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Talking Back without "Talking Back"
https://cis-india.org/digital-natives/blog/talking-back-without-talking-back
<b>The activism of digital natives is often considered different from previous generations because of the methods and tools they use. However, reflecting on my conversations with The Blank Noise Project and my experience in the ‘Digital Natives Talking Back’ workshop in Taipei, the difference goes beyond the method and can be spotted at the analytical level – how young people today are thinking about their activism. </b>
<p> </p>
<p><span class="description">Last August, I had the opportunity to participate in the three-day grueling yet highly rewarding ‘<a href="https://cis-india.org/digital-natives/blog/talking-back" class="external-link">Digital Natives Talking Back</a>’ workshop<b> </b>in Taipei. On the very first day, Seema Nair, one of the facilitators and a good friend, asked us to reflect about what ‘talking back’ means in the context of activism. At first glance, activism is almost always interpreted as a confrontational resistance towards an identifiable opponent over a certain issue - a group of activists protesting against a discriminatory legislation passed by a government, for example. Although this is definitely the most popular form, is this the only way activism could be done? </span></p>
<p><span class="description">While reflecting on Seema’s question, I thought of my conversations with people in the Blank Noise Project and how they seem to defy this popular imagination through their efforts to address street sexual harassment. From the way it articulates its issue (I have shared it before in <a href="https://cis-india.org/digital-natives/blog/first-thing-first" class="external-link">here</a>), Blank Noise challenges the idea of an opponent in activism by refusing to identify an entity as the “enemy” or the one responsible for the issue, given the grey areas of street sexual harassment. The opponent is intangible instead: the mindset shared by all members of society that enables the violation to continue. </span></p>
<p><span class="description">Consequently, Blank Noise ‘talks back’ differently. While it is common for many movements to set an intangible vision as its goal (for instance: a society where women is treated as equals with men), they also have a tangible intermediary targets to move towards the broader vision (e.g. a new legislation or service provision for women affected by domestic violence). Blank Noise sticks with the intangible. The goal is to form a collective where eve teasing is everybody’s shared concern, spreading awareness that street sexual harassment is happening every day and it is unacceptable because it is a form of violence against women. Pooja Gupta, a 19 year old art student who is one of the initiators of the ‘I Never Ask for It’ Facebook campaign, underlined this intangible goal by saying that “The goal really is to spread awareness. It is not about pushing any specific agenda or telling people what to do.”</span></p>
<p><span class="description">Because of this goal, I initially thought that there is a clear demarcation between people within the Blank Noise and the ‘public’ whose awareness they would like to raise – that there is a clear “us” (the Blank Noise activists) and “them” (the target group). However, I was corrected by Jasmeen Patheja, the founder of Blank Noise, when we chatted one day. “I haven’t ever put it that way. Since the beginning, the collective is meant to be inclusive and there is no specific target group. The public is invited to participate and there is no audience, everyone is a participant and co-creator.” </span></p>
<p><span class="description">The strategy for this is to open up a public dialogue. When Blank Noise first started in 2003, it started with the street as the public space and uses art as its method of intervention. It takes many forms: performative art, clothes exhibition, street polls, and many others. Although today Blank Noise is much more known for its engagement with the virtual public through its prolific Internet presence (4 blogs, a Twitter account, 2 Facebook groups, many Facebook events, and a YouTube channel), the street interventions remain a significant part of its activities. Regardless of the methods, which I will elaborate more in future blog posts, the principles of creativity, play, and non-confrontation are always maintained. </span></p>
<p><span class="description">At this point, some critical questions could be raised. What is Blank Noise actually trying to achieve through the dialogue? Can public dialogue really address the issue? How does Blank Noise know if it is interventions have an impact?</span></p>
<p><span class="description">When I asked the last question, many people in the Blank Noise admitted that impact measurement is something that they are still grappling with. Some said that the public recognition of Blank Noise by bloggers and mainstream media is an indicator; others said that the growth of volunteers is also an impact. However, I found that this is not an issue many people were concerned with and was a bit puzzled. After all, if one were to dedicate their time and energy to a cause, wouldn’t s/he want to know what kind of difference made?</span></p>
<p><span class="description">The light bulb for this puzzle switched on when Apurva Mathad, one of Blank Noise male volunteers, said, “Eve teasing is an issue that nobody talks about. It seems like a monumental thing to try and change it, so the very act of doing something to address it and reaching as many people as possible right now seems to be enough.” </span></p>
<p><span class="description">Apurva basically told me that it is the action of doing something about the issue is what counts – and that it is the personal level change among people who are active within the Blank Noise is the real impact. I recalled that everyone else I talked with mentioned individual transformation after being a part of Blank Noise intervention – something I would elaborate upon in future posts. </span></p>
<p><span class="description">This observation was confirmed in a later conversation with Jasmeen, where I discovered that Blank Noise also has another goal that was not as easy to identify as the first: to allow people involved with the collective to undergo a personal transformation into “Action Heroes” - people who actively takes action to challenge the silence and disregard towards street sexual harassment. In this sense, Blank Noise is similar to many women collectives that became organized to empower themselves and hence could be said to also adopt a feminist ideology. </span></p>
<p><span class="description">The difference with most women collectives, however, lies on Blank Noise’s aim to allow a personalization of people’s experience with the collective. “The nature of this project is that people are in it for a reason close to them and they give meaning to their involvement as they see fit,” Jasmeen said. </span></p>
<p><span class="description">Blank Noise does face challenges in doing this. Some people found it difficult to understand that an issue could be addressed without shouting slogans or advocating for a specific solution and others joined with anger due to their personal experiences. Hence, the non-confrontational dialogue approach becomes even more important. The discussion and debates it raises help the Blank Noise volunteers to also learn more about the issue, reflect on their experiences and opinions, as well as to give meaning to their involvement. This is when I finally understood the point of “no target group”: the Blank Noise people also learn and become affected by the interventions they performed. Influencing ‘others’ is not the main goal although it is a desired effect, the main one is to allow personal empowerment. </span></p>
