Centre for Internet and Society

Nanny state rules porn bad for you

praskrishna — 2015-08-05T01:39:28Z

The article by Anahita Mukherji was published in the Times of India on August 4, 2015. Pranesh Prakash gave his inputs.

Half a century ago, India banned the DH Lawrence classic, Lady Chatterley's Lover. The ban, though lambasted for its Victorian view of modesty and obscenity, was fair and square; the matter was debated in the Supreme Court, which upheld the ban. Over 50 years later, a diverse spectrum of civil society has slammed a much more insidious and far less transparent ban on internet pornography.

For starters, the 857 sites that vanished from India's internet sphere haven't been officially banned, they just don't show up when you type the url. The order blocking them isn't public. For a list of the 857 sites, one must rely on leaked documents put out on Twitter by Pranesh Prakash, policy director, Centre for Internet and Society. "The ban on Lady Chatterley's Lover was public. As for the blocked websites, the government has gone out of its way to hide the list of sites pulled down. A secret order banning material violates all principles of transparency in a democracy," says Prakash.

The document, with 'Restricted' written on it, is a letter from the department of telecom asking ISPs to disable 857 sites as they bear content related to "morality" and "decency," violating Article 19 (2).

Strangely, the order's been issued under Sec 79 (3)(b) of the IT Act dealing with intermediaries having to remove material used to commit unlawful acts. "Watching porn isn't illegal in India. Disseminating 'obscene' content can be illegal, but for that, the government must file a case against the sites, and they must be allowed a representation," says Prakash.

"Sec 79 (3)(b) of the IT act isn't the section under which governments can block sites. It should use Sec 69 that has a review process," says Nikhil Pahwa, a champion of internet freedom.

The government drew up its list of 857 sites even as SC is in the process of hearing a petition to ban porn and is yet to pass an order. It includes playboy.com that, says Prakash, is a legitimate adult site. Pahwa points to the ban's "bizarrely moralistic undertones".

"As society evolves, government and regulatory regime are stuck in medieval ages," he says, adding a ban on websites will be rendered ineffective, pushing users to VPNs, a black hole for government monitoring mechanisms.

"A government that hasn't succeeded with Make in India is trying to prevent Make out in India," says venture capitalist Mahesh Murthy, who earlier backed net neutrality.

"The government is blocking websites to keep Rightwing lunatic fringes happy after its unsuccessful bid to pass the land bill," says Murthy.

"It isn't merely looking at blocking porn, but is trying to bring back Sec 66A (IT Act), ruled unconstitutional by the SC," he adds. "It's part of the bid to restrict individual freedom, create an artificial separation between Indian culture and anything erotic, driven by a diktat from Hindutva forces. It's ironic as Modi came to power as someone looking to activate individual agency. Now he's wary about where that leads to," says Subir Sinha, professor at the School of Oriental and African Studies (London). Murthy and Sinha believe the issue stems from a refusal to accept Indian culture in totality. "Victorian morality is considered Hindu, Khajuraho isn't," says Murthy.

"The government seems to be acting in a more high-handed manner than previous ones. The press and public opinion should wake up to this," says sociologist Andre Beteille.

For more details visit https://cis-india.org/internet-governance/news/the-times-of-india-august-4-2015-anahita-mukherji-nanny-state-rules-porn-bad-for-you

The Zen of Pad.ma: 10 Lessons Learned from Running Open Access Online Video Archives in India and beyond

sneha-pp — 2016-01-28T08:25:18Z

Sebastian Lütgert and Jan Gerber, the co-initiators of, and the artists/programmers behind the pad.ma (Public Access Digital Media Archive) project will deliver a lecture at CIS on Wednesday, February 03, 6 pm, on their experiences of learnings from running open access online video archives in Germany, India, and Turkey. Please join us for coffee and vada at 5:30 pm.

The Zen of Pad.ma

Eight years after the launch of Pad.ma and three years since the inception of Indiancine.ma, Sebastian Lütgert will take a closer look at some of the strategies -- decisions and decision making processes, foundational principles and accidental discoveries -- that may have helped make these projects sustainable. While most of the lessons begin with concrete questions related to software and technology, most of them will end up pointing beyond that: towards a general theory of collaboration, towards strategies against premature separation of labor, and towards a few practical proposals for successful self-organization on the Internet.

Biographies

Sebastian Lütgert, media artist, programmer, filmmaker and writer, lives and works in Berlin. Co-founder of Bootlab, textz.com, Pirate Cinema Berlin, Pad.ma and Indiancine.ma. Lecturer at the Academy of the Sciences in Berlin, various publications on cinema, copyright, radical subcultures and the politics of technology.

Jan Gerber, video artist and softwate developer, lives and works in Berlin. Co-initiator of Pirate Cinema Berlin, Pad.ma and Indiancine.ma, author of numerous Open Source software projects, most recently Open Media Library. Involved in a variety of open-access archive projects around the world.

For more details visit https://cis-india.org/raw/the-zen-of-padma

Indian Newspapers' Digital Transition

zeenab — 2016-12-09T07:12:53Z

This report examines the digital transition underway at three leading newspapers in India, the Dainik Jagran in Hindi, English-language Hindustan Times, and Malayala Manorama in Malayalam. Our focus is on how they are changing their newsroom organisation and journalistic work to expand their digital presence and adapt to a changing media environment. The report comes out of a collaboration between the CIS and the Reuters Institute for the Study of Journalism, University of Oxford, and was supported by the latter. The research was undertaken by Zeenab Aneez, with contributions from Rasmus Kleis Nielsen, Vibodh Parthasarathi, and Sumandro Chattapadhyay.

Download: PDF.

Cross-posted from the Reuters Institute for the Study of Journalism (December 08, 2016).

Executive Summary

This report examines the digital transition underway at three leading newspapers in India, the Dainik Jagran in Hindi, English-language Hindustan Times, and Malayala Manorama in Malayalam. Our focus is on how they are changing their newsroom organisation and journalistic work to expand their digital presence and adapt to a changing media environment.

The background for the report is the rapid and continued growth in digital media use in India. Especially since 2010, internet use has grown at an explosive pace, driven by the spread of mobile web access, also outside large urban areas and the more affluent and highly educated English-language minority that have historically represented a large part of India’s internet users. Some analysts estimate more than 30% of Indians had some form of internet access by the end of 2015 (IAMAI-IMRB, 2015). With this growth has come a perceptible shift of audience attention and advertising investment away from legacy media like print and television and towards digital media. This shift has been accompanied by the launch of a number of new digital media start-ups in India and, especially, the growing role of large international technology companies investing in the Indian market.

These developments present Indian newspapers with new challenges and opportunities. Print circulation and advertising is still growing in India, but more slowly than in the past, and especially the English-language market seems saturated and ripe for the shift towards digital media that has happened elsewhere. From 2014 to 2015, the Indian advertising market grew by 13%. Print grew 8%, but English-language newspaper advertising only half of that. Digital advertising, in contrast, grew by 38%, and is projected to continue to grow for years to come as digital media become more central to India’s overall media environment (KPMG-FICCI, 2016).

If they want to secure their long-term future and continued editorial and commercial success, Indian newspapers have to adapt to these changes. The three case studies in this report represent three different examples of how major newspapers are navigating this transition.

Based on over 30 interviews conducted with senior management, editors, and rank-and-file reporters from three major newspapers, as well as other senior journalists and researchers who have wider experience in the Indian news industry, plus secondary sources including industry reports and academic research, we show the following.

