the discourse around Digital Humanities in India.

The present exercise in mapping Digital Humanities (henceforth DH) in India has brought to the fore several learnings, and challenges in trying to locate the domain of enquiry even as our understanding of what constitutes new objects, methods and forms of research and pedagogy constantly undergo change and redefinition. Even as we wrap up this study, some of the key questions or problems of definition, ontology and method remain with us, as the 'field' as such is incipient in India, as with other parts of the world and the term itself is yet to find a resonance in many quarters, other than a few institutions and a number of individuals. However, what it does do for us immediately, is throw open several questions about how we understand the idea of the 'digital', and what may be the new areas of enquiry for the humanities at large.

We began with the understanding that DH is a new space of interdisciplinary research, scholarship and practice with several possibilities for thinking about the nature of the intersection of the humanities and technology. The term was a little more than a found name of sorts, which since then has taken on various meanings and undergone some form of creative re-appropriation. The ubiquitous history of the term in humanities computing in the Anglo-American context has helped in locating and defining the field globally within the ambit of certain kinds of practices and scholarship in the contemporary moment. As most of the literature around DH even globally has pointed out, the problem with arriving at a definition is ontological, more than epistemological. The conditions of its emergence and existence are yet to be completely understood, although if one is to take into account the larger history of science and technology studies or even cyber/digital culture studies, these 'epistemic shifts' have been in the making for some time now. In India particularly, where a clear picture of the 'field' as such is still to emerge in the form of a theorisation of its key concerns, areas of focus or object of enquiry, it is only through a practice-mapping that one may locate what are at best certain discursive shifts in the way we understand content, structures and methods in the humanities, within the context of the digital. The fundamental premise of the nature of the digital and its relation to the human subject still lacks adequate exploration which would be required to define the contours of the field. The inherited separation of humanities and technology further makes this a complex space to negotiate, when the term may now actually indicate the need to decode the rather tenuous relationship between the two supposedly separate domains.

The question of methodology then comes in as the next most important aspect here, as the method of DH is yet to be clearly defined. At present it looks like a combination and creative appropriation of methodologies drawn from different disciplines and creative practices. The change in the methodology of the humanities and social sciences itself as now longer remaining discipline-specific has been a contributory factor to the evolving methodology of DH. The practice itself is still evolving, and while DH in the Anglo-American context can trace a history in humanities computing, with now an active interest in other spaces where the digital is an inherent part of the discourse, in India there has been little work in mainstream academic spaces such as universities or research centres, and some interest from the information and technology sector. As such the skills and infrastructure needed to work with large data sets and new technologised processes of interpretation and visualisation still remain outside the ambit of the mainstream humanities. This mapping exercise largely relied on interviews as part of its methodology, without any engagement with the actual practice, mainly because of a lack of consensus on what constitutes DH practice. However, through an exploration of allied fields such as media, archival practice, design and education technology, the study tries to locate how certain practices in these areas inform what we understand of DH today.

The archive, media and now to a certain extent art and design have become the sites for most of the discussions around DH in India, primarily because of the nature of institutions and people who have engaged with the question so far. Archival practice has seen a vast change with the onset of digitisation, and the growth of more public and collaborative archival spaces will also bring forth new questions and concepts around the nature of the archive and its imagination as a dynamic space of knowledge production. At a more abstract level, the nature of the text as an unstable object itself, now increasingly being mediated and negotiated in different ways through digital spaces, tools and methods would be one way of locating an object of enquiry in DH and tracing its connection to the humanities, which are essentially still seen as 'text-based disciplines'. What has been a definite shift is the emphasis on process which has become an important point of enquiry, and one of the many axes around which the discourse around DH is constructed. The rethinking of existing processes of knowledge production, including traditional methods of teaching-learning, and the emergence of new tools and methods such as visualisation, data mapping, distant reading and design-thinking at a larger level would be some of the interesting prospects of enquiry in the field. The method of DH is however, necessarily collaborative and distributed at the same time, as evidenced by its practice in these various areas and disciplines.

While in the Anglo-American context the predominant narrative or raison d'etre of DH seems to be the so-called 'crisis' in the humanities, it may after all be just one of reasons, and not a primary cause, at least in the Indian context. Moreover, in a paradoxical sense the emergence of DH has been seen as endangering the future of the traditional humanities, in terms of a move away from certain conventional methods and forms of research and pedagogy. While this may be relevant to our understanding of the emergence of DH, understanding the emergence of the field as resolving a crisis also renders the discourse into a uni-dimensional, problem-solving approach, thus making invisible other factors, such as the technologised history of the humanities or several other factors that have contributed to these changes. The complex and somewhere problematic history of science and technology in India and the growth of the IT sector also forms part of this context, and will inform the manner in which DH grows as a concept, area of enquiry or even as a discipline. DH is yet another manifestation of changes that we have seen in the existing objects, processes, spaces and figures of learning, particularly the open, collaborative and participatory nature of knowledge production and dissemination that has come about with the advent of the internet and digital technologies. More importantly, they also point towards the larger changes in what where earlier considered unifying notions for the university, namely that of reason and culture, which have now moved towards an idea of excellence based on a certain techno-bureaucratic impulse, as noted by Bill Readings in his work on the rise of the post-modern university[1].

If one may try to locate within this the debates around DH, the subject of this new discourse around the digital is also now rather unclear. One could explore the notion of the digital humanist, or in a more abstract manner the digital subject as one example of this lack of clarity or the distance between the practice and the subject, which is also why it has been of much concern for several scholars. As Prof. Amlan Dasgupta, with English Department at the University of Jadavpur says, it is difficult to identify such a category of scholars, although a person who is able to situate his work in the digital space with the same kind of ease and confidence that people of a different generation could do in manuscripts and books would perhaps fit this description, and he is sure that such a person may be found. For example someone who knows Shakespeare well and can write a programme, and he is sure a day will come when this is a possibility. It is a familiarity in which the inherent distance between these two pursuits becomes lesser - DH is at that moment - a composite of these two approaches rather than the difference.

While many scholars concur with this explanation, others find the term misleading - humanities scholars do not call themselves 'humanists'. Also, by virtue of being a digital subject, anybody engaged with some form of digital practice is already a digital humanist of some sort. The problem also is in the rather unclear nature of the practice, all of which is not unanimously identified as DH, as a result of which not many scholars would want to identify with the term. As Patrik Svensson (2010) points out "The individual term digital humanist may be problematic because it may seem both too general in not relating to a specific discipline or competence (thus deemphasizing the discipline-specific or professional) and too specific in emphasizing the "digital" part of the scholarly identity (if you are scholar) or giving too much prominence to the humanities part of your professional identity (if you are a digital humanities programmer or a system architect). The more general and non-personal term digital humanities is more inclusive, but somewhat limited because of its lack of specificity and relatively weak disciplinary anchorage. For both variants, there is also a question of whether "the digital" needs to be specified at all, and it is not uncommon [9] to encounter the argument that technology and the digital are part or will be part of any academic area, and hence the denotation "digital" is not required" [2]. Svensson further points out that since the term, like digital humanities, has proliferated so much in academic spaces, through publishing and funding initiatives that it has become a term of self-identification, but it could be a reference to the digital as 'tool' rather that the object of study itself. However, he also speculates that given digital humanists work across several disciplines, their understanding of humanities as a construct is stronger as the identity is linked to it at large. [3]

This debate is importantly, symptomatic of a larger conflict over the authority of knowledge, because of what seems to be a move away from the university to alternate spaces and modes of knowledge production. As Immanuel Wallerstein (1996) suggests, such a conflict of authority has already been documented earlier, in terms of the displacement of theology first and then Newtonian mechanics as dominant sources of knowledge, and the now in the manner in which the separation of disciplines is being challenged. The potential of technology in general and the internet in particular in democratising knowledge has been explored in several cases, with many such online spaces now becoming a suitable 'alternate' to the university mode of teaching and learning. What they have also given rise to are questions about the authenticity of knowledge produced and disseminated and who are the stakeholders in the process. The debates over MOOC's and the Wikipedia, and at some level the criticism that DH and certain methods like distant reading have attracted from traditional humanities scholars are a case in point. However, many of these alternate or liminal spaces have always existed; they are perhaps becoming more visible and acknowledged now. DH, with its emphasis on interdisciplinarity and different kinds of knowledge drawn from a diverse set of practices definitely opens up space for a new mode of questioning; whether all of these different modes of questioning can coalesce as a new discipline or interdisciplinary field in itself will remain to be seen.