<p><span class="description">Going back to the ‘talking back’ discussion in Taipei, Seema then shared her experiences working with women groups in India and showed how ‘talking back’ could also be ‘talking with’, engaging people in a dialogue. It need not always address the state; it could also be aiming to make a change at the personal level in everyday life. It could also be ‘talking within’, keeping the discussion and debates alive within a movement to avoid a homogenized, simplification of the activism and provide a reflective element to the action. ‘Talking back’ could also take form other than “talking”, which usually is done through slogans and placards in a street protest, petition, or statements. It could be done through art, theatre performance, and many, many other possibilities. </span></p>
<p><span class="description">Blank Noise is definitely an example of these different forms and its experience shows that the difference is not arbitrary. It is based on a well-thought analysis of the issue that extends to how it formulates its objectives which is then translated into its strategies. Blank Noise is not only an example of how activism is done differently, but also on how the thought behind it is different.</span></p>
<p><span class="description">As I looked around the workshop room I was reminded that Blank Noise was not the only one. A few seats away from me sat two people who combined technology and poetry to create everyday resistance towards consumerism in <a class="external-link" href="http://www.slideshare.net/zonatsou/huang-po-chih-tsou-yiping-presentation-20100816-reupload">Taiwan</a></span><span class="description"><b> </b></span><span class="description"> and a young woman who held urban camps in India to mobilize young people to <a class="external-link" href="http://www.facebook.com/home.php#!/pages/MIE-My-India-Empowered/125105444189224">volunteer</a> Regardless of the issue and the technology used, many digital natives with a cause across the world remind us that ‘talking back’ could be done in many other ways than “talking back”. </span></p>
<p><span class="description"> </span></p>
<p><span class="description"> </span></p>
<p><i>This is the third post in the <a href="https://cis-india.org/digital-natives/blog/the-beyond-the-digital-directory" class="external-link"><b>Beyond the Digital </b>series</a>, a research project that aims to explore new insights to understand youth digital activism conducted by Maesy Angelina with The Blank Noise Project under the Hivos-CIS Digital Natives Knowledge Programme. </i><span class="description"> <br /></span></p>
<p><br /><span class="description"> </span></p>
<p><span class="description">*The photo is from one of Blank Noise's interventions in Cubbon Park, Bangalore. You can learn more about this intervention <a class="external-link" href="http://blog.blanknoise.org/2009/06/learning-to-belong-here.html">here</a>.<br /></span></p>
<p>
For more details visit <a href='https://cis-india.org/digital-natives/blog/talking-back-without-talking-back'>https://cis-india.org/digital-natives/blog/talking-back-without-talking-back</a>
</p>
No publishermaesyCyberspaceDigital ActivismEve teasingDigital NativesYouthResearchBlank Noise Projectart and interventionBeyond the DigitalCommunitiescyberspacesStreet sexual harassment2011-09-22T11:37:54ZBlog EntryThe 'Beyond the Digital' Directory
https://cis-india.org/digital-natives/blog/the-beyond-the-digital-directory
<b>For the past few months, Maesy Angelina has been sharing the insights gained from her research with Blank Noise on the activism of digital natives. The ‘Beyond the Digital’ directory offers a list of the posts on the research based on the order of its publication.</b>
<p></p>
<p>Have you ever
wondered what is really “new” about the activism of digital natives? In May
2010, the Hivos-CIS ‘Digital Natives with a Cause?’ Knowledge Programme started
a collaboration The Blank Noise Project in India and Maesy Angelina, a
student-researcher from the Erasmus University of Rotterdam – International
Institute of Social Studies in The Hague who is taking up the research agenda
for her final project to qualify for her Masters degree in International
Development with a specialization in Children and Youth Studies.</p>
<p>Maesy
has been blogging about the insights she gained from her field work in
Bangalore in the CIS website under the ‘Beyond the Digital’ series, which
consists of the following posts:</p>
<p class="MsoListParagraphCxSpFirst"> </p>
<p class="MsoListParagraphCxSpFirst"><strong>1. <a href="https://cis-india.org/digital-natives/blog/beyond-the-digital-understanding-digital-natives-with-a-cause/weblogentry_view" class="external-link">Beyond the Digital: Understanding
Digital Natives with a Cause</a></strong></p>
<p class="MsoListParagraphCxSpMiddle">Digital
natives with a cause: the future of activism or slacktivism? Maesy Angelina
argues that the debate is premature given the obscured understanding on youth
digital activism and contends that an effort to understand this from the
contextualized perspectives of the digital natives themselves is a crucial
first step to make. This is the first out of a series of posts on her journey
to explore new insights to understand youth digital activism through a research
with Blank Noise under the Hivos-CIS Digital Natives Knowledge
Programme.</p>
<p class="MsoListParagraphCxSpMiddle"> </p>
<p class="MsoListParagraphCxSpMiddle"><strong>2. <a href="https://cis-india.org/digital-natives/blog/first-thing-first/weblogentry_view" class="external-link">First Thing First</a></strong></p>
<p class="MsoListParagraphCxSpMiddle">Studies
often focus on how digital natives do their activism in identifying the
characteristics of youth digital activism and dedicate little attention to what
the activism is about. The second blog post in the Beyond the Digital series
reverses this trend and explores how Blank Noise articulates the
issue it addresses: street sexual harassment.</p>
<p class="MsoListParagraphCxSpMiddle"> </p>
<p class="MsoListParagraphCxSpMiddle"><a href="https://cis-india.org/digital-natives/blog/talking-back-without-talking-back" class="external-link"><strong>3. Talking Back without “Talking Back”</strong></a></p>
<p class="MsoListParagraphCxSpLast"><span class="description">The activism of digital natives is often
considered different from previous generations because of the methods and tools
they use. However, reflecting on my conversations with Blank Noise
and my experience in the ‘Digital Natives Talking Back’ workshop in Taipei, the
difference goes beyond the method and can be spotted at the analytical level –
how young people today are <em>thinking</em>
about their activism. <br /></span></p>
<p class="MsoListParagraphCxSpLast"> </p>
<p class="MsoListParagraphCxSpLast"><a href="https://cis-india.org/digital-natives/blog/taking-it-to-the-streets/" class="external-link">4. Taking It to the Streets</a></p>
<p class="MsoListParagraphCxSpLast">The previous posts in the Beyond the Digital series have discussed the distinct ways in which young people today are thinking about their activism. The fourth post elaborates further on how this is translated into practice by sharing the experience of a Blank Noise street intervention: Y ARE U LOOKING AT ME?</p>
<p class="MsoListParagraphCxSpLast"> </p>
<a href="https://cis-india.org/digital-natives/blog/the-digital-tipping-point" class="external-link">5. The Digital Tipping Point</a>
<p> </p>
<span id="parent-fieldname-description" class="kssattr-atfieldname-description kssattr-templateId-widgets/textarea kssattr-macro-textarea-field-view inlineEditable">Is
Web 2.0 really the only reason why youth digital activism is so
successful in mobilizing public engagement? A look into the
transformation of Blank Noise’s blog from a one-way communication medium
into a site of public dialogue and collaboration reveals the crucial
factors behind the success.<br /><br /><br /><a href="https://cis-india.org/digital-natives/blog/diving-into-the-digita" class="external-link">6. Diving Into the Digital</a><br /></span>
<p> </p>