All three newspapers are proactively investing in digital media technology and expertise, and adapting their editorial priorities, parts of their daily workflow, distribution strategies, and business model to the rise of digital media. Tools like Chartbeat are now commonplace; search engine optimisation, social media optimisation, and audience analytics are part of everyday work; and some are experimenting with new formats (Hindustan Times was a launch partner for Facebook Instant Articles; Manorama Online has produced both Virtual Reality and 360 videos, an Apple watch app, and is on Amazon Echo).
Given that the print newspaper industry is still growing in India, especially in Indian-language markets, these newspapers are innovating from a position of relative strength in comparison to their North American and European counterparts. However, this is done with the awareness that that print is becoming a relatively less important part of the Indian media environment, and digital media more important. Short-term, reach and profits come from print, but longer term, all have to build a strong digital presence to succeed editorially and commercially.
All three newspapers aim to do this by building on the assets they have as legacy media organisations, and trying to leverage their brand reputation, audience reach, and editorial resources to maintain an edge over digital news start-ups and international news providers. Their legacy, however, offers not only assets, but also liabilities. As successful incumbents, all of them struggle with the inertia that comes from established organisational structures and professional cultures. To change their organisation and culture, and thus more effectively combine new technologies and skills with existing core competences, each newspaper is not only investing in digital media and personnel, but also trying to change at least parts of the existing newspaper to adapt to an increasingly digital media environment.
They do this in different ways. At Dainik Jagran and Malayala Manorama, the focus has been on building up separate digital operations at Jagran.com and Manorama Online, apart from the printed newspaper itself. At the Hindustan Times, in contrast, the aim has been to integrate print and digital in a joint operation working across platforms and channels. Dainik Jagran and Malayala Manoroma have thus focused mostly on building up new digital assets, whereas the Hindustan Times has been transforming existing assets to work across platforms. At Dainik Jagran and Malayala Manorama, much of the push for change has come from management, whereas there has been a stronger editorial involvement at the Hindustan Times, and a greater attempt to engage rank-and-file reporters through training sessions and other initiative designed to demonstrate not only the commercial importance, but also the editorial potential, of digital media.
All three newspapers have found that expanding their digital operations requires investment of money in new technologies and in staff with new skills. But it is also clear that this is not enough. Investment in technology has to be accompanied by a change in organisation and culture to effectively leverage existing assets in a digital media environment. In their attempts to do this, the most significant barriers have been a perceived cultural hierarchy, deeply ingrained especially in the newsroom, that print journalism is somehow inherently superior to digital journalism, and a lack of effective synergy between editorial leaders and managers, often combined with a lack of technical know-how. Money can buy new tools and bring in new expertise, but it cannot on its own change culture, ensure synergy, or align the organisation with new priorities. This requires leadership and broad-based change. Long-term, senior editors, management, and rank-and-file reporters will have to work and change together to secure Indian newspapers’ role in an increasingly digital media environment.

Digital media thus present Indian newspapers with challenges and opportunities similar to those newspapers have faced elsewhere. Only they face these from a position of greater strength, because of the continued growth in their print business, and with the benefit of having seen how things have developed in more technologically developed markets. We hope this report will help them navigate the digital transition ahead.

For more details visit https://cis-india.org/raw/indian-newspapers-digital-transition

State of Consumer Digital Security in India

pranav — 2021-07-05T11:07:24Z

This report attempts to identify the existing state of digital safety in India, with a mapping of digital threats, which will aid stakeholders in identifying and addressing digital security problems in the country. This project was funded by the Asia Foundation.

Since 2006, successive Union governments in India have shown increased focus on digital governance. The National e-Governance Plan was launched by the UPA government in2006, and several digital projects led by the state such as digitisation of the filing of taxes, appointment process for passports, corporate governance, and the Aadhaar programme(India’s unique digital identity system that utilises biometric and demographic data) arose under it, in the form of mission mode projects (projects that are part of a broader National e-governance initiative, each focusing on specific e-Governance aspects, like banking, land records, or commercial taxes). In 2014, when the NDA government came to power, the National e-Governance Plan was subsumed under the government’s flagship project of Digital India, and several mission mode projects were added. In the meantime, the internet connectivity, first in the form of wire connectivity, and later in the form of mobile connectivity has increased greatly. In the same period, use of digital services, first in new services native to the Internet such as email, social networking, instant messaging, and later the platformization and disruption of traditional business models in transportation, healthcare, finance and virtually every sector, has led to a deluge of digital private service providers in India.

Currently, India has 500 million internet users — over a third of its total population — making it the country with the second largest number of Internet users after China. The uptake of these technological services has also been accompanied by several kinds of digital threats that an average digital consumer in India must regularly contend with. This report is a mapping of consumer-facing digital threats in India and is intended to aid stakeholders in identifying and addressing digital security problems. The first part of the report categorises digital threats into four kinds, Personal Data Threats, Online Content Related Threats, Financial Threats, and Online Sexual Harassment Threats. Threats under each category are then defined, with detailed consumer-facing consequences, and past instances where harm has been caused because of these threats.

Read the full report here.

For more details visit https://cis-india.org/internet-governance/blog/state-of-consumer-digital-security-in-india

WhatsApps with fireworks, apps with diyas: Why Diwali needs to go beyond digital

nishant — 2015-11-23T13:27:37Z

The idea of a 'digital' Diwali reduces our social relationships to a ledger of give and take. The last fortnight, I have been bombarded with advertisements selling the idea of a “Digital Diwali”. We have become so used to the idea that everything that is digital is modern, better and more efficient.

The article was published in the Indian Express on November 22, 2015.

I have WhatsApp messages with exploding fireworks, singing greeting cards that chant mystic sounding messages, an app that turns my smartphone into a flickering diya, another app that remotely controls the imitation LED candles on my windows, an invitation to Skype in for a puja at a friend’s house 3,000 km away, and the surfeit of last minute shopping deals, each one offering a dhamaka of discounts.

However, to me, the digitality of Diwali is beyond the surface level of seductive screens and one-click shopping, or messages of love and apps of light. Think of Diwali as sharing the fundamental logic that governs the digital — the logic of counting. As we explode with joy this festive season, we count our blessings, our loved ones, the gifts and presents that we exchange. If we are on the new Fitbit trend, we count the calories we consume and burn as we make our way through parties where it is important to see and be seen, compare and contrast, connect with all the people who could be thought of as friends, followers, connectors, or connections.

While there is no denying that there is a sociality that the festival brings in, there is also a cruel algebra of counting that comes along with it. It is no surprise that as we celebrate the victory of good over evil and right over wrong, we also simultaneously bow our heads to the goddess of wealth in this season.

Look beyond the glossy surface of Diwali festivities, and you realise that it is exactly like the digital. Digital is about counting. It is right there in the name — digits refers to numbers. Or digits refer to fingers — these counting appendages which we can manipulate and flex in order to achieve desired results. At the core of digital systems is the logic of counting, and counting, as anybody will tell us, is not a benign process. What gets counted, gets accounted for, thus producing a ledger of give and take which often becomes the measure of our social relationships.

I remember, as a child, my mother meticulously making a note of every gift or envelope filled with money that ever came our way from the relatives, so that there would be precise and exact reciprocation. I am certain that there is now an app which can keep a track of these exchanges. I am not suggesting that these occasions of gifting are merely mercenary, but they are embodiments of finely calibrated values and worth of relationships defined by proximity, intimacy, hierarchy and distance. The digital produces and works on a similar algorithm, which is often as inscrutable and opaque as the unspoken codes of the Diwali ledger.

There is something else that happens with counting. The only things that can have value are things that have value. I don’t know which ledger counts the coming together of my very distributed family for an evening of chatting, talking, sharing lives and laughter. I don’t know how anybody would reciprocate that one late night when a cousin came to our home and spent hours with my younger brother making a rangoli to surprise the rest of us. I have no idea how they will ever reciprocate gifts that one of the younger kids made at school for all the members of the family.

Diwali is about the things, but like the digital system, these are things that cannot be counted. And within the digital system, things that cannot be counted are things that get discounted. They become unimportant. They become noise, or rubbish. Our social networks are counting systems that might notice the low frequency of my connections with my extended family but they cannot quantify the joy I hear in the voice of my grandmother when I call her from a different time-zone to catch up with her. Digital systems can only deal with things with value and not their worth.

I do want to remind myself that there is more to this occasion than merely counting. And for once, I want to go beyond the digital, where my memories of the past and the expectations of the future are not shaped by the digital systems of counting and quantifying. Instead, I want Diwali to be analogue. I shall still be mediating my collectivity with the promises of connectivity, but I want to think of this moment as beyond the logics and logistics of counting that codify our social transactions and take such a central location in our personal functioning. This Diwali, I am rooting for a post-digital Diwali, that accounts for all those things that cannot be counted, but are sometimes the only things that really count.

