Centre for Internet and Society

Welcome to r@w blog!

sneha-pp — 2019-01-02T11:48:04Z

We from the researchers@work programme at the Centre for Internet and Society (CIS) are delighted to announce the launch of our new blog, hosted on Medium. It will feature works by researchers and practitioners working in India and elsewhere at the intersections of internet, digital media, and society; and highlights and materials from ongoing research and events at the researchers@work programme.

r@w blog: Visit (Medium)

A space for reflections on internet and society, r@w blog is also an attempt to facilitate conversations around contemporary debates and foster creative engagement with research and practice through text, images, sounds, videos, code, and other media forms offered by the internet.

r@w blog opens with an essay on ‘Information Offline: Labour, Surveillance, and Activism in the Indian IT & ITES Industry’ by Rianka Roy - as part of an essay series exploring social, economic, cultural, political, infrastructural, and aesthetic dimensions of the "offline" - and audio recording from a session titled #ILoveYou by Dhiren Borisa and Dhrubo Jyoti, which was part of the Internet Researchers’ Conference 2018 - #Offline.

We will publish our (including commissioned/supported) writings and works on this blog, as well as submitted and compiled materials. Please write to raw[at]cis-india[dot]org to submit your works to be considered for publication. Copyright to all material published on this blog are owned by CIS and author(s) concerned, and they are shared under Creative Commons Attribution 4.0 International license.

For more details visit http://editors.cis-india.org/raw/welcome-to-raw-blog

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 http://editors.cis-india.org/raw/the-zen-of-padma

The Spaces of Digital

sneha-pp — 2015-10-24T13:41:25Z

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

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

Stage 1: Knowledge Maps

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

Stage 2: Spatial Patterns - Digital Project

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

Stage 3: Knowledge Networking Building

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

Stage 4: Knowledge Exhibition / Publication

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

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

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

The Infrastructure Turn in the Humanities

sneha-pp — 2016-06-30T05:07:06Z

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

Sections

01. Digital Humanities in India?

02. A Question of Digital Humanities

03. Reading from a Distance – Data as Text

04. The Infrastructure Turn in the Humanities

05. Living in the Archival Moment

06. New Modes and Sites of Humanities Practice

07. Digital Humanities in India – Concluding Thoughts

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

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

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

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

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

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

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

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

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

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

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

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

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

Notes

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

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

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

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

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

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

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

References

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

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

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

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

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

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

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

The Digital Humanities from Father Busa to Edward Snowden

sneha-pp — 2017-10-04T11:02:10Z

What do Edward Snowden, the whistle-blower behind the NSA surveillance revelations, and Father Roberto Busa, an Italian Jesuit, who worked for almost his entire life on Saint Thomas Aquinas, have in common? The simple answer would be: the computer. Things however are a bit more complex than that, and the reason for choosing these two people to explain what the Digital Humanities are, is that in some sense they represent the origins and the present consequences of a certain way of thinking about computers. This essay by Dr. Domenico Fiormonte, lecturer in the Sociology of Communication and Culture in the Department of Political Sciences at University Roma Tre, was originally published in the Media Development journal.

Cross-posted from Media Development, Vol. LXIV 2/2017. Published on May 13, 2017.

Although it is true that computer science was born from the needs of calculation (i.e. computing), in other cultures and languages the usual term is “informatics”, or the science of information. The difference is not trivial, and in fact the encounter between the computer and words, or rather with language, can be considered a cultural watershed. Father Busa himself was one of the protagonists of this meeting which came about in 1949 when he visited New York to ask Thomas J. Watson Sr, the president of IBM, for permission to use computers to study the vocabulary of Saint Thomas Aquinas (Jones, 2016). That endeavour is considered by many to have signalled the birth of computer-based “Natural Language Processing”, the inter-disciplinary field behind many of the digital tools that we use in our everyday life: from the technologies of T9 on our smartphone to voice recognition and synthesis, etc.