<p>Previous posts in the ‘Beyond the Digital’ series have discussed the non-virtual aspects and presence of Blank Noise. However, to understand the activism of digital natives also require a look into their online presence and activities. This post explores how Blank Noise’s engagement with the public in their digital realm.</p>
<p> </p>
<p><a href="https://cis-india.org/digital-natives/blog/the-class-question" class="external-link">7. The Class Question</a></p>
<p><span id="parent-fieldname-description" class="kssattr-atfieldname-description kssattr-templateId-widgets/textarea kssattr-macro-textarea-field-view inlineEditable">Blank
Noise aims to be as inclusive as possible and therefore does not
identify any specific target groups. Yet, the spaces and the methods
they occupy do attract certain kinds of volunteers and public. This
raises the class question: what are the dilemmas around class on digital
interventions? Are they any different from the dilemmas on street
interventions? <br /></span></p>
<p><span id="parent-fieldname-description" class="kssattr-atfieldname-description kssattr-templateId-widgets/textarea kssattr-macro-textarea-field-view inlineEditable"><br /></span></p>
<p><span id="parent-fieldname-description" class="kssattr-atfieldname-description kssattr-templateId-widgets/textarea kssattr-macro-textarea-field-view inlineEditable"><a href="https://cis-india.org/digital-natives/blog/the-many-faces-within" class="external-link">8. The Many Faces Within</a></span></p>
<p><span id="parent-fieldname-description" class="kssattr-atfieldname-description kssattr-templateId-widgets/textarea kssattr-macro-textarea-field-view inlineEditable">Blank
Noise, as many other digital native collectives, may seem to be
complete horizontal at first glance. But, a closer look reveals the many
different possibilities for involvement and a unique way the collective
organize itself. <br /></span></p>
<p><span id="parent-fieldname-description" class="kssattr-atfieldname-description kssattr-templateId-widgets/textarea kssattr-macro-textarea-field-view inlineEditable"><br /></span></p>
<p class="MsoListParagraphCxSpLast"><a href="https://cis-india.org/digital-natives/blog/activism-unraveling-the-term" class="external-link">9. Activism: Unraveling the Term</a></p>
<p class="MsoListParagraphCxSpLast"><span id="parent-fieldname-description" class="kssattr-atfieldname-description kssattr-templateId-widgets/textarea kssattr-macro-textarea-field-view inlineEditable">After
discussing Blank Noise’s politics and ways of organizing, the current
post explores whether activism is still a relevant concept to capture
the involvement of people within the collective. I explore the questions
from the vantage point of the youth actors, through conversations about
how they relate with the very term of activism. <br /></span></p>
<p class="MsoListParagraphCxSpLast"> </p>
<p class="MsoListParagraphCxSpLast"><a href="https://cis-india.org/digital-natives/blog/reflecting-from-the-beyond" class="external-link">10. Reflecting from the Beyond</a></p>
<p class="MsoListParagraphCxSpLast"><span id="parent-fieldname-description" class="kssattr-atfieldname-description kssattr-templateId-widgets/textarea kssattr-macro-textarea-field-view inlineEditable">After
going ‘beyond the digital’ with Blank Noise through the last nine
posts, the final post in the series reflects on the understanding gained
so far about youth digital activism and questions one needs to carry in
moving forward on researching, working with, and understanding digital
natives. <br /></span></p>
<p class="MsoListParagraphCxSpLast"><br /><span id="parent-fieldname-description" class="kssattr-atfieldname-description kssattr-templateId-widgets/textarea kssattr-macro-textarea-field-view inlineEditable"></span></p>
<p class="MsoListParagraphCxSpLast"><span id="parent-fieldname-description" class="kssattr-atfieldname-description kssattr-templateId-widgets/textarea kssattr-macro-textarea-field-view inlineEditable"></span>While the posts present bits and pieces of field research notes and reflections from data analysis, the full research products are:</p>
<p class="MsoListParagraphCxSpLast">- Angelina, M. (2010) '<a class="external-link" href="http://thesis.eur.nl/theses/law_culture_society/iss/cys/index/863849405/">Beyond the Digital: Understanding Contemporary Forms of Youth Activism - The Case of Blank Noise in Urban India</a>'. Unpublished thesis, graded with Distinction. The Hague: International Institute of Social Studies - Erasmus University of Rotterdam.</p>
<p class="MsoListParagraphCxSpLast">- Angelina, M. (2010) '<a href="https://cis-india.org/digital-natives/position-paper/view?searchterm=position%20paper%20digital%20natives" class="external-link">Towards a New Relationship of Exchange</a>'. Position paper for the Digital Natives with a Cause Thinkathon. </p>
<p class="MsoListParagraphCxSpLast"> </p>
<p>
For more details visit <a href='https://cis-india.org/digital-natives/blog/the-beyond-the-digital-directory'>https://cis-india.org/digital-natives/blog/the-beyond-the-digital-directory</a>
</p>
No publishermaesyYouthDigital ActivismDigital NativesWeb PoliticsStreet sexual harassmentBlank Noise ProjectBeyond the DigitalCommunitiesart and interventionResearchers at Work2015-05-15T11:33:39ZBlog EntryCPOV: Critical Point of View
https://cis-india.org/research/conferences/conference-blogs/Wikiwars
<b>The Centre for Internet and Society (Bangalore, India) and the Institute of Network Cultures (Amsterdam, Netherlands) seek to bring together ideas, experiences and scholarship about Wikipedia in a reader that charts out detailed user stories as well as empirical and analytical work to produce.. The organisations will jointly host two separate conferences aimed at building a Wikipedia Knowledge Network and charting scholarship and stories about The Wikipedia from around the world. </b>
<h2 align="center"><strong>CPOV: Critical Point of View</strong></h2>
<h2 align="center"><strong>Wikipedia
and the Politics of Open Knowledge</strong></h2>
<div align="left" class="pullquote">Proposal for a research network, two conferences
and a reader</div>
<div align="left" class="pullquote"> </div>
<div class="pullquote"> Organized by Centre for Internet & Society
(Bangalore, India) and the Institute of Network Cultures (Amsterdam,
Netherlands)</div>
<p><strong><br /></strong></p>
<p><strong>Introduction:</strong> It would be no exaggeration to state that
Wikipedia is at the brink of becoming the de facto global reference of dynamic
knowledge. The highly visible clashes amongst opinion leaders, university
professors, Web 2.0 ‘evangelists’ and publishers over accuracy, anonymity,
trust, vandalism and expertise only seem to fuel further growth of Wikipedia
and its user base. In this respect, what does it mean to now say that Wikipedia
has become “mainstream”?</p>
<p>The accelerated growth and scope of Wikipedia as
a knowledge reference of universal ambition is unheard of. The Google search
engine gives preferential treatment to Wikipedia in an attempt to beat search
engine optimizers and to provide a more fruitful experience to its users. Apart
from leaving its modern counterparts <em>Britannica</em> and <em>Encarta</em> in
the dust, such scale and breadth places Wikipedia on par with such historical
milestones as Pliny the Elder's <em>Naturalis Historia</em>, the Ming Dynasty's <em>Wen-hsien
ta-ch' eng</em>, and the key work of French Enlightenment, the Encyclopédie.</p>
<p>Wikipedia owns a whole set of characteristics –
including number and automation (bots) of contributors, regularity of updates,
fluidity, ease of search, number of languages, and growing user base. In doing
so, this online encyclopedia might be cited as the most visible and successful
example of the migration of FLOSS (Free/Libre/Open Source Software) principles
into mainstream culture. Those of us who believe in pluralism, and the
possibility of another world have reason to celebrate and defend Wikipedia from
intellectual- property-right-maximalists
and promoters of proprietary models of knowledge production and dissemination.