For more details visit https://cis-india.org/internet-governance/blog/the-indian-express-nishant-shah-november-22-2015-whatsapps-with-fireworks-apps-with-diyas-why-diwali-needs-to-go-beyond-digital

Mapping Digital Media: Broadcasting, Journalism and Activism in India — A Public Consultation

praskrishna — 2013-10-25T10:46:24Z

Alternative Law Forum, Maraa and the Centre for Internet and Society invite you to a public consultation on Mapping Digital Media in India, on October 27, 2013 at the Bangalore International Centre from 10 a.m. to 4.00 p.m.

Click to download the background note, press invite and press release and the poster of the event.

Here, reputed media lawyers, researchers, journalists, activists and other media professionals will be responding to a recent report that examines the progress of digitisation in India and its impact on media freedom and citizen’s access to quality news and information—the fundamental principles underpinning the Open Society Foundations’ work on media and communications.

Recently, India decided to make digitalise distribution of television signals across India in a phased manner, further contributing to the phenomenon of global digitisation, as citizens enter the fully digital broadcast world. While there may be perceived benefits of the ‘digital switchover’ in terms of freeing up spectrum, increase in quality of signals and so on, the full impact of digitalisation on plurality, diversity, ownership of media and content is yet to be comprehended fully.

Through this public consultation, hosts, Maraa, the Alternative Law Forum (ALF) and the Centre for Internet and Society (CIS), hope to shed light on key challenges confronting our emergent digital landscape while incorporating the input of those directly affected by this digitisation, India’s digital consumers, in a widened discussion on the matter. Speakers will directly respond to three sections of the country report – Regulation, Digital Activism and Journalism, and discussions to focus on trends in broadcasting (radio and television), cable operations and newspapers (print & online) as each of these sectors undergo digitalisation.

We would appreciate your participation at this public consultation so that we each may become better informed with regards to India’s digital media landscape and contribute to discussion as we strive to better comprehend the multifaceted picture that is emerging as this media digitisation takes place and look forward to hearing your input.

The India report is available for free download at http://www.opensocietyfoundations.org/reports/mapping-digital-media-india

Agenda

Policies, Laws and Regulators
10.00 a.m. - 10.30 a.m.	Lawrence Liang
10.30 a.m. - 11.00 a.m.	Mathew John
11.00 a.m. - 11.30 a.m.	Q & A
11.30 a.m. - 11.45 a.m.	Tea Break

Impact of Digital Media on Activism
11.45 a.m. - 12.15 p.m.	Arjun Venkatraman
12.15 p.m. - 12.45 p.m.	Meera K
12.45 p.m. - 1.15 p.m.	Q & A
1.15 p.m. - 2.00 p.m.	Lunch Break

Impact of Digital Media on Journalism
2.00 p.m. - 2.30 p.m.	Geeta Seshu
2.30 p.m. - 3.00 p.m.	Subhash Rai
3.00 p.m. - 3.30 p.m.	Q & A
Closing Remarks

For more details visit https://cis-india.org/internet-governance/events/mapping-digital-media-public-consultation-october-27-bangalore

Linking Facebook use to free top-up data

praskrishna — 2016-02-14T12:33:17Z

Just before the Trai notification, the Ambani brothers signed a spectrum sharing pact and they have been sharing optic fibre since 2013.

The article was published in the Deccan Chronicle on February 14, 2016. Pranesh Prakash gave inputs.

Some people argue that Trai should have stayed off the issue since the Competition Commission of India (CCI) is sufficient to tackle Net Neutrality harms. However it is unclear if predatory pricing by Reliance, which has only nine per cent market share, will cross the competition law threshold for market dominance? Interestingly, just before the Trai notification, the Ambani brothers signed a spectrum sharing pact and they have been sharing optic fibre since 2013.

Will a content sharing pact follow these carriage pacts? As media diversity researcher, Alam Srinivas, notes: “If their plans succeed, their media empires will span across genres such as print, broadcasting, radio and digital. They will own the distribution chains such as cable, direct-to-home (DTH), optic fibre (terrestrial and undersea), telecom towers and multiplexes.”

What does this convergence vision of the Ambani brothers mean for media diversity in India? In the absence of net neutrality regulation could they use their dominance in broadcast media to reduce choice on the Internet? Could they use a non-neutral provisioning of the Internet to increase their dominance in broadcast media? When a single wire or the very same radio spectrum delivers radio, TV, games and Internet to your home — what under competition law will be considered a substitutable product? What would be the relevant market?

At the Centre for Internet and Society (CIS), we argue that competition law principles with lower threshold should be applied to networked infrastructure through infrastructure specific non-discrimination regulations like the one that Trai just notified to protect digital media diversity.

Was an absolute prohibition the best response for Trai? With only two possible exemptions — i.e. closed communication network and emergencies — the regulation is very clear and brief. However, as our colleague Pranesh Prakash has said, Trai has over-regulated and used a sledgehammer where a scalpel would have sufficed. In CIS’ official submission, we had recommended a series of tests in order to determine whether a particular type of zero rating should be allowed or forbidden. That test may be legally sophisticated; but as Trai argues it is clear and simple rules that result in regulatory equity. A possible alternative to a complicated multi-part legal test is the leaky walled garden proposal. Remember, it is only in the case of very dangerous technologies where the harms are large scale and irreversible and an absolute prohibition based on the precautionary principle is merited.

However, as far as network neutrality harms go, it may be sufficient to insist that for every MB that is consumed within Free Basics, Reliance be mandated to provide a data top up of 3MB.

This would have three advantages. One, it would be easy to articulate in a brief regulation and therefore reduce the possibility of litigation. Two, it is easy for the consumer who is harmed to monitor the mitigation measure and last, based on empirical data, the regulator could increase or decrease the proportion of the mitigation measure.

This is an example of what Prof Christopher T. Marsden calls positive, forward-looking network neutrality regulation. Positive in the sense that instead of prohibitions and punitive measures, the emphasis is on obligations and forward-looking in the sense that no new technology and business model should be prohibited.

For more details visit https://cis-india.org/internet-governance/news/deccan-chronicle-february-14-2016-linking-facebook-use-to-free-top-up-data

Minds that (should) matter

praskrishna — 2015-02-26T16:34:25Z

Thinkers who best explain a rapidly-changing India to the world (and the world to India).

The article by Raju Narisetti was published in Forbes India magazine on January 2, 2015.

Sunil Abraham
Executive director of The Centre for Internet and Society. Has deep insights into India’s rapidly growing digital culture as well as the threats to it from misguided government regulation.

Shuddhabrata Sengupta
Runs Raqs Media Collective and is a founder of the Sarai Collective which does the rare examination of the interplay of urban India/technology/culture.

Anusha Rizvi
The former journalist who directed Peepli Live is now a filmmaker. Peepli was the first ever Indian film to be screened at Sundance. Her response to broadcast media and society issues always make you think.

Mohandas Pai
Ex-Infosys and now with the Manipal Group, he is active in public policy and corporate governance issues, and is not afraid to speak his mind. He was behind the Bangalore Political Action Committee—first-of-its-kind in India—and is also an activist shareholder who has minority shareholders’ interests in mind.

Ramesh Ramanathan
Ex-Citibanker, who heads Janalakshmi, a micro/alternative finance organisation, that has attracted Wall Street money. Offers honest and workable solutions through Janagraha, a hybrid public-private partnership initiative.

Satish Acharya
A brilliant cartoonist from Mangalore. A small-town guy whose views on Indian politics and Indian sport are spot on as he traverses the fine line of cartoons in India: Not too cerebral, but never clichéd and banal either.

Chhavi Rajawat
A young MBA who chose to go back to her ancestral village, Soda in Rajasthan, to help bring management skills to grassroots governance. Won elections to be its sarpanch. A high-profile doer, she will be worth listening to about hands-on governance.

Payal Chawla
While her past claim to fame is taking on Coca-Cola over workplace harassment, as a lawyer and founder of her own law firm, Juscontractus, this University of Chicago alumni would be a good way to track India’s troubled legal system.

Pushkar
A professor of Humanities and Social Sciences at BITS Pilani’s Goa Campus, he is particularly good on a major challenge for India: Reforming its education system.

Karuna Nundy
A Supreme Court lawyer involved in major commercial and human rights litigation and legal policy, she has contributed in a major way on gender justice in India, recently helping with the new anti-rape laws.