But these tools, although fundamental, are not the most striking (or perhaps disturbing) results of this age of transformation. Through the gesture of entering words in a computer, Busa framed the basis of a new concept of hermeneutics that was no longer based solely on purely subjective interpretation, but also on automatic processing of linguistic data, and hence in some sense “objective”. Busa’s undertaking founded the discipline of Humanities Computing (although years later it was renamed Digital Humanities), but above all it laid the groundwork for a profound epistemological and cultural transformation. And at the heart of this revolution was the “written document”, the text, understood as an alphanumeric sequence. In an effort to best explain this revolution, I will concentrate on one aspect, the representation of the document, and return to the hermeneutical aspects in the final part.

The epistemological revolution of the digital document

My own association with Digital Humanities (DH), as for many humanists of my generation, came from philology and textual criticism. My first foray into electronic textuality was in 1990, when it became clear that the confluence of informatics and the humanities would revive an inherent, almost arcane dualism: in the beginning was the data… But I was unprepared to tackle the conflict between information retrieval and interface, or between a textual paradigm based on the idea of information (text=data) and a vision of the textual document as a stratified historical-material reality, visualized not only as information, but also as an object (or series of objects), to be ultimately used and enjoyed. This dualism certainly did not only come about as a result of the encounter between informatics and text, but what we can say is that the process of digitization from this point on would “enhance” certain characteristics of the document at the expense of others.

The problem of the digital document in fact cannot be understood unless one first understands what digitization is and how it works: that is to say, the process of translating what we who undertake the work call “encoding” or more generally “representation”. The pioneers of informatica umanistica in Italy (Tito Orlandi, Raul Mordenti, Giuseppe Gigliozzi, etc.) taught the students of my generation two key concepts: 1) the passage from the analogue to the digital implies a process that formalizes the object of research (from the single character to the more complex structures of the historical artefact); 2) each act of encoding, or rather each act of representation of the specific “object” via a formal language involves a selection from a set of possibilities and is therefore an interpretative act (Orlandi, 2010).

The fundamental difference is that the human language and its writing systems were always many and various, whereas formal computer languages are based on a codex universalis, an Esperanto derived for the most part from the English language. As George Steiner wrote in After Babel, “the meta-linguistic codes and algorithms of electronic communication are founded on a sub-text, on a linguistic ‘pre-history’, which is fundamentally Anglo-American” (Steiner, 1998: xvii). Digital “standards” always reflect a cultural bias, and the act of encoding is never neutral, but tends to assume (and overlap with) universalizing discourses that on the surface are hard to see.

An important standard for character representation with ASCII, the American Standard Code for Information Interchange created in the 1960s. That technology is continued today by Unicode, an industrial standard, which purports to represent the characters of all written languages. Beside the fact that it is directed by the usual mega-corporations, Google, Apple, IBM, Microsoft, etc., Unicode is underpinned by an alphabet-centric logic that penalizes non-Western systems of writing. Given this weakness, it should come as no surprise that it has attracted criticism on several fronts, including the charge of ethnocentrism (Perri, 2009; Pressman, 2014: 151), and also because it ignores the difficulties faced by languages of low commercial value in their efforts to be properly represented (and therefore at risk of extinction). To paraphrase Alexander Galloway, “technical is always [geo]political” (Galloway, 2004: 243).

Even if our lack of awareness as humanists might have deceived us into thinking that the translation from the analogue to the digital was a neutral and painless process, we would soon have realized that, as with any change of format, digital representation can change and influence both the life of the original object and its digital future. And we would have discovered the “multiple biases” inherent in the digitization process. So in one respect we have entered in a post-Busa phase where interpretation is not something you can have without defining both the object and the source of your knowledge.

Busa never showed much interest in theoretical questions or in the link between hermeneutics and epistemology (and even less between semiotics and politics), or between the interpretation of the object and the nature of its representation. Perhaps this was because the question “What do I want to represent, and how?” would have provoked a series of more disturbing questions: “What is knowledge? Who produces it, how, and for what purpose?” These questions probably would have threatened to paralyze his pragmatic approach. On the other hand, it cannot have been easy to ignore the problem, since many philosophers, starting with Plato when discussing the transition from orality to writing, kept asking questions about the formats and systems of knowledge representation (Stiegler, 2006).