However, such celebration and defense should contain critical insights,
informed by the changing realities of the Internet at large and the Wikipedia
project in particular.</p>
<p>The Wikimedia Foundation has recently employed
its first research analyst and provides spaces for “Wikipediology”, including
projects such as the Wiki Project on vandalism studies. Nonetheless, critical
Wikipedia research should also be done outside the self-reflexivity of the
Wikimedia Foundation and its community. There is an urgent need for
quantitative and qualitative research from an Humanities and Arts perspective
that could benefit both the wider user base and the active Wikipedia community
itself.</p>
<p>More than this though, as one of the largest if
not the largest self-contained general knowledge reference of our time,
Wikipedia offers critical insights into the contemporary status of knowledge,
its organizing principles, function, and impact; its production styles,
mechanisms for conflict resolution and power (re-)constitution. New strategic
and tactical operations of knowledge/power are clearly at work. The concept of
the open remains ambiguous in this formation, serving as both a rallying
concept and masking new agonistic encounters.</p>
<p>By permanently (re)formulating the open and
inclusive as the guiding Wikipedia principle being formulated by the community
itself, one might also look at this norm as a narrative or even call it a
founding myth. For example, the demographic profile of the Wikipedia editor as
a white male geek with a limited mono-cultural worldview based on Western
rationality remains a concern. However, the question of (non)diversity being
formulated in Wikipedia discussions needs also to be posed beyond existing
stereotypes and at the general level of discourse. The question of
(post)identity and representation is not necessarily resolved via the
discursive construction of 'inclusion', if such inclusion may require leaving
competing knowledge histories and practices at the door and if it puts a
culture of editing not next to a culture of listening/hearing.</p>
<p>In the most material and perceptional way, every
new technology modifies conditions of possibility for knowledge. The logic of
technologies bleeds into the very structures and organizing principles of
knowledge and today, both medium and message may reflect the<em> </em>ideas of the (organized) network<em>,</em> multitude or the Deleuzian
machine<em>.</em> It is through a selected mix of technological and
normative conditions – the distributed architecture of the net, the Wiki
software platform, commons-based property licenses and the FLOSS zeitgeist –
that Wikipedia as the encyclopedia of the information age emerges, both
continuing and transforming the Enlightenment encyclopedic impulse or <em>will
to know</em>.</p>
<p>The authors of these proposal are aware of the
seemingly conflicting overarching research agenda: At one level is a
philosophical, epistemological and theoretical investigation of knowledge
artifacts and social, culture construction in terms of , authority and
politics. At the other level the research agenda is an empirical, anecdotal,
sociological investigation of the specific phenomenon of the Wikipedia. This
has been done on purpose so that the learnings from theoretical research
activities can inform practice oriented research and vice-versa.</p>
<p>Overall the conferences and reader may include
the following areas inviting theoretical, empirical, practical and art-based
contributions:</p>
<ol type="1" start="1"><li><em>WikiTheory
(opening session)</em></li><li><em>Wikipedia and
Critique of Western Knowledge Production</em></li><li><em>Encyclopedia
Models-- from 18th to 21th Century</em></li><li><em>Wiki Art</em></li><li><em>Designing Debate</em></li><li><em>Critique of Free and Open</em></li><li><em>Global
Politics of Exclusion</em></li><li><em>The
Place of Resistance</em></li><li><em>Wikipedia and Education</em></li><li><em>Wiki-analytics, Wikipedia as Platform and Software Studies</em></li><li><em>Wikipedia and Conditions of Knowledge Production<br /></em></li></ol>
<p> </p>
<h3>Descriptions of the Sessions/Fields of Interest</h3>
<p class="callout"> <em>1. WikiTheory –
Mining for Concepts (opening session)</em></p>
<p>Besides providing a general overview of the
topics to come, and with an emphasis on diverse global approaches, the aim here
is develop concepts that could be used in further research and that could fit
into larger projects on Internet culture and the critique of the free and open.
Is it possible to develop a counter-hegemony of critical practices that
situates itself in the midst of technological cultures? What kind of critical
lessons does Wikipedia provide in the face of overwhelming Web 2.0 hype and P2P
utopianism? How can a radical Wikipedia critique be developed that does not
present itself as the cynical ‘I told you so’ outsider or mimic the
neo-conservatist position of Andrew Keen? What kind of insight can Wikipedia
offer regarding the continuing tension between knowledge and information?</p>
<p class="callout"><em>2.