Binalakshmi Nepram
She fights racism against people from the North East and says it like it needs to be said in a country with deep geographical and regional prejudices.

Ireena Vittal
This former McKinsey consultant has a lot of good things to say about smart cities.

Economic and Political Weekly
Ignore its left-leaning interpretations and conclusions. Focus on its outstanding data.

GVL Narasimha Rao
GVL knows his psephology like few others do. His current turn as a spokesman for the BJP yields unrelenting evidence that is often hard to refute. And he takes sides when taking sides can be personally risky.

For more details visit https://cis-india.org/internet-governance/news/forbes-india-january-2-2015-raju-narisetti-

Do I Want to Say Happy B’day?

nishant — 2016-08-22T09:53:03Z

When it comes to greeting friends on their birthdays, social media prompts are a great reminder. So why does an online message leave us cold?

This article was published in Indian Express on August 7, 2016

Every morning, I wake up to a Facebook notification that reminds me of the birthdays in my friends group. A simple click takes me to a calendar view that shows me people who are celebrating the day, prompting me to wish them and let them know that I am thinking of them. Just so that I don’t miss the idea, the notifications are surrounded by ribbons and balloons in gold and blue. The message is simple. Somebody I know has a birthday. Social convention says that I should wish them and Facebook has designed a special interface that makes the communication so much simpler, faster, easier.

And yet, every morning I seem to face a small crisis, not sure how to respond to this prompt. Now, I am notorious for forgetting dates and numbers, so I do appreciate this personalised reminder which has enabled me to wish people I love and care for. But I generally find myself hovering tentatively, trying to figure out whether I want to greet these people.

This has perplexed me for a while now. Why would I hesitate in leaving a message on Facebook for people who I have added as “friends”? Why would I not just post on their wall, adding to the chorus of greetings that would have also emerged from the automated reminder on Facebook? I went on to the hive-mind of the social web to figure out if this was a unique problem, customised to specific neuroses, or whether this is more universal. It was a great surprise (and relief) to realise that I’m not alone.

When trying to figure out our conflicted sociality on social media, several conversations pointed to three things worth dwelling on. Almost everybody on that long discussion thread pointed out that the entire process is mechanised.

It feels like Facebook has a script for us, and we are just supposed to follow through. There is very little effort spent in crafting a message, writing something thoughtful, and creating a specific connection because it is going to get submerged in a cacophony of similar messages. Also, the message, though personal, is public. So anything that is personal and affective just gets scrubbed, and most people end up mechanically posting “Happy Birthday” with a few emojis of choice, finding the whole process and the final performance devoid of the personal.

Another emerging concern was that social media sustains itself on reciprocity. However, it is almost impossible to expect the birthday person to respond to every single message and post that comes their way. In fact, as somebody pointed out, if your friend spends their entire day on Facebook, responding to 500 comments and thanking everybody who spent three seconds writing a banal post, you should stage an intervention because it is a clear cry for help. You should have been a better friend and made their day more special by being with them. So the message feels like shouting in a ravine, expecting an echo and getting nothing. This lack of reciprocity, even when expected, is still disconcerting enough for people to shy away from it.

The most frequent experience that was shared was by people who wanted to make the person feel special and cherished. Facebook and the social media sites are now so quotidian and pedestrian that it seems an almost uncaring space. It was intriguing to figure out that people made choices of whom to wish based on their actual proximity and intimacy with the person. If it is a colleague, a distant acquaintance, or just a companion at work, they throw a quick greeting on their wall and move on. But for actual friends, loved ones, families, they take the prompt but then refuse to follow the script. They take that moment to call, to write, to meet, but not perform it on Facebook.

This need for connectivity and the suspicion of its meaning continues to mark our social media interaction. If it were not for social media networks, a lot of us would feel distinctly disconnected, unable to get glimpses in the lives of the large number of people we know.

At the same time, this thinned out connection that characterises most of social media also seems to make us realise that not all friends are the same friends, and that Facebook might be social media, but it isn’t quite personal media.

For more details visit https://cis-india.org/raw/blog_do-i-want-to-say-happy-bday

Research Symposium on Digital Transitions in Cultural and Creative Industries in India, New Delhi, Feb 27-28

sumandro — 2018-02-26T11:04:24Z

It is our privilege to collaborate with LabEx ICCA (Université Paris 13), UNESCO New Delhi, Centre for Social Sciences and Humanities (CSH), and Centre d'études de l'Inde et de l'Asie du Sud (CEIAS), to organise a Research Symposium on Digital Transitions in Cultural and Creative Industries in India. The symposium gathers researchers and practitioners engaging with the changing landscape of cultural and creative industries in India in the context of the rapid expansion of digital technologies and social media. We invite you to join us for a critical exploration of the prevalent discourse around cultural and creative industries, to identify what could be the different forms of digital creative and cultural industries developing in India, and how they problematise the questions of cultural expression, knowledge production, creativity, and labour.

Venue: Conference Room, UNESCO New Delhi, 1 San Martin Marg, Chanakyapuri, New Delhi, 110021 (Note: Please bring your identity document to enter the UNESCO premises)

RSVP: Registration is closed

Booklet: Download (PDF)

Programme: Download (PDF)

Poster: Download (PNG)

Organisers: LabEx ICCA, Université Paris 13, UNESCO New Delhi, Centre for Social Sciences and Humanities (CSH), Centre d'études de l'Inde et de l'Asie du Sud (CEIAS), and the Centre for Internet and Society (CIS), India

Concept Note

Digital technologies involve, accompany and provoke changes in the structuring of industrial sectors. How are they more particularly transforming the creation, production, distribution processes in cultural and creative industries? What are reconfigurations and challenges associated with the rise in power of actors from the industries of communication and information? What are the new stakeholder strategies, economic models and power relationships involved? Does digital have the effect of empowering the smallest actors / self-employed / freelancers or on the contrary does it allow large players to relieve themselves of the promotion, production costs on individual creator?

A growing interest in fields such as digital humanities, new media, digital cultures and the Galleries, Libraries, Archives and Museums (GLAM) sector is another important development here. The rise of a number of digital initiatives in arts and humanities practice, research and teaching has also brought up significantly the question of new skills or expertise required in these fields. The need for digital literacy and ‘re-skilling’ to adapt to new forms of arts and humanities practice in a digital environment has often come with much criticism, as it is viewed as an effort towards vocationalisation and professionalization of these disciplines, a result of the changing mandates of the university and higher education in general. How do we then productively engage with these questions of skill, expertise and labour that goes into the building of new digital industries, which are often located within and at the periphery of academia and creative practices? Importantly, how can concerns about a perceived conflict of creativity and industry be addressed as these transformations take place rapidly with the advent of the digital is an important point of focus.

A critical exploration of the prevalent discourse around creative industries would offer ways of identifying what could be the different forms of digital creative and cultural industries developing in India, and how they problematize for us questions of cultural expression, knowledge production, creativity and labour. The conflation and overlap of both ‘cultural’ and ‘creative industries’ and the location of these terms within a larger discourse around policy, economic development, livelihoods and rights, takes on different dimensions post the digital turn. In the context of initiatives like Digital India, and efforts to consolidate an IPR regime, the implications of policy reforms for creative work, especially that performed within informal/underground economies and in the cultural heritage sector are many. These discussions would inform and draw from the ongoing efforts in fostering of a digital economy in India, and the many ways in which it determines cultural production in the rest of the world.

Topics that will be addressed at the symposium include, but are not restricted to:

- Digital turns and transformations in cultural and creative industries

- Media infrastructure, digital platforms, and changing landscape of actors

- Digital transitions in the Indian news industry

- Online/offline lives of creative industries and media consumption

Presented by the Labex ICCA and the Center for Internet and Society (CIS), the symposium will gather Indian, French, and international specialists in the cultural industries, new media and technology, information and communication sciences, and social sciences but also professionals and industrial actors in the cultural and artistic sectors. The event is driven an ambition to promote the creation of an interdisciplinary and inter-institutional Franco-Indian research network to initiate, develop and share research on cultural industries in India and more widely in South Asia.