References

Patrik, Svensson, "The Landscape of Digital Humanities". Digital Humanities Quarterly,4:1 http://digitalhumanities.org/dhq/vol/4/1/000080/000080.html 2010.
Readings, Bill, The University in Ruins Cambridge: Harvard University Press, 1997, pp 1-20.
Wallerstein, Immanuel, "The Structures of Knowledge, or How Many Ways May We Know?" Presentation at "Which Sciences for Tomorrow? Dialogue on the Gulbenkian Report: Open the Social Sciences," Stanford University, June 2-3, 1996 http://www.binghamton.edu/fbc/archive/iwstanfo.htm

The author would like to thank the Higher Education Innovation and Research Applications (HEIRA) programme at the Centre for the Study of Culture and Society (CSCS), Bangalore for support towards the fieldwork conducted as part of this mapping exercise, and colleagues at CIS and CSCS for their feedback and inputs.

Concepts/Glossary of terms

Ontology - A lot of the work being done to define DH is in fact to understand its ontological status, the nature of its being and existence. As pointed out in the part of this section, the difficulty in arriving at a consensus on a definition is largely due to a lack of clarity over the ontological basis of such a field, rather than its epistemological stake, which one may already be able to discern in a few years. There is a slippage due to a lack of connection between the history of the term and its practice, particularly in India, where DH is still a 'found term' of sorts. See http://cis-india.org/raw/digital-humanities/a-question-of-digital-humanities
Humanities - The predominant discourse in the Anglo-American context on DH seems to have set it up in a conflict with or as a threat to the traditional humanities disciplines, the causal link here being the 'crisis' of the disciplines. While there is such a narrative of crisis in the Indian con text as well, anything 'digital' is understood in terms of a problem-solving approach, and at another level seeks to further existing concerns of the humanities themselves, such as around the text. The important shift that DH may open up here is in terms of thinking about the inherited separation of technology and the humanities, and if it indeed possible now to think of a technologised history of the humanities.See http://cis-india.org/raw/digital-humanities/a-question-of-digital-humanities
Digital - the debate around and interest in DH has reinforced the need for a larger and more elaborate exploration of the 'digital' itself, and as mentioned in an earlier post, deciphering the nuances of the current state of digitality we inhabit will be key to understanding the field of DH much better. This is challenging because India is a mutli-layered technological landscape, which is also quite dynamic, ever-changing and in a period of transition to the digital. Taking this back to more fundamental questions of technology and its relation to the subject would also provide more insights into DH.See http://cis-india.org/raw/digital-humanities/digital-humanities-problem-of-definition
Subject - DH is a manifestation of the relationship between technology and the human subject, and provides different ways to negotiate the same. The 'digital humanist' as the likely subject of this discourse has remained largely undefined in this series of explorations, partly because of the lack of resonance with the term among humanities scholars and the fact that everybody at some level is already a digital subject, and therefore a digital humanist. An exploration of how the digital constitutes or constructs a subject position is likely to reveal better the nuances of this term and the reason for its relation to or distance from the practice.
Method - the methodology of a discipline is the connection between theory and field of practice, and the method of DH is still being developed. Whether it is data mining, distant reading, cultural informatics, sentiment analysis or creative visualisations of data sets drawing from aspects of media, art and design, the methodology and interests of DH are necessarily diverse and interdisciplinary. In many a case the distinction among methods, content and forms do blur as newer modes or approaches to DH come into being. This becomes a particular problem in understanding DH in the context of pedagogy and curricular resources, and would therefore require a rethinking of the understanding of a singular methodology itself.
Archive - A large part of the DH work in India seems to be focussed around the archive - both as a concept and practice. With the digital becoming in a sense the default mode of documentation across the humanities disciplines, and the opening up of the archive due to more public and digital archival efforts, the concept of the archive and archival practice have undergone several changes in terms of becoming now more networked and accessible. As mentioned earlier, we are living in an archival moment where there is a transition from analogue to digital, and it is in this moment of transition that a lot of new questions around data and knowledge will emerge. See http://cis-india.org/raw/digital-humanities/living-in-the-archival-moment.
Text - the text has been one of significant aspects of the DH debate, given that the academic discourse on DH in the West and now in India is primarily located in English departments. The understanding of the text as object, method and practice as mediated through digital spaces and tools is an important part of the discourse around DH, and has implications for how we understand changes in the nature of the text, and reading and writing as technologised processes in the digital context. See http://cis-india.org/raw/digital-humanities/reading-from-a-distance.
Process: An important point of emphasis in DH has been that of process, perhaps even more than content or outcomes. Given that the method of DH is collaborative and peer-to-peer, the processes of doing, making or teaching-learning etc become increasingly visible and important to understanding the nature of the field and knowledge production itself. More importantly, it also seeks to bring in the practitioner's experience into the realm of research and pedagogy.
Liminal : DH is a good example of a liminal space; which is a space that is on both sides of a threshold or boundary, and is therefore at some level undefined and transitional. The liminal space is often located at the margin of a body of knowledge or discipline, and it is at the margins of disciplines that new knowledge is produced. The discourse and even criticism around DH highlights the difficulties with defining the present nebulous nature of these liminal spaces and what they could transform into in the future. See http://cis-india.org/raw/digital-humanities/digital-humanities-and-alt-academy.
Interdisciplinarity - Closely tied to the notion of liminal spaces is the notion of interdisciplinarity. DH by nature is interdisciplinary, given that it draws upon methods and concerns from the other disciplines, but instead of limiting the definition to just this, it also provides a space to understand the challenges of negotiating and using an interdisciplinary approach to the humanities and other disciplines and develop these questions further. See http://cis-india.org/raw/digital-humanities/digital-humanities-and-alt-academy.

[1] See Bill Readings, The University in Ruins Cambridge: Harvard University Press, 1997, pp 1-20.

[2] See Patrik Svensson. "The Landscape of Digital Humanities". Digital Humanities Quarterly,4:1 http://digitalhumanities.org/dhq/vol/4/1/000080/000080.html

[3] Ibid.

For more details visit https://cis-india.org/raw/mapping-digital-humanities-in-india-concluding-thoughts

Making in the Humanities – Some Questions and Conflicts

sneha-pp — 2015-11-13T05:46:32Z

The following is an abstract for a proposed chapter on 'making' in the humanities, which has been accepted for publication in a volume titled 'Making Humanities Matter'. This is part of a new book series titled 'Debates in the Digital Humanities 2015' to be published by University of Minnesota Press (http://dhdebates.gc.cuny.edu/cfps/cfp_2015_mhm). The first draft of the chapter will be shared by mid-August 2015.