As humanists we then begin to understand that the problems information technology appeared able to resolve, soon created new problems which were not limited to a single discipline, like philology or textual criticism. To ignore the epistemological (and also ethical or political) problems generated by the confluence of the humanities and information science was certainly possible: but at what price? The more pragmatic among us would have been content to use machines for what they could immediately offer: the tremendous possibilities and tools for representing, archiving and automatic analysis of humanistic objects and artefacts. This approach seemed prevalent in the first historical phase of DH, reflected in canonical definitions like “the application of computational methods to humanities research and teaching” or “researching the Humanities through digital perspectives, researching digital technologies from the perspective of the Humanities” [1].

But what are the effects of these methods and technologies? The answer to this question coincides with the new phase that DH is actually in at the moment, a phase that forces us to consider the costs of all of the above, the ethical, social, and political implications of the instruments, resources and infrastructure, and the cultural biases inherent in their conception and design.

The social and political implications of DH

Fr Busa’s “hermeneutic” approach has been the main focus of the past 20 years of DH, while the methodological and epistemological concerns have been pushed to one side. The reason for this is fairly simple. Since the overwhelming majority of evidence on which the memory of people is based (particularly in the West) is the written text, the computer, a manipulator of alphanumeric symbols, has been shown to be a powerful agent of their preservation and management. This need to unravel the concept of the “text as data”, as mentioned above, has pushed aside for the moment the question of interface, that is, ways for the text to be used and read.

The materiality of written documents, given their incredible linguistic and cultural diversity, their visual and pragmatic dimensions, etc. (especially holographs and manuscripts) does not marry all that well with the limited possibilities offered by information science – or at least doesn’t fit with what has been produced by those who have guided its development thus far. Therefore, up until the early 2000s, the Digital Humanities focused especially on the design of tools and resources for the analysis and preservation of written documents. The spread of the Web from the mid-1990s, despite the first rumblings on the theme of user interface development (which Busa always considered to be a minor problem), ended by confirming this tendency.

There was in my view a precise moment when this concept of “text as data” reached a point of crisis, by showing its dark side. As humanists we would probably have preferred to continue our work quietly as if nothing had changed, but at a certain point something monumental happened, an event which has changed our relation with the digital dimension of knowledge, and hence of research. And this moment was the 6th of June 2013, when the Washington Post and the Guardian began publishing the documents supplied by Edward Snowden about mass surveillance by the NSA. The immensity of this event was immediately clear: a document published by the US National Security Agency and its British twin (GCHQ), said that in one month alone over 181 million records had been collected, including metadata and content (text, audio and video [Gellman and Soltani, 2013]).

The news that in July 2016 half of Silicon Valley, from Amazon to Google, had been co-opted by the Pentagon (Collins, 2016), and the dynamics of the last presidential elections in the USA confirmed, that the Net has become the field on which the geopolitical balances of the planet are played out. And at the centre of this “new world” is the idea of the “universal archive” where all data (past, present, and future) are stored. It is here that both the hermeneutical and epistemological questions fall down. In modern times, knowledge and interpretation depended on history, which we conceived as a linear process, i.e. based on space and time. But the dynamics of digital data seem to escape the logics of space and time, because the digital archive is ubiquitous and eternally present.

In my opinion, the heritage of Busa is reflected by the obsession with control (collection) and the analysis (interpretation) of data by government agencies and high-tech multinationals. Both have committed to the “hermeneutic” vision (although of the bare bones variety), or rather to the analysis of huge amounts of our data as the basis of their interpretation of the world. Welcome to the fantastic world of Big Data...