Organising Committee

- Christine Ithurbide (LabEx ICCA, Université Paris 13 / CSH)

- Philippe Bouquillion (LabEx ICCA, Université Paris 13)

- Vibodh Parthasarathi (Jamia Millia Islamia)

- Sumandro Chattapadhyay (The Centre for Internet and Society)

- Puthiya Purayil Sneha (The Centre for Internet and Society)

Symposium Programme (Draft)

First Day – Tuesday, February 27, 2018

10:00-10:30
Tea and Coffee

10:30-11:00
Welcoming Address
Snigdha Bisht (UNESCO Cultural Department)
Introductions
Shailendra Sigdel (UNESCO Institute for Statistics), Christine Ithurbide (LabEx ICCA / CSH), and Vibodh Parthasarathi (Jamia Millia Islamia)

11:00-12:30
Session 1: Digital Opportunities and Challenges in the Cultural Industries
Speakers: Tanishka Kachru (National Institute of Design, Ahmedabad), Akshaya Kumar (IIT Indore), and Vivan Sharan (KOAN Advisory)
Chair: Christine Ithurbide (LabEx ICCA / CSH)

12:30-13:30
Lunch

13:30-15:00
Session 2: Digital Transitions in the News Landscape
Speakers: Zeenab Aneez (Freelance Journalist), Ravichandran Bathran (Dalit Camera), and Franck Rebillard (University of Paris 3 – Sorbonne Nouvelle and Labex ICCA)
Chair: Vibodh Parthasarathi (Jamia Millia Islamia)

15:00-15:30
Tea and Coffee

15:30-17:00
Session 3: Technology, Creativity, and (Re)Skilling
Speakers: Padmini Ray Murray (Srishti School of Art Design and Technology), Sneha Raghavan (Asia Art Archive), and Xenia Zeiler (University of Helsinki)
Chair: Puthiya Purayil Sneha (The Centre for Internet and Society)

Second Day – Wednesday, February 28, 2018

10:00-10:30
Tea and Coffee

10:30-12:30
Session 4: Digital Platforms and Media Distribution
Speakers: Narendra Ganesh (KPMG), Mae Thomas (Maed in India), Philippe Bouquillion (Université Paris 13 / LabEx ICCA), and Nikhil Pahwa (Medianama)
Chair: Sumandro Chattapadhyay (The Centre for Internet and Society)

12:30-13:30
Lunch

13:30-15:00
Session 5: Copyright, Creative Content, and Rights of Performers
Speakers: Nandita Saikia (Lawyer), Anubha Sinha (The Centre for Internet and Society), and Manojna Yeluri (Artistik License)
Chair: Neha Paliwal (Sahapedia)

15:00-15:30
Tea and Coffee

15:30-17:00
Session 6: Technologies of Aesthetic Imagi/nation
Speakers: Farrah Miranda (Artists), Rashmi Munikempanna (Artist), Swati Janu (Architect), and Tara Atluri (Writer, Researcher, Artist)
Chair: Tara Atluri (Writer, Researcher, Artist)

17:00-18:00
Concluding Remarks
Speakers: Christine Ithurbide (LabEx ICCA / CSH), Neha Paliwal (Sahapedia), Philippe Bouquillion (Université Paris 13 / LabEx ICCA), Puthiya Purayil Sneha (The Centre for Internet and Society), Tara Atluri (Writer, Researcher, Artist), and Vibodh Parthasarathi (Jamia Millia Islamia)
Chair: Sumandro Chattapadhyay (The Centre for Internet and Society)

Location of Venue

For more details visit https://cis-india.org/raw/digital-transitions-in-cultural-and-creative-industries-in-india-symposium-2018

Corporate push to Modi’s Rs.4.5-billion digital dream

praskrishna — 2015-07-16T02:26:24Z

Prime Minister Narendra Modi’s Rs. 4.5-billion digital dream seems to find favour with the corporate world, which calls it a “very progressive step” and “massive tech push”.

The article by Rakesh Kumar was published in the Statesman on July 13, 2015. Sumandro Chattapadhyay was quoted.

Modi shared his dreams at the recent Digital India Week in the capital and the event saw big names from the business world—Reliance Industries Ltd chairman Mukesh Ambani, Tata group chairman Cyrus Mistry, Wipro Ltd chairman Azim Premji, among others—supporting the initiative.

Showing its faith in Modi’s dream, Reliance Industries is all set to invest over Rs.2.5 lakh crore in the initiative that would focus on cloud computing and mobile applications, empowering every citizen with access to digital services, knowledge and information.

The initiative could boost the IT sector, which according to NASSCOM witnesses a robust growth in 2015, with the calculated revenue for FY 2015 at $147 billion, and a growth of 13 per cent from the corresponding period 2014.

“From an IT perspective, this is a sincere approach to problem solving with growth, realism and long-term transformation at the core,” said Manish Sharma, president, Consumer Electronics and Appliances Manufacturers Association (CEAMA) and managing director, Panasonic India, in an exclusive interview to thestatesman.com.

“Empowering citizens with the use of IT, we believe Digital India is a massive tech push to provide electronic governance and universal phone connectivity across the country,” he added.

CEAMA and Panasonic are willing to contribute to Digital India through technological expertise and commitment.

The Indian information Technology (IT) industry is reportedly pegged at $118-billion and DS Rawat, secretary general, ASSOCHAM, feels the Digital India initiative could be a “game-changer”.

Commenting on PM’s pledge to bring Internet connectivity to all Indians, Rawat told thestatesman.com: “The initiative is possible, provided the implementation of the schemes is done in a mission mode.”

“The business and industry will be the major beneficiary in terms of quality of governance, which is possible through digital initiative. Besides, the industry itself has to prepare to deal with new emerging business models such as e-commerce,” he added.

Modi, at the Digital India launch, said that “e-governance will be quickly changed into m-governance, and ‘M’ does not mean Modi governance, it means mobile governance.”

Both, big corporate houses and small players hailed the PM’s remark.

“It is good initiative for the railway sector in terms of passenger amenities, online procurement and technological up gradation,” said Amit Goel of Aggarwal Engineers in an interview to thestatesman.com.

The company is active in the railway sector.

When asked how Digital India initiative would help small companies, Goel said: “It will help us in many ways. By adopting e-governance, small companies can check and bid for the online procurement and will be able to interact with the concerned department through digital technology.”

Anil Valluri of NetApp India said: “Digital India is one of the most significant transformations the country will witness by eventually connecting over a billion people of India, with technology as its focal point.”

When it comes to IT transformation, cyber security emerges as a vital issue.

Sumandro Chattapadhyay, Research Director, The Centre for Internet and Society (CIS), described the issue of digital security as the key to the “operationalisation and sustainability of the Digital India initiative”. “We expect the government not only to build administrative structures for ensuring cyber-security of the information systems, but also enable legal frameworks for protecting citizens from unlawful and unforeseen abuses of their digital identities as well as their digital assets.” Having said that, he praised the PM’s move, saying it will bring together various existing and new initiatives for building “network infrastructures for expanded public access, electronic governance systems for effective delivery of services, under the national policy umbrella of 'Digital India’”.

Rajiv Kapur, managing director, Broadcom India, pointed out another benefit of the ubiquitous broadband sector, which according to a report, faces certain challenges such as low rural penetration, stagnant data usage over the years and limited broadband services.

“It will help bring parity between the rural and urban India,” he said and added: “Today, we need solutions that allow the majority of rural Indian population to continue to stay at their homes, and not migrate to cities.”

In a knowledge economy, the biggest difference that will make an impact is education.

"Healthcare is another area where having connectivity can make big difference in quality of life," he said.

“E-delivery of governance and services is important for the efficient use of government resources, and allows for collaborative, transparent and more efficient governance," the Broadcom managing director added.

For more details visit https://cis-india.org/internet-governance/news/the-statesman-rakesh-kumar-july-13-2015-corporate-push-modis-billion-digital-dream

'Originality,' 'Authenticity,' and 'Experimentation': Understanding Tagore’s Music on YouTube

Ipsita Sengupta — 2016-07-07T02:18:12Z

This post by Ipsita Sengupta is part of the 'Studying Internets in India' series. In this essay, she explores the responses to various renditions of songs composed by Rabindranath Tagore available on YouTube and the questions they raise regarding online listening cultures and ideas of authorship of music.