The object of enquiry in the humanities has traditionally been defined in the form of text, audio-visual or other kinds of ‘objects’ or cultural artifacts. With the growth of information and communication technologies, and the advent of the digital, the emergence of a ‘digital object’, as ambiguous as the term may sound, in the last couple of decades, has led to a rethinking of the conventional notion of research objects as well as modes of questioning, with larger consequences for the production and dissemination of knowledge. The rise of fields like ‘humanities computing’, ‘digital humanities’ and ‘cultural analytics’, suggest a combining of two separate domains, or polarized binaries (such as old and new media), and point to the availability of new objects of study, and therefore the need for new methods to study them. A large part of the discourse around these objects however, in trying to read them closely, obfuscates the processes by which they are constituted, which are often as novel and innovative as the artifacts themselves.

This paper will attempt to explore the processes of ‘making’ of these digital objects in the context of several sites of recent humanities scholarship in India that mobilise digital techniques as key methods. These will include two online video archival initiatives (Indiancine.ma and Pad.ma), a digital variorum of Rabindranath Tagore's literary works (Bichitra) developed at the University of Jadavpur, Kolkata, and curatorial work undertaken by the Centre for Public History, Srishti School of Art, Design and Technology, Bengaluru. Film, text and archival objects acquire several nuances as they are ‘made’ into digital objects, which are also reflected in the methods of working with and studying them. At the same time, problems of authorship, authenticity, accessibility, and a lack of adequate methods to study these objects are some challenges faced across disciplines. The objective of the study is to outline some of the questions related to form and methods that emerge with the digital object, and in the process undertake a critical reading of the politics of making in the humanities. What is the role of ‘making’ in the humanities? Where does humanities research using digital technologies intersect with art and creative practices? How is this research manifested in new forms or objects and methods, and to what effects on the humanities? The paper will aim to respond to some of these questions through a discussion of the initiatives mentioned above.

For more details visit https://cis-india.org/raw/making-in-the-humanities-2013-some-questions-and-conflicts

Living in the Archival Moment

sneha — 2015-11-13T05:27:34Z

The archive has been and continues to be a key concept in Digital Humanities discourse, particularly in India. The importance of the archive to knowledge production in the Humanities, the implication of changes in archival practice with the advent of electronic publishing and digitisation, and the focus on curation as a critical and creative process are some aspects of the debate that this blog post looks at.

In a rather delightful essay titled ‘Unpacking my Library’, published in 1968, Walter Benjamin dwells upon the many nuances of the art of collecting — books in this particular case — on everything from the sometimes impulsive acquisition to the processes of careful selection and classification which go into creating a library. This figure of the collector and practice of collecting are important to our understanding of a central concept in Digital Humanities - the archive - particularly as it occupies a predominant space in the imagination of the field in India, and processes of knowledge production and the history of disciplines in general. The influx of digital technologies into the archival space in the last decade has been an impetus for the large scale digitisation of material, but it has also thrown up several challenges for traditional archival practice, including the preservation of analogue material, the problems of categorising and interpreting large volumes of data, and the gradual disappearance or re-definition of the traditional figure of the collector — a concern echoed across several spaces extending from private online archival efforts to large collaborative knowledge repositories like the Wikipedia. With the questions that the Digital Humanities seems to have posed to traditional notions of authorship or subject expertise, the ‘digital humanist’, when we imagine such a person, can be seen as a reinvention of this figure of the collector — a curator of materials and traces, here of course, digital traces.

The concept of the archive has been important to knowledge production and particularly the development of academic disciplines; whether driven by concerns of the state or the impulses of the market, there have been different ways of defining and understanding the archive, not only as a documentary record of history, but as a metaphor for collective memory and remembrance which includes technology in its very imagination. One of the most elaborate formulations of the archive has been in the work of Jacques Derrida, where apart from proposing the death and preservation drives as primary to the archival impulse, he also highlights the process of archiviation, or the technical process of archive-building that shapes history and memory. Michel Foucault in his concept of the archive looks at it as ‘a system of discursivity which establishes the possibility of what can be said’,[1]thus pointing to the archive as a space not just of preservation but also production, with an impact on the process of knowledge creation. There is today a consensus, at least in its academic understanding that archives cannot be relegated to being self-contained linear spaces of objective historical record, but that archival practice itself has political implications in terms of how collective memory and history, or as indicated by Foucault, histories are preserved and retold through a process of careful selection. Disciplines themselves may therefore be seen as archives of knowledge, and one may stretch this analogy to say that they may also appear as self-contained spaces with restrictions on entry for different ways of remembering and reading. More importantly, the question of what constitutes the archive and what objects or materials may be archived reflects a larger debate about problems with the definition of disciplines and shifting disciplinary boundaries.[2]The issue of access is what several archival and digitisation projects in the early phase of Digital Humanities in the West seemingly sought to address, by ‘opening up’ and animating the archive in some sense through the use of digital technologies, which has allowed one to envisage a model of the networked or conceptual archive developed through a process of sharing and collaboration. However, as is apparent, the conditions of access to such archives and their interpretation have not been problematised enough, if at all, particularly with respect to how they contribute to generating new kinds of knowledge or scholarship. (For more on a theoretical overview of the concept and function of the archive, see the post on ‘Archive Practice and Digital Humanities’ by Sara Morais).

While the focus of Digital Humanities debates in the West now seem to primarily encompass methods of visualising data that the archive is an important source for, in the Indian context it is the ‘incompleteness of the archive’ that still seems to be a bone of contention. Many scholars and practitioners we spoke to see archive creation as one of the key questions of Digital Humanities as it has emerged in India, and the possibilities and challenges that this brings to the fore, (particularly in terms of access to rare materials and extending these debates to regional languages) as something that the field will need to contend with at some point. The role of digital technologies in fostering this activity of archive-building is stressed in these debates. In an earlier monograph titled Archives and Access produced as part of CIS-RAW, Dr. Aparna Balachandran and Dr. Rochelle Pinto trace a material history of archival practice in India, specifically looking at conflicts and debates surrounding state and colonial archives, and the politics of access, preservation and digitisation. The monograph also points towards in some way the move of the archive from being solely the prerogative of the state to now being within the reach of the individual, engendered by increased access to technology, and the ‘publicness’ that the visual nature of the internet fosters. However they also talk of the possibility of continuing forms of state or market control over the archive precisely through the internet and digital technologies, with the nature of individual access and use again being mediated through digitisation. Abhijeet Bhattacharya, Documentation Officer with the archives at the Centre for Studies in Social Sciences, Kolkata who was also part of the Archives and Access project, speaks about this change. From a time even twenty years ago, when it was difficult to define the archive, it has slowly transformed into a practice that encompasses various methods of digitisation and has become increasingly personal. While digitisation may have resolved the problems of physically accessing archives to a large extent, it may not always be the best option, as the archival or analogue material needs to be in good condition so as to make for good digitised copies, thus emphasising the need for preservation. The growth of private collections, which create new kinds of intellectual and nostalgic spaces, have also been important in this shift to archiving the personal and the everyday, though in many instances such material may not be available for public use or consumption. The publicness or hyper-visibility that the visual nature of the internet and digital technologies accords to the archive is seen tied to a narrative of loss here, and against the rhetoric of preservation which is still in many spaces deemed to be the primary function and imagination of the archive.