The question is no longer what the document is or how it is represented (an epistemological question) or how it is to be interpreted (a hermeneutical question). Even if the better forces of DH have insisted on this point and on the necessity of proceeding in this order (because interpretation of the object is inseparable from the circumstance of its representation), these “humanistic” scruples appear suddenly irrelevant. The actual question is in fact “who are we really?” Or rather not us, but the creation through our digital footprint of an alter ego that the algorithms of Google or Facebook decree is more “true” than the other (which we mistakenly believe still to exist). But who will be able to decipher or take apart these stories (data + algorithms) which we daily write and re-write? And does it still make sense to investigate the instruments of production and preservation of memories and knowledge when we no longer have any control over them?

Geoffrey Rockwell and I recently tried to analyze a commercial surveillance package, Palantir, from the point of view of DH (Rockwell and Fiormonte, 2017). Palantir scans and combines data from “documents, websites, social media and databases, turning that information into people, places, events, things, displaying those connections on your computer screen, and allowing you to probe and analyze the links between them” (Anyadike, 2016). But these kinds of software can be also seen as story-telling tools, because they allow someone to build stories about us and through us. So there seems to be a “literary” and rhetorical side to surveillance software, which the digital humanist seems particularly well-equipped to analyze. After all, the story of Big Data is also our story. There seems to be an “original sin” present in Big Data, i.e. the information retrieval paradigm that treats stories as data and data as a resource to be mined. And this approach is clearly reflected in Busa’s original idea of computational hermeneutics: digitize your texts, get your data, then build an interpretation upon them.

A posteriori we can ask ourselves what happened on that distant morning in 1949 in the heads of Thomas J. Watson Sr. and Father Busa. Was the founder and owner of IBM conscious of what the vision of Father Busa would lead to? And could the Jesuit father have ever expected that his intuition would change not only our means of reading and interpreting history, but also how we construct it? No one can ever know. But history reaffirms once again the great responsibility of science – in this case the responsibility of the “ignorant” humanities. If anyone believes that the humanities do not have a future, it is good to read again how 70 years ago a meeting between Thomas Aquinas and computers formed the basis of a revolution in digital communication. But from now on, the role and responsibility of the humanist will not only be to preserve and interpret the signs of the past, but to engage critically with, and where necessary unmask, the technological, political and social discourses that are shaping our knowledge, memories, and consciousness.

This article was translated by Desmond Schmidt.

Note

[1] Selected responses to the question “How do you define DH?” from Day of DH 2012. Accessed from http://archive.artsrn.ualberta.ca/Day-of-DH-2012/dh/index.html.

References

Anyadike, Obi (2016). Spies Sans Frontières? How CIA-linked Palantir is gaining ground in the aid industry (and why some humanitarians are worried). IRIN, March 7, 2016. Accessed from https://www.irinnews.org/investigations/2016/03/07/spies-sans-fronti%C3%A8res.

Collins, Terry (2016). Amazon CEO Jeff Bezos joins Pentagon innovation board. CNet, July 28, 2016. Accessed from https://www.cnet.com/news/jeff-bezos-amazon-blue-origin-pentagon-ash-carter-eric-schmidt-google/.

Galloway, Alexander R. (2004). Protocol: How Control Exists after Decentralization. Cambridge (MA), MIT Press.

Gellman, Barton – Soltani, Ashkan (2013). NSA infiltrates links to Yahoo, Google data centers worldwide, Snowden documents say. The Washington Post, October 30, 2013. Accessed from https://www.washingtonpost.com/world/national-security/nsa-infiltrates-links-to-yahoo-google-data-centers-worldwide-snowden-documents-say/2013/10/30/e51d661e-4166-11e3-8b74-d89d714ca4dd_story.html.

Jones, Steven E. (2016). Roberto Busa, S. J., and the Emergence of Humanities Computing. The Priest and the Punched Cards. London, Routledge.

Orlandi, Tito (2010). Informatica testuale. Teoria e prassi. Roma-Bari, Laterza.

Perri, Antonio (2009). Al di là della tecnologia, la scrittura. Il caso Unicode. Annali dell’Università degli Studi Suor Orsola Benincasa, Vol. II, pp. 725-748.

Pressman, Jessica (2014). Digital Modernism: Making It New in New Media. Oxford, Oxford University Press.