Wikipedia and Critical Histories of Western Knowledge Production</em></p>
<div class="pullquote">This session may include topics like: western vs.
non/post-western knowledge production, textual vs. oral tradition, visual vs.
textual knowledge, Wikipedia and language diversity, and indigenous knowledge.</div>
<p>The persistence of almost buried
master-narratives: The Western tradition of Enlightenment tends to permeate
both common and official understandings of knowledge on Wikipedia. Mirroring
the Enlightenment itself, Wikipedia both offers a very particular type of
knowledge and simultaneously makes claims upon the universal - e.g. in the
formulation of visionary goals, structure of articles, author positions,
writing style, categorization of entries, conflict resolution models and so on.
The ways in which such ideals persist and continue to bear their mark on the
present in often subtle ways requires further attention. Indeed, the 'grand
narratives' of the Enlightenment that Jean-Francis Lyotard claimed had
retreated with the emergence of 'computerized societies' continue to inform the
popular imaginary in ways largely untouched by the deconstructive moment.
Frederic Jameson once referred to this as the 'persistence of buried
master-narratives', a 'political unconscious' that guides decisions
irrespective of philosophical status. Likewise, this resonates with Foucault's
urge 'to reveal a <em>positive unconscious</em> of knowledge' as that which
performs the task of subjugation but operates beyond contention. What matters
here is not truth or belief, but operation.</p>
<p>The predominance of textual or even linguistical
cultures: The current system of Wikipedia citation prejudices textual systems
of knowledge over oral and visual systems of knowledge. This under-values the
knowledge systems of cultural memory and related technique such as mnemo
techniques or oral poetry on the one hand, and illiterate populations on the
other hand.</p>
<p> </p>
<p class="callout"><em>3.
Encyclopedia Models-- from 18th to 21th Century</em></p>
<p>The word made durable: In this session we want to
give an overview of various attempts to create a collection of global
knowledge. In order to get a better understanding of the cultural specificity
of the underlying code on which Wikipedia is built, this topic seeks to dig
further into the histories of the encyclopedia. D' Alembert's <em>Preliminary
Discourse</em> to the <em>Encyclopedie</em> is often described as the most
succinct statement of European Enlightenment, and the Encyclopedie itself as
the material project of Enlightenment. It is through the <em>Encyclopedie</em>
that the Enlightenment becomes durable, tangible and disseminated. What can be
learned by examining such historical precedents?</p>
<p>Encyclopedias have been said to be sources of
national images and stereotypes of the self and the other within Europe. In
Wikipedia image construction tends to be both disembogue and masked in favor of
a cosmopolitan, global self-understanding. This session might interrogate to
what extent knowledge production’s construction of national images is shifted
from a discursive to an automatic georeferencing system of construction.</p>
<p>As machines think (or maybe Knowing Machines or
The Machinic Intellect): This session may also look to historical attempts to
revolutionize knowledge through the creation of new technologies and to what
extent these alternate histories resonate with Wikipedia specifically and the
technologies of the Net as driven by knowledge imperatives more generally. Examples
include the Mundaneum, the Memex, the Galactic Network and project Xanadu. </p>
<p class="callout"><em>4.
Wikipedia Art</em></p>
<p>Art at the gates: Wikipedia Art is understood
both as artwork and intervention. Taking place largely on Wikipedia itself, the
project Wikipedia Art was considered controversial and was quickly removed (see
recent debate on nettime-l). What does this project reveal about this type of
knowledge production? What is the threshold of legitimacy for this type of
knowledge and how are the boundaries policed? What is at stake in the rejection
of art?</p>
<p class="callout"><em>5.
Models of Disambiguation and Designing Debate </em></p>
<div class="pullquote"><em>May
include topics like: </em>Dissent made visible, After Talk / Alerts /
Mailing Lists, the role of forum software, technical opportunities for
discontent, barnstars/award culture.</div>
<p>The paradox of neutrality: The Neutral Point of
View policy of Wikipedia does not always accurately depict the state of debate
on topics: The view held by a corporate lobby, using funded research, will find
equal space as the opinions of thousands of disadvantaged persons who might be
impacted by the actions of the corporate lobby. Would it make sense to replace
the NPoV policy and think about Wikipedia as a space of open political
agonality; as a battle for meaning underpinned by the desire for reason?</p>
<p>New crises of authenticity: As Wikipedia gains
the status of default reference for other printed textual knowledge artifacts –
there are emerging challenges of representation; longevity born digital
references; digital manipulation of sources; and circular referencing.
Shuddhabrata Sengupta of CSDS/Sarai says “Wikipedia encouraged in its community
the active exercise of a critical and skeptical attitude towards any received
form of knowledge”. In this context the evolving notions of authenticity has to
be further interrogated given the rise of peer-produced knowledge and the
diminishing cult of the expert. <em></em></p>
<p> </p>
<p class="callout"><em>6.
Critique of Free and Open </em></p>
<div class="pullquote">May include topics like: the parasite model of
free culture (“You work for free, others will make the money from your free
labour.”), governance, the role of developers, economy of Wikipedia, the beliefs
of the founders as the political foundation of Wikipedia, critical
interrogation of knowledge in relation to 'the open'.</div>
<p>Vacuous collaboration: Master concepts like
freedom and openness are at constant risk of remaining empty or constituting an
‘empty signifier’. The failure to fill such concepts has lead to many
descriptions of Wikipedia as 'collaborations' or even 'ad hoc meritocracies'
(Alex Bruns). Both these second-tier notions also tend to mask the
reconfiguration of the political and new forms of closure.</p>
<p>Paid and voluntary community manipulation: Many
Wikipedians hold strong opinions on range of sensitive areas including identity,
religion, science, politics, culture, and use sophisticated techniques such as
astro-turfing on Wikipedia. Additionally, some states, corporations and
organized religious groups sometimes pay specialists to engage in astro-turfing
in order to remove critical opinions and rewrite information from Wikipedia.</p>
<p> </p>
<p class="callout"><em>7.
Global Politics of Exclusion </em></p>
<div class="pullquote"><em>May
include topics like: </em>non-western, language, connectedness, oral
histories, women, non-geeks.</div>
<p>Tyranny of the connected: In societies which are
compounded by digital and participation divides, the connected usually always
win over those who don't have access and time to spare.</p>
<p>Gendered Knowledge: While women are strongly
represented among readers, globally, they are
hardly represented among contributors. In offlist chats, women express
that they do not feel comfortable when contributing to Wikipedia conversations.