The increased availability of space for data accumulation due to digital technologies also contributes to a ‘problem of excess’, and that is where curation and building new kinds of tools come in as a critical and creative exercise. Dr. Amlan Dasgupta, Professor of English and director of the School of Cultural Texts and Records, Jadavpur University reiterates this opinion. He talks about the internet as fostering an ‘age of altruism’, where the proliferation of technological gadgets has brought about a culture of voluntarily sharing materials online. This of course challenges notions of authority and brings forth the problems of the unarranged library which Benjamin’s essay also points towards, but the archive can be used as a metaphor to understand how notions of authorship and authority are being challenged as is apparent in the Digital Humanities discourse. The theory-practice divide is also something that ails this particular domain like many others; not only is there an inadequate understanding of how to access and use the archive on the part of students and researchers alike, but there is a lack of standardisation of the practice of archive management and the science itself, in terms of metadata, problems of ownership and copyright, and most importantly inadequate infrastructure, training and expertise on preservation of analogue materials. While it may not be within the ambit of digital humanities to address all of these questions, the renewed interest in archival practice and the diversification of its modes is something is that would continue to be an integral aspect of its practice. In fact what digitisation has also led to is diversity in the modes of documentation itself, and the larger process of archiving, which has important implications for the kinds of questions one may ask within certain disciplinary formations, history being an important example. The nature of material in the archive is never quite the same, so is the manner of working with and interpreting them. Dr. Indira Chowdhury, historian and faculty member at the Srishti School of Art, Media and Design, Bangalore and the Centre for Public History (CPH) speaks of the changes that digital technologies have produced in studying oral history, specifically in terms of recording and interpretation of interviews. The mode of documentation, particularly the digital, adds a new layer to the manner in which the voice, sounds or even silence is recorded or interpreted. Although there are still some basic but crucial obstacles such as with transcription, the digital space may allow for tools that help with more nuanced interpretation of recorded material, and large volumes of it; a possibility that CPH is looking into at the moment. One of the approaches of Digital Humanities may be address these knowledge gaps through critical tool-building, in terms of how one may work with different ways of reading and interpreting material.

The digital archive is one space where many of these questions about the process of archive-creation and the separation between preservation and production that is often made in the existing discourse come into conflict, thus inflating the definition of the term much more. New technologies of publishing, the proliferation of electronic databases and growth of networks that in turn encourage production and the increasing amount of born-digital materials then present new questions for the concept of the archive and scholarship.

The role of technology has been significant in the development of the concept of the archive; in fact the archive, in its very nature would be a technological object, or a space where one can trace a history of the disciplines in relation to technology. The introduction of the digital has added yet another dimension to this question. Dr. Ravi Sundaram, Fellow at the Centre for the Study of Developing Societies, who also initiated the Sarai programme speaks of how the advent of the digital has brought about several shifts in the imagination of the archive, which he sees as two distinct phases. Sarai was one of the early models of a concept driven, networked archive, based on a culture of ‘mailing lists’ that built conversations around topics which in themselves constituted the archive. The shifts came with Web 2.0 with which archiving the everyday became a possibility, given the access to inexpensive gadgets and the pervasiveness of social media. While the model of the networked, curated and public archive still has valence today, a significant next step would be to see how one can extend these questions to thinking differently about the archive, by developing new protocols for entering, sharing and circulation of material, and producing new knowledge or concepts around these ideas. This would be crucial in terms of generating research and scholarship around the archive itself as a concept, and realising the full potential of network-generated information. Another pertinent question is that of infrastructure, which is a political question as well. The investment on infrastructure for the archive is determined by different kinds of interests and will play an important role in how archival efforts will ultimately develop. As Dr. Sundaram reiterates, the point to note is that new archival efforts are not only general repositories, but critical interventions in themselves. They foster new kinds of visibilities, like the Pad.ma archive for example which works with existing footage and reinvents or adds new layers of meaning to it through annotations and citations. This also opens up possibilities for new kinds of questions to be asked about existing material. Private archival efforts, many initiated by individuals are also becoming more niche and specific, driven by a specific research agenda, public interest in conservation or as critical and creative interventions in a particular area. Some examples of this are the Sound and Picture Archives for Research on Women (SPARROW), Pad.ma and Indiancine.ma, the Indian Memory project and Osianama. In some of these examples, the archive may be used as more of a metaphor rather than a description or classificatory term, because of the layers of meaning that they generate around an existing object or ‘trace’. However, while entering the digital space may have enabled more sharing and dissemination of material, how much of these efforts also make their way into larger civil society and policy debates, scholarship and pedagogy is a crucial question. Arjun Appadurai, in an essay titled ‘Archive and Aspiration’, which was also reproduced as part of a research art project,[3] traces the growth of the migrant archive and how electronic mediation shapes collective memory and aspiration. He points out that ‘The archive as a deliberate project is based on the recognition that all documentation is a form of intervention and, thus, that documentation does not simply precede intervention, but is its first step. Since all archives are collections of documents (whether graphic, artifactual or recorded in other forms), this means that the archive is always a meta-intervention. This further means that archives are not only about memory (and the trace or record) but about the work of the imagination, about some sort of social project. These projects seemed, for a while, to have become largely bureaucratic instruments in the hands of the state, but today we are once again reminded that the archive is an everyday tool. Through the experience of the migrant, we can see how archives are conscious sites of debate and desire. And with the arrival of electronic forms of mediation, we can see more clearly that collective memory is interactively designed and socially produced." In another essay reproduced as part of the same project, Wolfgang Ernst talks about the change in the notion of archive from ‘archival space’ to ‘archival time’, in a digital culture, in which the key is the dynamics of the permanent transmission of data. Cyberspace or the internet, according to Ernst produces a new kind of memory culture, which is devoid of organisational memory that is essentially the premise of the traditional text-based archive. He says "In cyber ‘space’ the notion of the archive has already become an anachronistic, hindering metaphor; it should rather be described in topological, mathematical or geometrical terms, replacing emphatic memory by transfer (data migration) in permanence. The old rule that only what has been stored can be located is no longer applicable.13 Beyond the archive in its old ‘archontic’ quality, the Internet generates, in this sense, a new memory culture. Digitalization of analogous stored material means trans-archivization. Linked to the Internet rather than to traditional state bureaucracies, there is no organizational memory any more but a definition by circulating states, constructive rather than re-constructive. Assuming that the matter of memory is really only an effect of the application of techniques of recall, there is no memory. The networked data bases mark the beginning of a relationship to knowledge that dissolves the hierarchy associated with the classical archive."

One can therefore trace the definite shift in the concept and nature of the archive from being a static repository to a critical intervention and creative exercise, and technology being quite integral to its imagination. Most significantly perhaps, the change has been one from the notion of record to that of affect. Archive-building as an affective practice, which has an impact on how knowledge is produced, organised and disseminated is a crucial aspect of meaning-making practices. Related to this is another issue in terms of the amount of data that is available in the archives, which demands new protocols of access and collaboration, and the role of curation in making such data relevant and comprehensible. The notion of the archive or as in this case data as an affective object becomes pertinent here. The problem of excess mentioned by many of the scholars and practitioners would be relevant to the question of big data or big social data; accessing or interpreting such large volumes of information would require critical tools and new kinds of architecture. These shifts also relocate the figure of the collector from traditional practices to new ways of visualising collections and the art of collecting itself, which are now beyond the scope of the human subject. The matter of immediate import here would then be the changes in modes of reading and writing that are brought about by the proliferation of and engagement with big social data. How do we read data, what are changes in reading practices, how do they affect writing and visualisation and what is the nature of the reader thus constructed form some of the areas of exploration for the Digital Humanities, and will be taken up in the forthcoming blogs.