Rockwell, Geoffrey and Fiormonte, Domenico (2017). Palantir: Reading the Surveillance Thing. Critical Software Stories as a Way of the Digital Humanities. Paper presented at the AIUCD 2017 Conference, University of La Sapienza, Rome, January 26-28, 2017.

Steiner, George (1998). After Babel. Aspects of Language and Translation. Oxford, Oxford University Press.

Stiegler, Bernard (2006). Anamnesis and Hypomnesis. The Memories of Desire. In Armand, L. and Bradley, A. ed., Technicity. Prague, Litteraria Pragensia, pp. 15-41. Online version. Accessed from http://arsindustrialis.org/anamnesis-and-hypomnesis.

Author

Domenico Fiormonte (PhD University of Edinburgh) is currently a lecturer in the Sociology of Communication and Culture in the Department of Political Sciences at University Roma Tre. In 1996 he created one of the first online resources on textual variation (www.digitalvariants.org). He has edited and co-edited a number of collections of digital humanities texts, and has published books and articles on digital philology, new media writing, text encoding, and cultural criticism of DH. His latest publication is The Digital Humanist. A critical inquiry (Punctum 2015) with Teresa Numerico and Francesca Tomasi. His current research interests are moving towards the creation of new tools and methodologies for promoting interdisciplinary dialogue in the humanities (http://www.newhumanities.org).

For more details visit http://editors.cis-india.org/raw/the-digital-humanities-from-father-busa-to-edward-snowden

Talk on Game Studies by Dr. Souvik Mukherjee, July 28, 6 pm

sneha-pp — 2016-09-16T13:21:58Z

This talk will explore the story-telling aspects of game studies and how it relates to discussions of other digital media, Internet cultures and also traditional Humanities. As an introduction, it also aims to open up discussions for Game Studies in India.

Abstract

You are a CIA agent who has infiltrated the Russian mafia and the mafia bosses want you to shoot down innocent civilians in a crowded Moscow airport. What do you do - kill the civilians or blow your cover?

The above scenario is taken from the controversial ‘No Russian’ chapter in the videogame Call of Duty: Modern Warfare 2. Graphically realistic and often provoking us to explore deeper questions, videogames have changed from simplistic beat-em-ups to more thought-provoking media through which stories can be shaped and retold. Videogames are, therefore, storytelling media although traditional Humanities and Information Technology both struggle with this notion. This talk will explore how videogames tell stories and why traditional academia finds them problematic. It will also address how understanding this ‘new; storytelling could result in the creation of eminently more innovative and arguably, more marketable gaming software.

Coming back to the Call of Duty scenario, one notices a significant difference from most stories that we get in books or movies. The reader / player has a choice and this is a nontrivial choice that influences the furtherance of the story. The story therefore has multiple endings and is, in effect, constructed jointly by the affordances and mechanics created by the game designer and by the choices and the playing skill of the player. Further, the player can save and replay a game sequence over and over - each time the game plays out differently and the story changes, at least slightly. Moreover, the involvement of the player with the game environment can be very intense and create the feeling of being within the story-world. Finally, there is the issue of accepting that games, usually likened to the playful and the non-serious, can be instrumental in creating a thought-provoking narrative experience. Likewise, the idea of a computer program spinning out a story is equally unexpected and looked upon with suspicion.

For all the problems posed by game-narratives, the consideration that videogames tell stories and that some videogames tell very thought-provoking tales is an unavoidable one. Recent trends in Humanities criticism and in Computing recognise the synergy between the disciplines. Gaming is no longer all about creating Shooters such as Doom; videogames have changed in concept, have entered social networking platforms and are increasingly beginning to comment on real-world issues. In terms of software development, the storytelling game has made it imperative to study the player’s responses; how players interact with the game-world and how they innovate strategies are of key importance to designing successful gameplay sequences. As far as the Humanities are concerned, the game-narrative can provoke thought into philosophical problems such as the morality of killing civilians in the Call of Duty sequence; further the videogame-story also helps explore storytelling in a multiple and shared textual form and to think about inherent linkages between games, stories and machines.