They even felt silenced by the perception of Wikipedia as a masculine tech
culture. Some women have already created an alternative space of discussion at
wikichix.org. Does the separation of discussion spaces and the marginalization
of domestic issues and social impacts on Wikipedia turn back time?</p>
<p>Morality laundering: Moral standards that exist
in one country are being exported to other countries via Wikipedia. For
example, photo-realistic images of human bodies on pages dealing with sexuality
and anatomy are being replaced with drawings. Does this type of common
denominator approach undermine the pluralism of global sexuality? The call and
eventual refusal of image censorship for the entry on Mohammad represents a
similar scenario.</p>
<p>Language diversity: Despite the self-imposed
normative claim of language diversity and the self-description of Wikipedia as
a truly multi-lingual project, English is the Lingua Franca in translingual
meta projects and policy discussions. Also, on the level of content, is the
English Wikipedia the 'Leitmedium' in terms of (content) synchronization. In
what other ways does the language divide operate on Wikipedia?</p>
<p>Global governance: Governance of Wikipedia has
evolved and become increasingly sophisticated to match its phenomenal growth
and the attention it has garnered. While these changes in governance have
managed to sustain the growth of Wikipedia and prevent its credibility from
being undermined, there is a need to understand the impact that various
governance mechanisms have on the different incarnations of Wikipedia
throughout the world. Such analysis should consider separately (and compare)
different national chapters, plus extend beyond Wikipedia projects to the
governance of the Wikimedia Foundation.</p>
<p></p>
<p>Form and format: As the Wikipedia becomes a
standard of documentation and knowledge archive, it becomes important to focus
on traditional, oral and ephemeral knowledges which might die because of the
limitations of technologised platforms to capture them. Oral histories,
community knowledges, incipient systems of documenting personal and collective
memories, etc. start getting lost as the logo-centric, ‘objectively verifiable’
structures of knowledge production come into being. Rather than a critique of
Wikipedia, analysis needs to concentrate on ways by which such knowledge
systems are not lost and further tools which need to be developed in order to
make them accessible and visible.</p>
<p> </p>
<p class="callout"><em>8.
The Place of Resistance</em></p>
<p>Why do people resign from Wikipedia? Are critical
voices silenced by the majority of the mass? Does the exclusion of the
Wikipedia Art project reveal that within Wikipedia is no place for contesting
forms, repertoires, styles that go beyond linguistic approaches? Rituals and
mechanisms of exclusion offers critical insights into the contemporary status
of resistance formation in an paradigmatic age of diversity and inclusion.
Going beyond and extending the thinking of social movement scholars such as
Touraine or Melucci the study of Wikipedia might inform culture and identity
approaches of social movement studies and vice versa.</p>
<p>Can Wikipedia said to be a social movement and/or
how do social movement actors appropriate the Wikipedia to built alternatives?</p>
<p class="callout"><em>9.
Media Literacy and Education </em></p>
<p>Knowing about knowing: While technologies like
newspapers, television, radio and cinema have given birth to educational
institutions that engage in media studies, thereby providing tools for the
discerning citizen-consumer and future professional, there is still much work
required to develop similar critical models for emerging projects like
Wikipedia. The common institutional (non)response to warn against the ‘dangers’
of Wikipedia-like projects and discourage or ban their use seems grossly
inadequate. The rise of 'prosumers' suggests a need for new 'production
literacies' in addition to the traditional 'consumption literacy'. Furthermore,
there is also a growing number of meta projects on Wikipedia that seek cooperation
with schools and academia. But is the Wikimedia foundation and select national
bodies the legitimate actors to teach media literacy or is this rather a public
relations effort? What would Wikipedia literacy entail?</p>
<p class="callout"><em>10.
Wiki-analytics, Wikipedia as Platform and Software Studies</em></p>
<div class="pullquote"><em>Possible Topics: </em>Protocological
Knowledge, Knowledge vs. Information, Cultural Analytics, Cybernetics in the
present, (Un)dead labour and the posthuman bot.</div>
<p>Knowledge in the neighborhood of software: Can we
start thinking of Wikipedia as an interplay of editors and technology, since
software and notification systems are such an important part of the Wikipedia
project? Indeed, whilst humans argue over knowledge statements, 'bots' do much
of the dirty work and general knowledge housekeeping – a kind of (un)dead
labour. The presumption here, of code as politics, is that the wiki principles
themselves need to be debated from a perspective of software studies. To what
extent has bot politics triumphed over vernacular expertise or lead to an empowerment of the e-tech geeks
in knowledge projects? Related to this is the question of the cultural history
of Wikipedia as a platform. What is the relation between policy formation and
technical protocols? Is Wikipedia knowledge
Cybernetic?</p>
<p>Wikipedia as a data set: Besides the automation
participation in the form of the bot, Wikipedia is an information artifact
through and through. What kind of data analysis techniques can contribute to a
radical critique or illuminate network regularities beyond human
interpretation? What additional anonymised data sets of edit and use history
should be released by the Wikimedia Foundation to promote media literacy and
education.</p>
<p> </p>
<p class="callout"><em>11.