[1]. Foucault quoted in Manoff (2004), p.18.

[2]. Ibid.

[3]. Archive Public is a research art project that looks at bringing together archival art and solidarity actions. See http://archivepublic.wordpress.com/ for more on this.

References

Benjamin, Walter, “Unpacking My Library”, in Illuminations, trans.Harry Zohn, Ed. Hannah Arendt. New York: Schoken Books (1969) pp 59 - 67.
Derrida, Jacques: “Archive Fever: A Freudian Impression”, trans. Eric Prenowitz. Chicago and London: University of Chicago Press (1995).
Manoff, Marlene:” Theories of the Archive from Across the Disciplines.” In: Libraries and the Academy, Vol. 4, No. 1 (2004), pp. 9–25. Copyright © 2004 by The Johns Hopkins University Press, Baltimore, MD 21218. accessed May 5, 2014 :http://dspace.mit.edu/bitstream/handle/1721.1/35687/4.1manoff.pdf?sequence=1.

For more details visit https://cis-india.org/raw/digital-humanities/living-in-the-archival-moment

Living in the Archival Moment

sneha-pp — 2016-06-30T05:08:22Z

Sections

01. Digital Humanities in India?

02. A Question of Digital Humanities

03. Reading from a Distance – Data as Text

04. The Infrastructure Turn in the Humanities

05. Living in the Archival Moment

06. New Modes and Sites of Humanities Practice

07. Digital Humanities in India – Concluding Thoughts

In a rather delightful essay titled ‘Unpacking my Library’, Walter Benjamin (1968: 59-67) dwells upon the many nuances of the art of collecting (books in this particular case), on everything from the sometimes impulsive acquisition to the processes of careful selection and classification which go into creating a library. "Ownership is the most intimate relationship one can have with objects" (67) he says, and this becomes important given the many ways in which we can acquire books today, as well as the problems of copyright, authorship and authority over meaning and knowledge that become a bone of contention in the digital age. The collector defines the nature of the object here, because he lives in and through them. While describing the personal process that is collecting, Benjamin is also aware that it may not be a process that will last as it is - a foreboding of the age when the impulse to collect, hoard and categorise has only grown tremendously due to increased access to books owing to the internet, but also where the figure of the collector seems to have been slowly effaced, thus presenting a ‘chaos of memories’ (60) in unarranged collections spread over several hard disks instead of book shelves. The figure of the collector, and the idea of ‘ownership’ emerge as an important trope in understanding the notion of order, or rather disorder of the art of collecting in the digital space.

This figure of the collector and practice of collecting are important to our understanding of a central concept in DH - the archive - particularly as it occupies a predominant space in the imagination of the field in India, and processes of knowledge production and the history of disciplines in general. The influx of digital technologies into the archival space in the last decade has been an impetus for the large scale digitisation of material, but it has also thrown up several challenges for traditional archival practice, including the preservation of analogue material, the problems of categorising and interpreting large volumes of data, and the gradual disappearance or re-definition of the traditional figure of the collector – a concern echoed across several spaces extending from private online archival efforts to large collaborative knowledge repositories like the Wikipedia. With the questions that DH seems to have posed to traditional notions of authorship or subject expertise, the 'digital humanist', when we imagine such a person, can be seen as a reinvention of this figure of the collector - a curator of materials and traces, here of course, digital traces.

The concept of the archive has been important to knowledge production and particularly the development of academic disciplines; whether driven by concerns of the state or the impulses of the market, there have been different ways of defining and understanding the archive, not only as a documentary record of history, but as a metaphor for collective memory and remembrance which includes technology in its very imagination. One of the most elaborate formulations of the archive has been in the work of Jacques Derrida, where apart from proposing the death and preservation drives as primary to the archival impulse, he also highlights the process of archivisation, or the technical process of archive-building that shapes history and memory (1995). Michel Foucault in his concept of the archive looks at it as "a system of discursivity which establishes the possibility of what can be said," [1] thus pointing to the archive as a space not just of preservation but also production, with an impact on the process of knowledge creation. There is today a consensus, at least in its academic understanding that archives cannot be relegated to being self-contained linear spaces of objective historical record, but that archival practice itself has political implications in terms of how collective memory and history, or as indicated by Foucault, histories are preserved and retold through a process of careful selection. Disciplines themselves may therefore be seen as archives of knowledge, and one may stretch this analogy to say that they may also appear as self-contained spaces with restrictions on entry for different ways of remembering and reading. More importantly, the question of what constitutes the archive and what objects or materials may be archived reflects a larger debate about problems with the definition of disciplines and shifting disciplinary boundaries [2]. With the shift to the digital archive, new questions about access, sharing and collaboration have emerged, as illustrated by the number of new archival spaces that have emerged, and growth of expansive archives such at the Walt Whitman, Rossetti and Blake archives in the West (Drucker 2011). However, as is apparent, the conditions of access to such archives and their interpretation have not been problematised enough, if at all, particularly with respect to how they contribute to generating new kinds of knowledge or scholarship.

While DH debates in the West have focussed quite significantly on archives and the possibilities that digital collections have now opened up research and creative practice involving archival material, in the Indian context it is the 'incompleteness of the archive' that still seems to be a bone of contention. Some of the scholars and practitioners interviewed as part of this study see archive creation as one of the key questions of DH as it has emerged in India, and the possibilities and challenges that this brings to the fore, (particularly in terms of access to rare materials and extending these debates to regional languages) as something that the field will need to contend with at some point. The role of digital technologies in fostering this activity of archive-building is stressed in these debates. In an earlier monograph titled Archives and Access produced as part of CIS-RAW, Aparna Balachandran and Rochelle Pinto trace a material history of archival practice in India, specifically looking at conflicts and debates surrounding state and colonial archives, and the politics of access, preservation and digitisation (2011). The monograph also points towards in some way the move of the archive from being solely the prerogative of the state to the now within the reach of the individual, engendered by increased access to technology, and the ‘publicness’ that the visual nature of the internet fosters. However they also talk of the possibility of continuing forms of state or market control over the archive precisely through the internet and digital technologies, with the nature of individual access and use again being mediated through digitisation. Abhijeet Bhattacharya, Documentation Officer with the archives at the Centre for Studies in Social Sciences, Kolkata who was also part of the Archives and Access project, and has been part of some early conversations on DH in India, speaks about this change [3]. Even twenty years ago, it was difficult to define the archive, as it was considered the prerogative of the state, and this defined the nature of archival practice and management as well. From there it has slowly transformed into a practice that encompasses various methods of digitisation and has become increasingly personal. While digitisation may have resolved some issues of preserving content and the problems of physically accessing archives to a large extent, it may not always be the best option, as the archival or analogue material needs to be in good condition so as to make for good digitised copies, thus emphasising the need for more effective methods and better training in preservation practices. Also, as he point out, digitisation may be able to capture and preserve the content of an artifact, but not its form, which is equally important. He therefore rues the fact that even with technological advancements, there is still a lack of interest in archival practice, and often institutional mandates determine the archival agenda which may not be in the interest of generating more research and scholarship around material, as this is the only way to keep the archive alive.