The aim of this talk is to raise questions regarding the storytelling aspect of videogames rather than coming up with any set conclusions. Ultimately, such a discussion aims to lead to the development of some new pointers for rethinking the videogame industry, especially in terms of the global marketplace and in terms of how the story-experience in videogames is a key factor in shaping player interest. This talk is an introduction to the now slightly over a decade old field of Game Studies and how it relates to discussions of other digital media, Internet cultures and also traditional Humanities. As an introduction, it also aims to open discussions for Game Studies in India.

Speaker

Souvik Mukherjee is currently employed as Assistant Professor of English Literature at Presidency University (earlier Presidency College), Calcutta. Souvik has been researching videogames as an emerging storytelling medium since 2002 and has completed his PhD on the subject from Nottingham Trent University in 2009. Souvik has done his postdoctoral research in the Humanities faculty of De Montfort University, UK and as a research associate at the Indian Institute of Technology in New Delhi, India where he worked on digital media as well as narrative analysis.

Souvik's monograph Videogames and Storytelling: Reading Games and Playing Books was published by Palgrave Macmillan in 2015. His research examines their relationship to canonical ideas of narrative and also how videogames inform and challenge current conceptions of technicity, identity and culture, in general. His current interests involve the analysis of paratexts of videogames such as walkthroughs and after-action reports as well as the concept of time and telos in videogames. Besides Game Studies, his other interests are (the) Digital Humanities and Early Modern Literature. He also blogs about videogames research on Ludus ex Machina.

For more details visit http://editors.cis-india.org/raw/talk-on-game-studies-souvik-mukherjee-july-28-6-pm

Surfatial poster September 26, 2016

sneha-pp — 2016-09-16T14:43:29Z

For more details visit http://editors.cis-india.org/raw/files/surfatial-poster-september-26-2016

Studying Digital Creative Industries in India: Initial Questions

sneha-pp — 2016-03-18T13:55:56Z

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

Introduction

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

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

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

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

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

Source: UN Creative Economy Report 2010.

Creative Industries in India

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

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

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

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

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

Further, about the programme the report says:

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

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

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

Creative Labour?

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

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

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

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

Key Questions

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

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

Endnotes

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

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

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

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

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

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

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

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

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

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

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

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

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

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

sneha-pp — 2019-11-01T18:12:49Z

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

Cross-posted from the Whose Knowledge? website: URL

Call for Contributions and Reflections: URL

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

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

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

The selected contributions are from:

Caddie Brain, Joel Liddle, Leigh Harris, Graham Wilfred

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

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

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

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

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

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

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

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

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

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

Silicon Plateau: Volume Two

sneha-pp — 2019-03-13T01:01:27Z

Silicon Plateau is an art project and publishing series that explores the intersection of technology, culture and society in the Indian city of Bangalore. Each volume of the series is a themed repository for research, artworks, essays and interviews that observe the ways technology permeates the urban environment and the lives of its inhabitants. This project is an attempt at creating collaborative research into art and technology, beginning by inviting an interdisciplinary group of contributors (from artists, designers and writers, to researchers, anthropologists and entrepreneurs) to participate in the making of each volume.

Download the book: Epub and PDF

Silicon Plateau Volume 2 explores the ecosystem of mobile apps and their on-demand services. The book investigates how apps and their infrastructure are impacting our relationship with the urban environment; the way we relate and communicate with each other; and the way labour is changing. It also explores our trust in these technologies, and their supposed capacity to organise things for us and make them straightforward—while, in exchange, we relentlessly feed global corporations with our GPS data and online behaviours.

The sixteen book contributors responded to a main question: what does it mean to be an app user today—as a worker, a client, or simply an observer?

The result is a collection of stories about contemporary life in Bangalore; of conversations and deliberations on how we behave, what we sense, and what we might think about when we use the services that are offered to us on demand, through just a tap on our mobile screens.