Wikipedia and Conditions of Knowledge Production</em></p>
<div class="pullquote">Possible Topics: Politics of knowledge production,
question of authority, The fallacy of objectivity, Wikipedia and the Public
Sphere.</div>
<p>The alarm that traditional bastions of
knowledge production and consumption (like universities and publishing houses)
raise against Wikipedia, brings into sharp relief, the fact that the Wikipedia
is a part of a much larger knowledge production industry. With the Wikipedia’s
integration into more ‘mainstream’ usage, it becomes necessary to focus on how
the emergence of such a space (and the principles it embodies) also affects the
much larger and global politics, aesthetics and mechanics of knowledge
production. Wikipedia has substantially changed academic trends of publication,
citation, classroom pedagogy and research. It has also been central to many
debates about who produces knowledge and who has the ‘right’ to be an Authority
on the knowledge thus produced.</p>
<p>Moving beyond the class-room and questions
of plagiarism or teaching, there is need to investigate the pre-conditions and
the contexts within which Wikipedia emerges, and the kind of questions it poses
to processes of knowledge production, consumption and verification.</p>
<p> </p>
<h3><em>Production
Details</em></h3>
<p>Besides setting up a network for critical
Wikipedia research with its own mailing list and organizing two events early
2010 in Bangalore and Amsterdam (to start with), the aim is to gather materials
for a Wikipedia Research Reader that will be published in the INC Reader series
around September-October 2010.</p>
<div class="pullquote">Research and editorial group: Geert Lovink and
Sabine Niederer (Amsterdam), Nathaniel Tkacz (Melbourne), Sunil Abraham
(Bangalore), Johanna Niesyto (Siegen), Nishant Shah (Bangalore).</div>
<h3><em>Contact
info: </em></h3>
<p>Sunil Abraham: <a href="mailto:sunil@cis-india.org">sunil@cis-india.org</a></p>
<p>Nishant Shah: <a href="mailto:Nishant@cis-india.org">Nishant@cis-india.org</a></p>
<p> </p>
<p> </p>
<p>For more information on how to apply to the Bangalore WikiWars conference, please <a title="CPOV - Critical Point of View : Wikiwars" class="internal-link" href="/research/conferences/wikiwars">click here</a>.</p>
<p>
For more details visit <a href='https://cis-india.org/research/conferences/conference-blogs/Wikiwars'>https://cis-india.org/research/conferences/conference-blogs/Wikiwars</a>
</p>
No publishernishantWikipediaart and interventioncyberculturesdigital subjectivesVandalismdigital artdigital pluralism2009-07-13T09:07:42ZBlog EntryThe 'Dark Fibre' Files: Interview with Jamie King and Peter Mann
https://cis-india.org/a2k/blogs/dark-fibre-files
<b>Film-makers Jamie King (producer/director of the 'Steal This Film' series) and Peter Mann, in conversation with Siddharth Chadha, on 'Dark Fibre', their latest production, being filmed in Bangalore</b>
<p>'Dark Fibre' is a documentary/fiction hybrid by J. J. King, producer/director of the 'Steal This Film' series, which has already reached over six million people online and is working towards achieving international television distribution, and Peter Mann, a British film-maker whose most recent work is titled 'Sargy Mann'.</p>
<p>'Dark Fibre' is set amongst the cablewallahs of Bangalore, and uses the device of cabling to traverse different aspects of informational life in the city. It follows the lives of real cablewallahs and examines the political status of their activities.The fictional elements arrive in the form of a young apprentice cablewallah who attempts to unite the disparate home-brew networks in the city into a grassroots, horizontal 'people's network'. Some support the activity and some vehemently oppose it -- but what no one expects is the emergence of a seditious, unlicensed and anonymous new channel which begins to transform people's imaginations in the city. Our young cable apprentice is tasked with tracking down the channel, as powerful political forces array themselves against it. Not only the 'security' of the city, but his own wellbeing depend on whether he finds it, and whether it proves possible to stop its distribution. Meanwhile, mysterious elements from outside India -- possibly emissaries of a still-greater power -- are appearing on the scene. This quest for the unknown channel is reminiscent of a modern-day 'Moby Dick', with the city of Bangalore as the high seas and our cable apprentice a reluctant Ahab. The action is a combination of verite, improvisation and scripted action.</p>
<h3>In conversation with Jamie and Peter in Bangalore</h3>
<p><strong>Q: How did you get the idea to make Dark Fibre, a fiction film?</strong></p>
<strong></strong>
<p><strong>Peter: </strong></p>
<strong></strong>
<p>We first met through BritDoc--British Documentary--and they run Channel 4 which is a Film Foundation. They have been good to us. They funded both Steal This Film and 'Sargy Mann'--a film on my father who is a blind man. They organised a meeting of all the directors they had funded and we met there. We were both thinking about what to do next and felt frustrated because we were making documentaries but really wanted to make fiction. We both shared the same ideas, with regard to shooting something completely as it is but presenting it in a fictional context.</p>
<p><strong>Jamie:</strong></p>
<strong></strong>
<p>And furthermore, we agreed that documentaries are not really real life. Because at the end of the day, I will keep only what I like, make you look at the way I want you to, I would cut you out of the picture if I don't agree with you. This happens even with the most worthy of the films. And you can be more truthful in fiction because its always a subjective truth. Fiction allows things to remain more real. I don't need an argument in the film. If I can just say, here is one guy's story and this is his story, then you can see the city with no bullshit. The story would allow you to look at things as they are; it's partly that idea behind Dark Fibre.</p>
<strong>Peter:<br /><br /></strong>
<p>This is in some way related to the concept of the artistic truth. You use all the tools at your disposal to tell a story, not just literal facts. This is about presenting things within an atmosphere, presenting things in a context. This then adds up to someone understanding something about the world, and I think fiction serves that better than documentary.</p>
<p><strong>Q: What brings you to India to make Dark Fibre?</strong> </p>
<strong>Jamie:<br /><br /></strong>
<p>I think the cablewallah networks are unique. I have never seen anything like this anywhere else myself. India is also in a very, very interesting time and place. The idea of information as a commodity is alive here as it isn't in many other places. The value of information is very high here. There is a western imaginary of Bangalore which is immediately fascinating. It's the place where our information is processed. This is where our credit card and our phone data goes. And it enters a weird black market that we don't understand. This is the cliché. We already have cliché films about Bombay and call centers. We do not want to put a call center into the film because that is already the imagined cliché vision of Bangalore. It is obviously far more sophisticated than that. And in some ways it is far patchier than that. Who are these information workers? What are they doing and at which level are they doing it? Are they the street workers putting cables into walls or is it the guy at Infosys who is hiring people and teaching them to fake English accents? Which is the real information worker? That variegation of information life in Bangalore is interesting, not just to us, but, I think, to everybody. Information dexterity is perceived as the signature of Northern dominance. The ability to manipulate information, to move intellectual property, to transform an idea into a product, to transform someone else's idea into your property. That kind of dexterity is seen as the keynote of western dominance. And watching a developing country transform into an information dextrous economy, seeing information dextrous people is amazing. And then there is the patchiness of it--who gets left behind? Who gets included? Whats missed out and what is added in that vision? How is it manipulated in favor of big businesses? And all of this is fascinating not only from an orientalist's point of view but from a general economic-socio-political point of view.</p>