The growth of private collections, which create new kinds of intellectual and nostalgic spaces, has been an important shift here, with their focus on archiving the personal and the everyday, he says, though in many instances such material may not be available for public use or consumption. While on the subject of private collections and personal narratives, Dr. C S Lakshmi, writer and academic who is director of the Mumbai-based Sound and Picture Archives for Research on Women (SPARROW) [4], has particular concerns about digitalisation making large amounts of information available for consumption online, particularly with respect to women. While digitisation is an effective tool for preservation and offers several possibilities for documentation, unmediated access is problematic and often a breach of privacy. There is so much information out there that the digital sphere makes available, sometimes this excessive communication also contributes to certain silences and obscures or makes invisible people and their stories. So very often its not a question of just making information available to people. What are you making available, how much are you making available and to whom, for what purpose - these are all important questions that contour the notion of access and need to be addressed according to Dr. Lakshmi. Curation therefore emerges as an important process. The publicness or hyper-visibility that the visual nature of the internet and digital technologies accords to the archive is seen tied to a narrative of loss here, and against the rhetoric of preservation which is still in many spaces deemed to be the primary function and imagination of the archive. What this sets up is also a conflict between the possibilities of open access and sharing of material, and concerns of privacy, and the need to find a space where both these seemingly contradictory ends meet.

The increased availability of space for data accumulation due to digital technologies contributes to a 'problem of excess', and that is where curation and building new kinds of tools come in as a critical and creative exercise. Dr. Amlan Dasgupta reiterates this opinion. He talks about the internet as fostering an 'age of altruism', where the proliferation of technological gadgets has brought about a culture of voluntarily sharing materials online. This of course challenges notions of authority and brings forth the problems of the unarranged library which Benjamin’s essay also points towards, but the archive can be used as a metaphor to understand how notions of authorship and authority are being challenged as is apparent in the DH discourse. The theory-practice divide is also something that ails this particular domain like many others; not only is there an inadequate understanding of how to access and use the archive on the part of students and researchers alike, but there is a lack of standardisation of the practice of archive management and the science itself, in terms of metadata, problems of ownership and copyright, and most importantly inadequate infrastructure, training and expertise on preservation of analogue materials. While it may not be within the ambit of DH to address all of these questions, the renewed interest in archival practice and the diversification of its modes is something is that would continue to be an integral aspect of its practice. In fact what digitisation has also led to is diversity in the modes of documentation itself, and the larger process of archiving, which has important implications for the kinds of questions one may ask within certain disciplinary formations, history being an important example. The nature of material in the archive is never quite the same, so is the manner of working with and interpreting them. Dr. Indira Chowdhury, who has been engaged with archival practice herself, and is now working on setting up oral history archives through the Centre for Public History, speaks of the changes that digital technologies have produced in studying oral history, specifically in terms of recording and interpretation of interviews. The mode of documentation, particularly the digital, adds a new layer to the manner in which the voice, sounds or even silence is recorded or interpreted. She refers to Alessandro Portelli’s work on oral history, which talks about the nuances of the sound, such as tone, volume and speed of speaking which are all bearers of meaning and can tell you so much about what the person is trying to say, but can never be fully translated into the written word.(2006, 32-42) Although there are still some basic but crucial obstacles such as with transcription, the digital space may allow for tools that help with more nuanced interpretation of recorded material, and large volumes of it; a possibility that CPH is looking into at the moment. There are several institutions in India who want to set up their archives, most of their materials include many hours of interviews, with many people at a time and transcription is a problem, because it takes time, and there is still no software to aid or completely automate this process effectively. One of the approaches of DH may be to address these knowledge gaps through critical tool-building, in terms of how one may work with different ways of reading and interpreting material using digital tools.

They are also reflective of a different milieu that came about with the digital turn in India. Shaina Anand, artist and filmmaker who set up the artist’s studio and collective CAMP in Mumbai [10], and is also part of the team behind the Pad.ma and Indiancine.ma platforms, speaks of the various factors that contributed to the setting up these two online archival spaces. As artists for them the larger concern was the ever-changing electronic media or technological landscape, as seen in some of their earlier projects such as Russel TV, which involved creating content around media ecologies and intellectual property in a sort of pro-piracy, and access to knowledge framework. The focus for them was the ecology or the landscape, and within that the sharp point was where there were irregularities and inequalities and there was a need to redistribute things in a certain way. Pad.ma grew out of a larger idea of understanding this changing milieu around the early 2000s, where the digital had already become pervasive – filmmakers were editing on a laptop or desktop computer, they had access to the internet and DIY tools, resources were cheaper and more accessible as the internet was opening up a world of possibilities. Therefore, as the team realised, if there was to be an archive of the contemporary, it had to be digital or visual, or video specifically, and located online. This was also the time when the independent filmmaker had become a prominent figure and the challenges and advantages of sharing unused and raw footage became quite possible and apparent with a platform like Pad.ma. The archive was created as something contemporary, non-state and non-canonical, with a wide range of stakeholders and contributors ranging across NGOs, activists, independent filmmakers to individuals with an interest in film and video. There were however several difficulties as well, chiefly in getting people to share material, issues of privacy, and a resistance to the use of this platform as a pedagogic and academic resource, which over the years have come down with the people becoming more open to using material on the platform as primary texts, and the development of more tools for editing and annotations. Indiancine.ma that way is more of a traditional form of film studies, but with more possibilities now for working with the film text.

However, while entering the digital space may have enabled more sharing and dissemination of material, how much of these efforts also make their way into larger civil society and policy debates, scholarship and pedagogy is still a crucial question. Pad.ma and Indiancine.ma have been used by students, in media and film in particular but the efforts remain niche and restricted to certain disciplines only. Some part of this comes from a resistance to the film or a certain kind of text as academic, and therefore scholarly or relevant to a larger cross-section of research. This also stems from a predominant imagination of the archive as a static, linear repository. As Ashish Rajadhyaksha, film and cultural studies scholar, who was part of the team that created Pad.ma and Indiancine.ma, points out, the distinction between the archive as a repository space and an interpretive space is one that needs to be made clearly, and archives are clearly a form of the later. In fact the idea of the digital as a permanent medium is false, and it should not be the solution to problems of storage and preservation. Further, in a lot of expansive archives, whether digital or physical, it is seen that only up to five percent of the material is used, and more often than not it is the same five percent! This is because most people do know about the existence of certain kinds of material which is buried deep within the archive, and therefore do not access it. The emphasis of archival practice, and particularly in the time of the digital archive where space is not seen as a constraint, yet, should be to enliven the archive to ensure that material from the 'dead space of the archive' is made more searchable and accessible for use.

Curation then comes back again as an important aspect of the archive, even in the time of the digital. Indira Chowdhury sees this as one of the main shifts from the traditional archive, where the curator or the archivist performed the role of a custodian or gatekeeper who grants restricted access to the archive only to researchers or scholars. Now with the advent of the internet and shift to the digital, it’s more about collaboration, and adding to the archive, and this has encouraged a diversity of users, and uses of the archive. This comes with its own problems however, such as with metadata standards for instance, and particularly questions of format which become important from the perspective of technological obsolescence (as discussed in the earlier chapter). The digital archive has made practitioners think about what they are archiving, for whom and what purpose, and in what formats, but these questions also go back to the traditional archive, and in fact are dependent on how we think about and defined the archive itself, then and now how we imagine the virtual archive. These are as she says, questions that may be routed through technology, but not necessarily about technology. Also, even with the traditional archive, making material accessible and usable was a concern, and this is where the archivist or custodian played an important role. She speaks about using pre-digital archives, where there are handwritten descriptions of material, all meticulously preserved, indexed and cross-referenced, and you know what material to look for because the archivist knew what was in the archive and how to find it. She speaks of her own experience of setting up the archives at TIFR, which was not digital then, but has been digitised now, and even though she has not been associated with them for a while now she still gets the occasional email requesting help to find something in the archive, because she knows the material. A lot of the new digital archives therefore, despite their huge collection which are also searchable, need archivists and assistants who oversee the organisation of material, because those cross-references and connections have just not been made (often it is not humanly possible because of the sheer volume of data), which is really what the historians will look for, and that is the challenge here.