Website: siliconplateau.info

Contributors

Sunil Abraham and Aasavri Rai, Yogesh Barve, Deepa Bhasthi, Carla Duffett, Furqan Jawed, Vir Kashyap, Saudha Kasim, Qusai Kathawala, Clay Kelton, Tara Kelton, Mathangi Krishnamurthy, Sruthi Krishnan, Vandana Menon, Lucy Pawlak, Nicole Rigillo, Yashas Shetty, Mariam Suhail

Editors

Marialaura Ghidini and Tara Kelton

Publisher

Institute of Network Cultures, Amsterdam, in collaboration with the Centre for Internet and Society, India, 2018. ISBN: 978-94-92302-29-8

Book and Cover Design

Furqan Jawed and Tara Kelton

Copyediting

Aditya Pandya

Supported by

Jitu Pasricha, Bangalore; Aarti Sonawala, Singapore; and the Centre for Internet and Society, India.

Cross-posted from Institute of Network Cultures.

For more details visit http://editors.cis-india.org/raw/silicon-plateau-volume-two

Reading from a Distance – Data as Text

sneha-pp — 2016-06-30T05:06:58Z

Sections

01. Digital Humanities in India?

02. A Question of Digital Humanities

03. Reading from a Distance – Data as Text

04. The Infrastructure Turn in the Humanities

05. Living in the Archival Moment

06. New Modes and Sites of Humanities Practice

07. Digital Humanities in India – Concluding Thoughts

The concepts of text and textuality have been central to the discourse on language and culture, and therefore by extension to most of the humanities disciplines, which are often referred to as text-based disciplines. The advent of new digital and multimedia technologies and the internet has brought about definitive changes in the ways in which we see and interpret texts today, particularly as manifested in new practices of reading and writing facilitated by these tools and dynamic interfaces now available in the age of the digital. The ‘text’ as an object of enquiry is also central to much of the discussion and literature on DH given that many scholars, particularly in the West trace its antecedents to practices of textual criticism and scholarship that stem from efforts in humanities computing. Everything from the early attempts in character and text encoding [1] to new forms and methods of digital literary curation, either on large online archives or in the form of social media such as Storify [2] or Scoop-it [3] have been part of the development of this discourse on the text. Significant among these is the emergence of processes such as text analysis, data mining, distant reading, and not-reading, all of which essentially refer to a process of reading by recognising patterns over a large corpus of texts, often with the help of a clustering algorithm [4]. The implications of this for literary scholarship are manifold, with many scholars seeing this as a point of ‘crisis’ for the traditional practices of reading and meaning-making such as close reading, or an attempt to introduce objectivity and a certain quantitative aspect, often construed as a form of scientism, into what is essentially a domain of interpretation (Wieseltier 2013). But an equal number of advocates of the process also see the use of these tools as enabling newer forms of literary scholarship by enhancing the ability to work with and across a wide range and number of texts.

The simultaneous emergence of new kinds of digital objects, and a plethora of them, and the supposed obscuring of traditional methods in the process is perhaps the immediate source of this perceived discomfort. There are different perspectives on the nature of changes this has led to in understanding a concept that is elementary to the humanities. Apart from the fact that digitisation makes a large corpus of texts now accessible, subject to certain conditions of access of course, it also makes texts 'massively addressable at different levels of scale' as suggested by Michael Witmore (Witmore 2012: 324-327, emphasis as in the original). According to him: "[A]ddressable here means that one can query a position within the text at a certain level of abstraction" (Ibid. 325). This could be at the level of character, words, lines etc that may then be related to other texts at the same level of abstraction. The idea that the text itself is an aggregation of such ‘computational objects’ is new, but as Witmore points out in his essay, it is the nature of this computational object that requires further explanation. In fact, as he concludes in the essay, "textuality is addressability and further ... this is a condition, rather than a technology, action or event" (Ibid. 326). What this points towards is the rather flexible and somewhat ephemeral nature of the text itself, particularly the digital text, and the need to move out of a notion of textuality which has been shaped so far by the conventions of book culture, which look to ideal manifestations in provisional unities such as the book (Ibid. 327).