Introduction

On typing “Rabindra Sangeet” on YouTube, one finds videos of the concerned Bengali songs in diverse visual and aural compositions. Just like for every other type of video that is put up on the site, as interesting as the videos may be, is the feedback they receive.

At the centre of this essay are such videos found on the social media platform YouTube, ones that play Rabindra Sangeet. Literally, “Songs of Rabindra(nath)”, this is a term used to identify poetic and musical pieces penned and composed in the late 19th- early 20th centuries by the Bengali writer and artist Rabindranath Tagore. The body of work has today become a genre among Indian music.

User-generated expression of YouTube makes it a medium with simultaneous individual and group dynamics. Apart from feedback as quantitative data through “Views”, “Likes” and “Dislikes”, the opinions of many users can be found in the “Comments” section.

Visuals of YouTube song videos of Rabindra Sangeet are diverse. So are renditions, with solitary or duet or band performances, and with varying rhythm and instrumental accompaniment. The set of comments below each video sometimes take the form of a conversation. Between applause and criticism, the latter is of special interest here.

Content of specific kinds seem to face disapproval: visual montages and stills from contemporary cinema, like images of urban youth, romance, longing. Some have shots of band performers and some, album cover images. Some of these renditions can be categorized as remixes because of their fast pace, bouncy vocals and electronic melody. The comments in question reflect and reveal hurt sentiments of people trying to preserve some kind of sanctity and authenticity of Rabindra Sangeet.

They state in different ways that the ethics of presenting the genre have been violated, via their notation and design; either by either makers of the film in the song’s incorporation, or by the way young pop stars have been placed in particular montages.

Here are some comments below to illustrate what audiences find wrong. The video is embedded below, followed by the comments posted on the video page.

What a rubbish song! Just remember please that Rabindra sangeet is not for Band musicians ! Please do not distort Rabindra sangeet. Only idiots will try to do so. Shame on you lot !
Unfortunately these band party can never be anything like that great man....hence they should stop making fun of his creation....
This song is from Shyama and I think that the innocent beauty of a young boy falling in love with a court dancer. The arrangement does not suit the lyrics.

Who has sung this? Started well, but after a while it changed the melody on its own. Only Bengalis are so indecent to change the work of the composer while performing. But otherwise, the voice is promising.

Robindra shongoter ijjot nosto kore dise... super dislike... (“They have destroyed the dignity of Rabindra Sangeet... super dislike...”)
Henshit! rock does not suit to melody and classics. Don't fusion "Sangeet"/ folk/patriotic songs.

Rabindra sangeet is usually better off with minimum instrumental accompaniment. That is why the Kishore Kumar version is more appealing. And the maestro Hemanta Mukherji used only a harmonium and tabla for most of his superb renditions.
Simply bogus. In Bengali... Shreya r nyaka voice just intolerable (“Shreya's coquettish voice just intolerable”).

some confused experiments with a song rendered by many exponents. This singer in his misguided modernism mostly misses the target.
bhalo lagche na shunte...Rabindra Nath er gaan er opor please bekar improvisation ta korben na...onar opor churi kachi ta nai ba chalalen... (“I am not enjoying listening to this... please do not do useless improvisations on Rabindranath's songs... do not use knives and scissors on him...)
… Tomra please originality maintain kore experiment koro … (...Could you please maintain originality while experimenting...)

...Go listen to the original tagore score and then come here with some innovative posts, k?
Absolutely bogus. Very badly sung. Who the hell is the singer? It has Jhankar beats too!!! Who the hell is the music director? Shame that people of such low taste and caliber are directing Bengali movies nowadays. Maobadi der diye petano uchit eder (“They should be beaten up by the Maoists)!!!!!

THere should be a self imposing limit of Screwing rabindra sangeet.
F...king Indian Hindi speaking bas....ds

This is not to say that these voices reign supreme. The listeners who enjoy the works leave great appreciation and also debate with the naysayers. But here I am taking into account the criticism that the videos receive. They have turned out to be more descriptive than the appreciation, and because of this they open up a lot of questions. We observe them in the light of both the medium as well as some understanding of the artistic ideals Tagore aspired to in his lifetime. The complete list of URLs of videos with their comments is given in the bibliography.

The Poetic/Musical Works of Tagore and Technologies of Access

Tagore was born in 1858 in a wealthy landowning household in Bengal. In his growing up years, the household Jorasanko was a space where Western and Indian lifestyles and artistic developments coexisted. Besides his own training in musical performance, and education and cultural exposure abroad, he also grew up amidst the rich musical, literary and theatrical talent of his family members.

Tagore was impressed and inspired by all kinds of artists and musical styles, and traces of these are found in his compositions and lyrics- whether folk, the ritualistic Kirtan, the mystic Bauls of rural Bengal, or even songs native to the West. For example the Scottish song ‘Auld Lang Syne’ influenced ‘purano shei diner kotha’ and ‘Ye banks and braes’ inspired ‘phule phule dhole dhole’ (Som, 2009).

From a young age itself, the poet was uncomfortable with strict boundaries and rules, one of them being the tight-rope walk over Raaga-based notations and rhythm structures of Indian classical music. He did believe in the power of Raagas to evoke the emotion they were said to be designed for, and while placing his poetry in musical compositions, he based his tunes on Raagas depending on the mood of his verse. However, he would combine melodic characteristics of established Raagas very often- a common practice with artists resulting in “mishra”, or mixed Raagas. He even combined rhythms or Taalas, and designed new ones for his songs. He found the classical genre embellishments of Taan and Aalaap unnecessary and left them out. “He declared his songs to be his unabashed expression of modernity because in them he could escape adhering to any expected literary standard” (Som, 2009).

Tagore lived in an era when Indian classical music was being written down with notations which were intelligible to Western audiences. Though he put on paper notations for his own songs, it so happened sometimes that when he was asked to sing in a public gathering, he could not remember the exact composition he’d first created. He would improvise immediately and complete the performance successfully. There were also times when his students or family members would sing their own interpretation of his tunes. Though his contemplation on it was based on a personal judgment of how well they adapted what he'd taught and how talented they were, he realised that the other singer was “not a gramophone” and he’d have to “grant that artistic independence” (Som, 2009).

“The art with which he matched melody with each nuanced lyric or combined ragas and improvised novel musical expressions, made each song a gem to be discovered anew everytime it is sung” (ibid, 2009). We may admit this but through this thought we may also understand that every live vocal rendition is intangible, however much we stick to notations.

In the electronic age, however much we record a rendition on devices, it is stored as data taking up space. Data is a common form that text, visuals, and audio all take. Though some recordings of Tagore's voice can be found online, they are digital versions that have been converted from the analog. Besides the technical transition, today's listener is also accessing it through a device and not listening to him performing. Two dynamics could happen here: either his performances are immortalised by the technology which has collected the sound of his voice in the exact way he has performed them and audiences will form an idea of “authentic” or “original”. And the other is that the audience will understand that in his time, when his voice was recorded, effects like electronic disco beats had not been invented.

That way, the performances of Tagore's verses that we are witnessing on YouTube today are the tangible notations combining with fresh new thought processes and constantly changing music performance styles, and manifesting on a contemporary media space. It is beyond just a copy, as we will see later, and to put it in Tagore's own words, it is “not a gramophone”.

Perhaps the accompanying instruments that were recommended for the verses have been replaced in a particular video with other and/or newer sources of musical sound- like digital sound. And the visuals in the video were probably not what the author was familiar with in his lifetime- body language of human actors, their clothes, the cityscape, and the like. In the film clips and non-cinematic material of Rabindra Sangeet videos, contemporary visuals include digital copies of photographs of Tagore and his contemporaries that help us make sense of his era.

“Adapting Chion’s theorisation of Dolby sound, the aesthetics of the remix may be thought of not as a consequence of technical changes but rather as the way in which technology combines with different musics to create the remix” (Duggal, 2010). It's not that new technology like electronic beats happens to an old composition when time passes and corrupts it like fungus or dust, it is that one one applies new aesthetics to an older text to innovate.

Describing the prime place of music in the hierarchy of sound in the cultural history of the West, Kahn discussed the phobia of sound that was not “significant” (Kahn, 2003). For a long time, sounds that reproduced the world for us- such as ambient sounds or noise- and which came via machines instead of established musical instruments were not considered valid within music. His stand in this context was that “it would make more sense to experience artistic works in their own right, not how they might conform to gross categorical distinctions”.