Padmini Ray Murray, another faculty member at the Centre for Public History, also sees this as a problem of not imagining the archive as a database, but as this legacy where content is being held together under this one overarching frame. She finds that there is a metanarrative that is created at the level of the database, because of the context in which the archive becomes a database – the historical / institutional questions, and what is being used to create the archive. A point of divergence however could be that it’s easier to lie with the archive, because with the database there is the empirical identifier, so the truth claim is better. This is something that Dr. Chowdhury agrees upon as well, as she finds that because archives have the potential of being multilayered, and are therefore complex, verification is difficult; it’s only another scholar who will check the materials referenced or used by one – and the interpretation would change, and this had implications for the way the archive generates scholarship. Another difference is pulling data from the archive in a way that it allows the making of computational hypotheses about other possibilities, which is the heart of DH – such as topic modelling and algorithmic shortcuts to crunch through data to posit some hypothetical claims. She feels that in India at the moment we are not doing in enough with the archive as database, which also restricts its many possibilities. Even in terms of access to the archive, which the digital archive is supposed to make easier, it comes with certain conditions, such as copyrights, privacy and even different kinds of Creative Commons licenses for open source content. It also depends on what Dr. Ray Murray describes as the ‘flavour of the archive’, something particularly relevant to a lot of new private archival spaces like the Indian Memory Project, or Indiancine.ma or Pad.ma, which focussed on 'building the archive', as opposed to working with an existing archive of material. As such these are somewhat ephemeral archives, always in the making, and where the digital intersects clearly with the archival space is in terms of finding an audience for it; the internet creates these niche spaces of interest, so you find that people want to access such spaces, and do it differently from the traditional archive, as the varied nature and functionalities of these two examples demonstrate.

What the long discussion seems to illustrate then is the gradual shift of the archive to become something of a metaphor, as the way the archive has been previously imagined, and its functions have changed with the advent of the internet. As Wolfgang Ernst asks:

Does the archive become metaphorical in multimedia space? This is a plea for archiving the term archive itself for the description of multimedia storage processes. Digital archaeology, though, is not a case for future generations but has to be performed in the present already. In the age of digitalizability, that is, when we have the option of storing all kinds of information, a paradoxical phenomenon appears: cyberspace has no memory. (Ernst 2013: 138)

What Ernst suggests is that the Internet forms a different kind of multimedia archive, or anarchive, or is a phantasm, which differs from the printed of state archives because “the archive is a given, well-defined lot; the Internet, on the contrary, is a collection not just of unforeseen texts but of sound and images as well, an anarchive of sensory data for which no genuine archival culture has been developed so far in the occident” (139). The internet, in documenting the discontinuities and ‘disorder’ of the history of multimedia forms thus gives rise to a new memory culture, and this is important to the process of understanding how new archival spaces are being created, and theorised.

Archive-building has an impact on how knowledge is produced, organised and disseminated is a crucial aspect of meaning-making practices. Related to this is another issue in terms of the amount of data that is available in the archives by the sheer amount of material that it can now hold, which demands new protocols of access and collaboration, and the role of curation in making such data relevant and comprehensible. The problem of excess mentioned by many of the scholars and practitioners would be relevant to the question of big data; accessing or interpreting such large volumes of information would require critical tools and new kinds of architecture. These shifts also relocate the figure of the collector from traditional practices to new ways of visualising collections and the art of collecting itself, which are now beyond the scope of the human subject. As illustrated by practices such as distant reading, it is now humanly difficult to read, and process such large volumes of data that the digital archive now makes available to us. What this then throws up as questions for archival practice, and DH of course, is the new modes by which knowledge is produced through access to such corpora – for instance the impact such changes have on history, its reading and writing, the growth of public history and the role of the internet archive in fostering its growth. On a much broader level, it also points towards the implications of this shift for pedagogy and scholarship in the humanities, in the digital age, questions which will be discussed in the next chapter.

Notes

[1] Michel Foucault quoted in Manoff (2004: 18).

[2] Ibid.

[3] A session on 'Digital Humanities and the State of the Archives in South Asia' was conducted by Prof. Abhijit Bhattacharya and his team as part of a workshop on research methodology in Women's Studies, held at Tezpur University between April 6-7, 2010.See http://www.tezu.ernet.in/notices/ResearchMethodology.pdf

[4] See: http://www.sparrowonline.org/.

[5] See: http://sarai.net/.

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

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

[8] See: http://www.indianmemoryproject.com/.

[9] See: http://osianama.com/.

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

References

Balachandran, Aparna, and Rochelle Pinto.Archives and Access. Bangalore: The Centre for Internet and Society, 2011

Benjamin, Walter. "Unpacking my Library: A Talk about Book Collecting" In Illuminations, edited by Hannah Arendt.Translated by Harry Zohn, 59-67.New York: Schoken Books, 1968

Derrida, Jacques. Archive Fever: A Freudian Impression.Translated by Eric Prenowitz.Chicago:University of Chicago Press, 1996

Drucker, Johanna. "Humanistic Theory and Digital Scholarship" In Debates in the Digital Humanities, edited by M.K. Gold. Minneapolis: University of Minnesota Press, 2012.Accessed December 11, 2015.http://dhdebates.gc.cuny.edu/debates/text/34

Ernst, Wolfgang. "Discontinuities:Does the Archive become Metaphorical in Multimedia Space?" In Digital Memory and the Archive, edited by Jussi Parikka, 113 - 140.Minneapolis: University of Minnesota Press, 2013

Manoff, M. “Theories of the Archive from Across the Disciplines.” Portal: Libraries and the Academy, Vol.4, No.1 (2005): 9-25.Accessed December 10, 2015. http://dspace.mit.edu/handle/1721.1/35687

Portelli, Alessandro "What makes oral history different?”. In The Oral History Reader, edited by Robert Perks and Alistair Thomson, 32-42. London: Routledge, 2006.

For more details visit https://cis-india.org/raw/living-in-the-archival-moment

Learn it Yourself

nishant — 2015-05-14T12:08:32Z

The peer-to-peer world of online learning encourages conversations and reciprocal learning, writes Nishant Shah in an article published in the Indian Express on 30 October 2011.

Technologies and learning have always had a close link. In the past, distance learning programmes of higher education through the postal service, remote education programmes using satellite TV and interactive learning projects using information and communication infrastructure, have all been deployed with varied results in promoting literacy and higher education. In the last two decades, the internet has also joined this technology ecology in trying to provide quality and affordable education to remotely located areas through “citizen service centres” envisioned to reach 6,40,000 Indian villages in the future.

These technology-based information outreach programmes expand the ability of traditional formal learning centres like universities, to cater to the needs of those who might not have access to learning resources. This vision of networked education relies on existing systems of centralised syllabus making, teacher-to-student information transfer, grade-based evaluation and accreditation systems, and a degree-centred approach to learning.

I was in New York last week, at an international summit on the future of learning, Mobility Shifts, organised by the New School, where more than 260 speakers from 21 countries discussed the possibility of learning beyond the bounds of the school and university system. Many discussions were around the declining public education system (with huge disinvestment moves from the government), privatisation of education, increasing tuition and fees, and the non-relevance of current education. However, along with this digital expansion of the traditional education system is an emerging trend that challenges the ways in which we understand education and learning – DIY Learning or Do It Yourself Learning.