<p><strong>Q: What is the underlying concept that brought about Dark Fibre?</strong><br /><strong><br />Jamie:</strong><br /> <br />While making 'Steal This Film' we spent a year on a 36 minute film trying to make an argument that would be staunch, impactful, and radical. What we learned is that it's very difficult to set out to argue your way to the truth. It's relatively easier to let the world itself speak and in the meanwhile observe it in detail. The kind of issues we are engaging with in Dark Fibre are around people's relationships with information and their relationship with freedom. These are very, very hard to nail down and speak about in a radical way. These are things left to the Intellectual Property lawyers, it's already happening, it's already cliché. All the arguments are already written. And even after a year of Steal This Film, it's shown in liberal universities – Wait! Liberal universities? I was supposed to be an anarchist! We want to go further. We want to tell people things through an image.</p>
<strong></strong>
<p><strong>Peter:</strong></p>
<p>Our idea of relationships is exploring the parallel physical communications networks and the virtual networks. In a city like Bangalore you see it. The traffic here is chaotic but it works. How? There is no answer to that. But it provokes questions. Through Dark Fibre, we are trying to say that there is a potential network in the city (cablewallahs) which is currently being unused and asking what it would take to unlock that potential and where would it take us if that really happens.</p>
<p><strong>Q: Why the cablewallahs? What is so fascinating about them?</strong><br /> <br /><strong>Jamie: </strong><br /> <br />Yes, we are interested in the cablewallah network and I think it's quite perverse that it makes people from around here laugh. You see cablewallahs as a fact of life, probably a mundane fact of life. Westerners, Europeans, who are used to orderly deployments of information technology are completely blown away when you tell them that this is how it works in India. Ad hoc, grassroots, messy, out of control.</p>
<strong><br />Peter:<br /><br /></strong>
<p>To the West, it is just unthinkable that the government would allow something like these networks, which supply 24 hours television. To not have these under government control is unthinkable.</p>
<strong>Jamie:<br /><br /></strong>
<p>So, obviously, we are at a point of transition where it's unthinkable to the Global North and it would become unthinkable here too. We are in the middle of that shift and thats one of the things we are trying to document; the network form, which is horizontal, ad hoc and on the street, becomes not only regulated but seditious.</p>
<strong>Q: Why would you call it seditious?</strong><strong><br /><br />Jamie: <br /><br /></strong>
<p>Because it begins to be seen as almost dangerous. As the regulators move in, they take Direct to Home control of all the deployments of their intellectual properties. The older networks start to look not only like intellectual property right infringements, but their disorder is also seen to be terrorist.</p>
<strong>Q: What is the film trying to propose through linking these cablewallah networks?</strong>
<p> </p>
<strong>Jamie:<br /><br /></strong>
<p>Our proposal in this film is - "What if instead of just dying peacefully, someone had the idea of transforming these networks that used to deliver international and local content, by connecting them together, and turning them in to massive local media networks which are used for media sharing, file sharing, your own local channel?" There is a potential because the network is already there.</p>
<strong>Peter:<br /><br /></strong>
<p>In a way, if you think about the microcosm idea of the Internet as a whole, that essentially is what our plot is. On a certain level you would say that it's just a network but then the internet is the most important driving force of the world today.</p>
<p><strong>Jamie:</strong></p>
<strong></strong>
<p>The point is that once this idea is out, we can create the infrastructure to connect the entire city, infrastructure we can all use. Everyone starts to have a stake in it, be it the newspapers, TV channels, pirate markets (they will say, "No one is buying our shit anymore because they can share it over the network"), the computer manufacturers, the importer of Chinese routers, a gangster who thinks he can advertise on the network, the intellectual property lawyer... different people start getting the idea that they might have something to do with this network. Basically this is a chaos scenario, from which arises the plot. It is a fictional scenario but is set in the reality of information sharing here today.</p>
<p><strong>Q: What is the technique you use to make the plot hybrid fictional?</strong><br /> <br /><strong>Jamie:</strong><br /><br />The main character is played by an actor and he will be an embedded actor, working with the real cablewallah. Parts of it will be documentary, seeing how the cablewallah works and the viewer, through watching this actor, will understand how the network works. We have already spoken to some cablewallahs. And they have been very happy about all this. We see this as sort of embedded journalism, where the embedded actor takes the place of an interviewer. The film is not going to be historical. The characters will have a background and the film is going to have a background, but what we are trying to do is show the 'now'. We want to make it speak about the past and speak about the future. About our future.</p>
<p><strong>Q: 'Steal This Film' was a critique of the international intellectual property regimes. Would this film also be similarly advocative?</strong><br /> <br /><strong>Jamie:</strong><br /><br />We are going to the next level from 'Steal This Film', and this is more of my argument than Peter's -- that the conversation about Intellectual Propery is over or the film is the last word at all. But I personally need to go somewhere else to say more. I am interested in information in general. And how information affects what we can think, what we can dream, what we can be, how it forms all of us -- that is what we are working on in 'Dark Fibre' and the question of intellectual property is a subset of that question. We spend a lot of time talking about ideas and that's one of the things that connects us. We want to articulate a lot of the philosophical, abstract ideas in this film. And we will see if we can manage to do it in a new context. 'Steal This Film' interested a few people and this will be the next point of departure for discussion.</p>
<p><strong>Q: Peter, do you share Jamie's passion for Intellectual Property?</strong><br /> <br /><strong>Peter:</strong><br /><br />Not in the same way. I am very interested in the subject. Anybody who creates work is interested in it. In my last film, there is a constant commentary of a test match going on and as a result of it, it is almost impossible to sell it to television; people who own the rights to the cricket say that we have to pay them thousands of pounds! I am interested in documenting the world as it is and not what is cleaned up for TV. I am interested in the specifics. If you get on a bus in London, the ringtone everyone has on a mobile phone is not a ringtone but a particular song. But you can't put that on film because Mick Jagger, or whoever the artiste is, will want ten thousand pounds for it. The frustration that I face is that it is impossible to put the world that I see in front of me on film. I used to work with TV commercials and you would never see anything in commercials that is not the product being sold. I was once working on a Coca Cola commercial in New York and there was a person who was appointed by Coca Cola to go around the whole set to ensure that no one is drinking anything that is not made by Coca Cola, whether that is water or juice. Anything. And I think all that is about creating a creased world that we don't live in. I am interested in the world, through documentaries or fiction, that we live in. And it is bits of music, it is referenced films, we reference music, we reference sport. Just because people have rights over these, you never see them on film. That is my main area of interest, more than what is happening on the legal front.</p>
<p><img class="image-inline image-inline" src="uploads/stf.jpg/image_preview" alt="stf" height="400" width="284" /> <img class="image-inline image-inline" src="uploads/copy_of_steal_this_film_2.jpg/image_preview" alt="steal this film" height="400" width="280" /></p>
<p> </p>
<p>
For more details visit <a href='https://cis-india.org/a2k/blogs/dark-fibre-files'>https://cis-india.org/a2k/blogs/dark-fibre-files</a>
</p>
No publishersiddharthhistories of internet in Indiainternet and societyDigital AccessIntellectual Property RightsYouTubeart and interventionPiracyOpen Accessinnovationdigital artists2011-08-04T04:41:31ZBlog Entry