Given the artistic spontaneity which Tagore believed in, and the changing technology, what do we mean when we say that Rabindra Sangeet is being “distorted”, or its dignity (“ijjot”) or “innocence” threatened? What is the misunderstood modern? What is this “original” missing from “experimentation”? Especially when the composer himself is not witness to the forms his songs are taking today, what is this imagination of the ideal performance that leads to the judgment that another type of performance is not acceptable?

Perhaps at this point we can also shine a tiny light on Tagore's beliefs in other spheres. “Nationalism” is a compilation of a series of lectures given around the world, which Tagore gave in the 1916-‘17. In the introduction to this compilation, Guha illustrates Tagore’s realisation that mindless boycotting of everything that the West introduced in India in the name of Swadeshi (which he used to support) was to throw out the baby with the bath water. Quoting a letter Tagore wrote to a friend in 1908, he writes, “ ‘I will not buy glass for the price of diamonds and I will never allow patriotism to triumph over humanity as long as I live” ’ (Guha, 2009).

Soon after delivering these lectures in US and Japan, the Visva Bharati University was founded in December 1918. Tagore envisioned “a synthesis of the East and the West through a healthy intellectual and cultural interaction” (Som, 2009). Ironically, Visva Bharati, for over six decades after his death, held a copyright on Tagore’s work and assumed exclusive right of approval over song recordings of how notations were to be followed.

Surely it is not only due to a lack of understanding of Tagore's ideals that some renditions are marked as wrong? Many who don't appreciate the new versions may actually be well aware of his life story or beliefs. At various instances, the beats, the voice, the performers are targeted. Can we put a finger on the problem? Does it have something to do with the means of interaction of the medium? What is this search for the authentic or the correct? Is there a xenophobia of generational shifts in lifestyle - the opposition to a lifestyle because that is the “other” of a fantasy of tradition, it is not “high culture”? Because internet access transcends boundaries of class, education, and generation?

Mechanical Reproduction and Digital Media

In the early 20th century, when Tagore was writing his songs, in another part of the world political thinker Benjamin wrote in his timeless essay that when a work of art is mechanically reproduced, when there are only copies and the “original” in a particular place and space in history loses significance, its distribution boosts its “exhibition value” (Benjamin, 1936). “The work of art becomes a creation with entirely new functions, among which the one we are conscious of, the artistic function, later may be recognized as incidental.” The “social significance” (ibid.) of an art work increases with multiple reproductions of it reaching the masses because the ritual value of it goes down, and it becomes open to as much criticism as enjoyment or reverence.

On social media spaces this democracy is visible on the same page- such as the “Comments” discussion. The “aura” (ibid.) of the “original” Tagore cannot exist in the flux of digital reproductions and uploads of individual creations- how valid then is the fight over it? Or is it in fact a fear of losing in this flux a memory of something revered? Does that imagined revered have something to do with defining and maintaining a community identity in this passageway of a multitude of identities that is the internet?

One of the integral features of a social media space is the option of “sharing” the content, i.e., individuals transmit it further to other users. While YouTube’s Likes and Comments give the content a boost and analytics from YouTube automatically circulate this more “popular” content, individual users have a major role in the circulation of online content.

Besides directly sharing, they can take either the audio or visual aspects of a video piece, restructure or redesign the piece, creating as a result an all new video and circulating that. Through “appropriation and reproduction”, “the web in general, and the web video in particular intensify the culture of the copy, for it provides its users free access to an immense database of ready-to-use information” (Vanderbeeken, 2011).

Someone may download from elsewhere an audio composition used earlier in a video of “concentration music”, attach it to different visuals, and upload it back on YouTube under “relaxation music”. After all, as studies have found, the response to one’s online content through mechanisms such as “likes” give the author a sense of gratification and encourages him/her to keep checking notifications every few minutes- on various social media platforms.

In such a situation, “the original creator suddenly occupies the position of yet another spectator. Within this process, the role of transmitters is so important that they assume a vague position of authority over the works” (Menotti, 2011). Through its one on one connection with the spectator, each individual video exists as an independent entity subject to active, on the spot feedback as well as manipulation by every individual who watches it. And of course, circulation is in the hands of each viewer resulting in content originating as altogether new information.

At this juncture I would like to make an intervention using a formulation by Frith, about the fluid, transitional nature of identity. “It is in deciding- playing and hearing what sounds right- that we both express ourselves, our own sense of rightness, and suborn ourselves, lose ourselves, in an act of participation” (Frith, 1996).

Let us take for example, another type of video found on YouTube. Instrumental pieces of music with descriptions such as “music for concentration”, “study music”, and even “brain music”. If we break down the description along these lines, we have firstly, tunes of any kind and varying pace on string and wind instruments. Then colourful visuals of mostly natural landscapes, the human body, or graphical representations of the “mind”. The written word accompanies the frame, and each aspect combines to add meaning to the other two.

Just because the label says that the music will enhance concentration, does it always have that effect? Our everyday experiences with the audio-visual would have surely shown us that the design of a composition- both musical and cinematic- does not necessarily make everyone feel the same way. Moreover, the credibility of video descriptions is always subject to doubt, as discussed above.

We see thus that in case of online media, it holds true all the more that one acquires or asserts an identity in playing/listening to a performance of some sort of music and adding opinions below, as much as the performance or presentation itself. We can actually trace this to a perspective that a remixed video is a form of feedback too- to an earlier understanding of Rabindra-Sangeet by the maker who thought that the genre could be expressed this way as well. “The intrinsic relationship of ‘original’ to ‘imitation’ is weakened” (Vanderbeeken, 2011), and this is where digital media picks up from where analog technology left off.

In such an interaction, between human beings exchanging data with equal authorship over it, could YouTube be playing a role in the “production of the rhetoric of the classical and canonical” (Duggal, 2010) around a historical figure from eastern India, where some audio-visual images are acceptable to his definition and others not?

An older and a newer understanding of the same cultural object co-exist on one space such as the standardised video frames of YouTube. Alongside Tagore's voice are those of Kishore Kumar, Hemant Kumar, Jayati Chakraborty, Shreya Ghoshal, and many others. A sense of the “original” exists beyond Tagore's voice because everybody has not sung it fast- if its rules were to go slow. And if somebody wants to give a tribute to Rabindra Sangeet by pepping it up, he/she obviously must not have meant to “ruin” it.

Is it the anonymity of the Comments space which makes the discussions the way they are? Because one cannot see the person who has uploaded it and is confident that what they were taught was the only truth- the uploader/ content creator probably comes across as an imposter.

But maybe this search for the “correct” rendition is a search for political correctness in a world densely connected through information technology, where one's identity through a databank of online searches does not belong just to oneself but to corporations and advertisers too. Could there also be people who believe that the very act of having Rabindra Sangeet online is a mismatch of the authentic Tagore experience- because the internet is not from his time or geographical location?

Conclusion

As described earlier, when Tagore composed his music largely based on the notational arrangements prescribed by Raagas, he removed what he determined were complications of the indigenous classical music system. What he retained were what he comprehended as the moods evoked by particular Raagas, and engineered several songs on selected rules of different Raagas. In the process, he created a genre which those who were not fortunate enough to get formal training in the classical grammar of music could sing and engage in.

From the point of view of pure classical renditions being “high art”, Rabindra Sangeet thus could not fit into that umbrella. But it was popular and regarded because it spoke to the people, as a result of which it is still given a special place in collective memory after 100 years. Thus we see that “in terms of aesthetic process there is no real difference between high and low music” (Frith, 1996).

Social media exposes today that musical spontaneity has constraints in the collective memory of forms. Proving at the same time that music truly cannot be contained- since it has such diverse imaginations of the “real” at a time when the author is not alive any more. Tagore was “comfortable in the knowledge that his songs were like wild flowers” (Som, 2009), drawing from natural landscapes and human emotions. Is YouTube telling us that in this century, some consumers of his music might be narrowing down definitions of “significant sound” to identity politics around a literary figure and his homeland? Or simply trying to hold on to something familiar in an ever changing zone, resisting- perhaps unconsciously- an attempt by others to reinterpret it through their reality or sense of beauty?