DIY Learning is a product of the networked condition. It recognises that as more people get onto digital information networks, there is a possibility of producing peer-to-peer learning conditions, which do not have to follow our accepted models of learning and education.

We have seen the rise of various decentralised and democratised knowledge repositories like Wikipedia. The search based algorithms of search engines also take into consideration the idea that knowledge is personal. User generated content sites like eHow.com show that the individual learner is not merely a recipient of information and knowledge. Information seeking spaces like Quora have shown that knowledge-sharing communities can incite new conditions of learning. Our contexts, experiences, everyday practices, aspirations etc. equip us with valuable information, which not only shape how we learn but also what we find relevant to learn for ourselves. DIY Learning picks up on the idea that the infrastructure of education is not necessarily designed towards learning. Learning often happens outside the classrooms, in informal conversations.

Thus DIY Learning offers a new model of learning. It destabilises the established hierarchy of knowledge production and pedagogy and creates an each-one-teach-one model with a twist. Instead of a centralised board of curriculum designer who shape syllabi for the “average” student, you have the possibility of customised, highly individual, interest-based learning curricula where the student is a part of deciding what s/he wants to learn. DIY Learning doesn’t recognise the distinctions between teachers and students, but recognises them as “peers” within a network, encouraging conversations and reciprocal learning rather than information transfer based classroom models. Instead of mass-produced education that caters only to an imagined average, the DIY Learning model recognises that within the same student group, there are different rates and scales of learning, thus offering environments suited to the aptitude of the students.

Within the DIY Learning model, aspects of education, from the design of curriculum and learning methods, to grading and evaluation are geared towards individual preferences and aspirations.

Many people think of DIY Learning as an alternative to mainstream learning processes and structures. However, it is perhaps more fruitful to think of DIY Learning as a way of figuring out the problems that beset our traditional educational system. It allows us to rethink the relationships between learning, education, teaching and technologies. It recalibrates the space of the classroom and reconfigures the role of the teacher and the student.

DIY Learning emphasises that merely building schools and universities is not enough to assure that learning happens. Learning happens through experiences, practice, conversations, internalisations and through making mistakes. DIY Learning offers these possibilities in an education universe that is constantly refusing to take risks, innovate and adapt to the needs of the present. By itself it might not be able to take on the roles and functions of the existing education systems. But it does warn us that we are preparing our students for our pasts rather than their futures. And the time to change is now.

The original story was published in the Indian Express, it can be read here

For more details visit https://cis-india.org/digital-natives/pathways/blog/learn-it

How are Indian Newspapers Adapting to the Rise of Digital Media?

sumandro — 2016-07-06T14:28:13Z

How are Indian newspapers adapting to the transition to digital news production, distribution, and consumption? How are they changing their journalistic work, their newsroom organisations, and their distribution strategies as digital media become more important? These are the questions we are pursuing in a joint pilot project with the Reuters Institute for the Study of Journalism, University of Oxford.

Cross-posted from the Reuters Institute for the Study of Journalism.

The Indian newspaper market is vibrant and diverse, and rising print circulation has so far shielded it from the digital disruption the industry has faced in many high income countries.

But internet access and use is rapidly growing in India, driven especially, by cheap smartphones and mobile web access. And both attention and advertising is moving to digital media.

How are Indian newspapers adapting to this change? How are they changing their journalistic work, their newsroom organisations, and their distribution strategies as digital media become more important? These are the questions we are pursuing in a joint pilot project with the Reuters Institute for the Study of Journalism, University of Oxford.

As part of the project we are interviewing editors and journalists working with newspapers in English, Hindi and Malayalam (one newspaper for each language) to better understand how different Indian newspapers are adapting to the rise of digital media.

The study will result in a joint report published by the Reuters Institute for the Study of Journalism at the University of Oxford that we hope will help Indian journalists and newspapers as they navigate their digital transition, their colleagues elsewhere in the world facing similar issues, and academics and media policy makers keen to understand how the development of digital media—and the ways in which other actors respond to these developments—are reshaping our information environment.

We expect to publish the report in December 2016. The research team includes Zeenab Aneez and Sumandro Chattapadhyay from CIS, and RISJ Director of Research Rasmus Kleis Nielsen. Vibodh Parthasarathi from CCMG, Jamia Millia Islamia, will contribute to the study as an advisor.

The project builds on a recently completed study of "Digital Journalism Start-Ups in India" conducted by Arijit Sen and Rasmus Kleis Nielsen.

For more details visit https://cis-india.org/raw/how-are-indian-newspapers-adapting-to-the-rise-of-digital-media

Figures of Learning: The Visual Designer

sneha-pp — 2015-11-13T05:33:30Z

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 Tejas Pande examines the figure of the visual designer, and emerging practices of mapmaking.

Making Methods for Digital Humanities (2M4DH) project seeks to make specific interventions around methods in the larger debates and practices of Digital Humanities, which includes producing content within the field, building a living repository of knowledge content by developing methods as well as interfaces, platforms and knowledge infrastructure, and bringing together a range of practitioners, performers and researchers from different disciplines who are not necessarily only working on the digital. As part of this project two consultations were held in Bangalore, around figures of learning in the digital context. The following is a series of abstracts for a proposed journal issue, that perform multi-media writing, bringing in artistic practice, video, sound and theoretical concepts to describe a particular practice of learning and knowledge in India and focus on a specific body, figure or person that is at the centre of that knowledge practice.

The Visual Designer

Tejas Pande

Mapping is the visual articulation of a living complex system, and locates itself at the nodes that allow for exchanges of knowledge from diverse disciplines. Over the course of history, it has come to represent exchanges of information of a very diverse nature. Commonly associated with representations of physical spaces, maps have since accommodated a growing need to chalk out relationships between spaces (physical, or temporal), ideologies, and institutions. This expanded notion of mapping has affected the way creators of maps regard the practice of mapmaking itself. Armed with a growing arsenal of tools (offline and web-based) to map such networks with, mapmaking has opened up to a host of professionals, amateurs, and anyone else with a desire to express spatial-temporal relationships.

In such contexts, it is worthwhile to ask ourselves what is the role of traditional scientists, cartographers, and visual designers, who have been responsible for assimilating knowledge and making it visually palatable for wider audiences. The role of such mapmakers is further complicated by the expanded view of the craft of designing itself. For instance, graphic designer Aris Venetikidis began appearing on social media feeds in 2012 after his contribution to TEDx Dublin as the mapmaker genius behind the redesigned prototype of the Dublin Bus system. The new visualisation was met with critical praise, but interestingly his design process had steered the original mapmaking effort into that of quasi-transportation planning. Traditional mapmakers are being forced to intimately understand flows that constitute systems they wish to represent for others. Visual studies have historically emphasized decoding information embedded in collectively-generated syntax. Increasingly, multi-disciplinary practices have forced traditional designers to refashion their role in larger processes of production. What if their role was framed in the context of not only the rules of design process and problem definition, but the institutions within whom they operate, as well?

In my opinion, these figures have come to serve as facilitators in a process of knowledge creation and sharing, and use mapmaking as their primary visual tool to form networks of exchanges. Examples drawn from emerging planning practices, especially in the urban sphere, will be used to examine the role of a mapmaker, too.

For more details visit https://cis-india.org/raw/figures-of-learning-the-visual-designer