Bibliography

Benjamin, Walter. 1936. The Work of Art in the Age of Mechanical Reproduction. Trans. Harry Zohn. Ed. Hannah Arendt. Schocken/Random House, 2005. https://www.marxists.org/reference/subject/philosophy/works/ge/benjamin.htm

Duggal, Vebhuti. The Hindi Film Song Remix: Memory, History, Affect. Diss. Jawaharlal Nehru University, 2010.

Frith, Simon. “Music and Identity”. Questions of Cultural Identity. Eds. Stuart Hall and Paul du Gay. Sage Publications, 1996.

Guha, Ramachandra. Introduction. Nationalism. Rabindranath Tagore. Penguin Books, 2009.

Kahn, Douglas. “The Sound of Music”. The Auditory Culture Reader. Eds. Michael Bull and Les Black. Berg Publishers, 2003.

Menotti, Gabriel. “Objets Propages: The Internet Video as an Audiovisual Format”. Video Vortex Reader II: Moving Images Beyond YouTube. Eds. Geert Lovink and Rachel Somers Miles. INC Reader #6, 2011.

Som, Reba. Rabindranath Tagore: The Singer and his Song. Penguin Books India, 2009.

Tagore, Rabindranath. Nationalism. Macmillan and Co. Ltd., 1918.

Vanderbeeken, Robrecht. “Web Video and the Screen as a Mediator and Generator of Reality”. Video Vortex Reader II: Moving Images Beyond YouTube. Eds. Geert Lovink and Rachel Somers Miles. INC Reader #6, 2011.

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India blocks access to 857 porn sites

pranesh — 2015-08-05T01:31:32Z

India has blocked free access to 857 porn sites in what it says is a move to prevent children from accessing them.

The story was published by BBC on August 3, 2015. Pranesh Prakash gave his inputs.

Adults will still be able to access the sites using virtual private networks (VPNs) or proxy servers. In July, the Supreme Court expressed its unhappiness over the government's inability to block sites, especially those featuring child pornography.

Telecom companies have said they will not be able to enforce the "ban" immediately.

"We have to block each site one by one and it will take a few days for all service providers to block all the sites," an unnamed telecom company executive told The Times of India newspaper.

A senior official, who preferred to remained unnamed, told the BBC Hindi that India's department of telecommunications had "advised" telecom operators and Internet service providers to "control free and open access" to 857 porn sites.

"There is no total ban. This was done in the backdrop of Supreme Court's observation on children having free access to porn sites. The idea is also to protect India's cultural fabric. This will not prevent adults from visiting porn sites," the official said.

In July, the top court had observed that it was not for the court to order a ban on porn sites.

"It is an issue for the government to deal with. Can we pass an interim order directing blocking of all adult websites? And let us keep in mind the possible contention of a person who could ask what crime have I committed by browsing adult websites in private within the four walls of my house. Could he not argue about his right to freedom to do something within the four walls of his house without violating any law?," the court said.

According to statistics released by adult site Pornhub, India was its fourth largest source of traffic in 2014, behind the US, UK and Canada. Pranesh Prakash of the Bangalore based Centre for Internet and Society said the directive to block the 857 sites was "the largest single order of its kind" in India.

"The government's reasoning that it is not a ban because adults can still access the porn sites is ridiculous," he told the BBC. The move has caused a great deal of comment on Indian social media networks, with many prominent personalities coming forward to condemn it.

Popular author Chetan Bhagat, writer and commentator Nilanjana Roy, politician Milind Deora and director Ram Gopal Varma have all added their voices to the debate.

For more details visit https://cis-india.org/internet-governance/news/bbc-news-august-3-2015-india-blocks-access-to-857-porn-sites

Porn ban: People will soon learn to circumvent ISPs and govt orders, expert says

pranesh — 2015-08-05T01:47:52Z

The article by Karthikeyan Hemalatha was published in the Times of India on August 2. Pranesh Prakash gave inputs.

The government used other sections of the Act to circumvent this provision. Sources in the Department of Telecommunication, which comes under the ministry of communications and information technology, said a notification had been issued under Section 79 (b) of IT Act under which internet service providers could be penalized for not following government orders. "Though the section protects an internet service provider (ISP) from legal action for the content it may allow, it can be penalized for not following government orders to ban them," said Prakash.

Last month, the Supreme Court declined to pass an interim order to block websites which have pornographic content. "Such interim orders cannot be passed by this court. Somebody may come to the court and say 'look I am above 18 and how can you stop me from watching it within the four walls of my room?' It is a violation of Article 21 [right to personal liberty]," said Chief Justice H L Dattu.

The judge was reacting to a public interest litigation filed by advocate Kamlesh Vashwani who was seeking to block porn websites in the country. "The issue is definitely serious and some steps need to be taken. The Centre is expected to take a stand. Let us see what stand the Centre will take," the Chief Justice said and directed the Centre to reply within four weeks. Over the weekend, the stance became clear.

Sources also say that Section 19 (2) of the Constitution was used for the ban. The section allows the government to impose "reasonable restrictions in the interest of sovereignty and integrity of India, security of the state, decency or morality or in relation to contempt of court."

For netizens, the government could actually be providing crash courses on proxy sites. "This is the best way to teach people on how to circumvent ISPs and government orders," said Prakash, adding that real abusive porn sites might still be available.

"There is no dynamic mechanism to block all sites with pornographic content. The government has to individually pick URLs (uniform resource locator) to ban websites. Right now, only popular websites have been banned and the little known abusive sites like those that propagate revenge porn or child porn," said Prakash. "No ban can be comprehensive," he added.

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Porn block in India sparks outrage

pranesh — 2015-08-05T02:10:46Z

India’s government has triggered a storm of protest after blocking 857 alleged pornography websites, with privacy and internet freedom campaigners, as well as consumers, condemning the move as arbitrary and unlawful.

The article by Amanda Hodge was published in the Australian on August 5, 2015. Pranesh Prakash gave his inputs.

The order, enforced since Sunday by the country’s main internet service providers, comes amid debate about the influence of pornography on sex crime in India, and as the Supreme Court considers a petition by lawyer Kamlesh Vaswani to ban pornographic websites that harm children.

The government has been forced to defend the move, saying it was taken in response to Supreme Court criticism at inaction against child pornography websites, although the Supreme Court itself has refused to impose any interim ban while it considers the petition. The websites — a fraction of the world’s millions of internet pornography sites — will remain blocked until the government figures out how to restrict access, a spokesman said.

Critics have slammed the measure as unconstitutional and pointed out the list includes adult humour sites that contain no pornographic content. Others have suggested it is another intrusion into the private lives of ordinary Indians by an administration intent on pushing a puritanical Hindu agenda, citing the recent ban on beef in several states and an alleged “Hindu-isation” of school textbooks.

That prompted outrage from Telecom Minister Ravi Shankar Prasad. “I reject with contempt the charge that it is a Talibani government. Our government supports free media, respects communication on social media and has respected freedom of communication always,” he said.

While India has no law preventing citizens accessing internet pornography, regulations do restrict the publishing of “obscene information in electronic form”. Centre for Internet and Society policy director Pranesh Prakash told The Australian yesterday that some elements of that act were welcome — such as prohibition of child pornography and the uploading of a person’s private parts without consent — but “the provisions relating to ‘sexually explicit materials’ are far too broad, with no exceptions made for art, architecture, education or literature”.

Mr Prakash said the pornography ban amounted to an “abdication of the government’s duty”, given the list of sites blocked was provided on request to the government by one of the Vaswani petitioners. “The additional solicitor-general essentially asked one of the petitioners to provide a list of websites, which she passed on to the Department of Information Technology, which in turn passed to Department of Telecommunications asking for them to be blocked or disabled.

“That is not acceptable in a democracy where it is not the government which has actually found any of these websites to be unlawful.” Mr Prakash also criticised the secrecy surrounding the order, which he said contravened Indian law requiring a public declaration of any intended ban so that it might be challenged. The bans were made under “Rule 12” of India’s IT Act, which empowers the government to force ISPs to block sites when it is “necessary or expedient”.

For more details visit https://cis-india.org/internet-governance/news/the-australian-news-august-5-2015-amanda-hodge-porn-block-in-india-sparks-outrage