Of Texts and Hypertextuality

An example much closer home of such new forms of textual criticism is that of 'Bichitra' [5], an online variorum of Rabindranath Tagore’s works developed by the School of Cultural Texts and Records at Jadavpur University. The traditional variorum in itself is a work of textual criticism, where all the editions of the work of an author are collated as a corpus to trace the changes and revisions made over a period of time. The Tagore variorum, while making available an exhaustive resource on the author’s work, also offers a collation tool that helps trace such variations across different editions of works, but with much less effort otherwise needed in manually reading through these texts. Like paper variorum editions, this online archive too allows for study of a wider number and diversity of texts on a single author through cross-referencing and collation. Prof. Sukanta Chaudhuri [6], Professor Emeritus, Department of English and School of Cultural Texts and Records at Jadavpur University, Kolkata has been part of the process of setting up this variorum. According to him the most novel aspects of this platform, or as he calls it - 'integrated knowledge site' - are to do with these functions of cross-referencing and integration. The bibliography is a hyperlinked structure, which connects to all the different digital versions of a particular text (the most being 20 versions of a single poem). The notion of a bibliography has always evoked hypertextuality – the possibility to link and cross - reference texts, but with the advent of the digital, this possibility has been fully realized, as seen in the case of the hypertext [7]. For collation, the project team developed a unique software, titled 'Prabhed,' (meaning difference in Bengali) that helps to assemble text at three levels (a) chapter in novel, act/scene in drama, canto in poem; (b) para in novel or other prose, speech in drama, stanza in poem; (c) individual words.. For instance, you can choose a particular section of a book, poem or play - and compare its occurrences across different editions and versions of the work to note their matches and differences. If two paragraphs have been removed from one chapter, and put into another, that can be traced through the collation software. If a particular word has been omitted in a later edition, or if certain lines have been rearranged in a poem, these changes can be tracked [8]. What makes the search engine 'integrated' is not simply that it can search all Tagore's works in one go, but that it links up with the bibliography and thereby with the actual text of the works. It is interesting to note here the different changes that the text undergoes to become available for study on a digital platform, where it is amenable to intense searching and querying of this kind. It is now possible to search across a large corpus of texts, for minute changes in words or sentences, and ask questions of these in terms of their usage, instances and contexts of their occurrence, thus facilitating a kind of enquiry previously never undertaken in textual studies.

The project however is not without its challenges, as Prof. Chaudhuri further outlines. Working with Indic scripts is a persistent problem for digital initiatives in India. In Bengali some work has been done in the form of a scientifically designed keyboard software called Avro, which stores all the conjunct letters preserving their separate characteristics [9]. Developing Optical Character Recognition (OCR) for scanned material in Indian languages remains a crucial issue for most digitization and archival initiatives in India. Other issues include the problem of vowel markers appearing before the consonants, even if phonetically they follow and are keyed in afterwards. To get the font and keyboard software to recognize this is a big challenge. The third challenge, especially in the case of works printed from the nineteenth century to the middle of the twentieth century, is that there are vast differences in spelling; the same word can be spelt in different ways, and as there is no lexicon, one may not do any kind of general search. There is also the issue of a high degree of inflection in the language. A word may have a suffix (or, vibhakti) attached to it to indicate the case: one for the subject of the sentence, another for the object, another for the possessive case and so on. These are multiplied by the different forms of the verbs. The development of a lexicon in Bengali would be one of the ways to resolve many of these issues. However, as most people can only see and interact with the digital interface of Bichitra, and not really understand the process behind it, or the amount of work involved in making the platform work the way it does, funding for research and development, maintenance and sustainability is difficult to obtain. Backroom file management, which includes both paper and digital files remains a big but largely invisible task on such a platform. The total number of files generated from Bichitra is tens of millions or hundreds of millions, and many of these are offline files which would not even go on to the website. Hence while uploading the files, the basic groundwork for a retrieval system for different files serving different functions had already been laid, including the creation of a bibliography, which was a huge exercise in itself. The process of making text available as hypertext is labor that is invisibilized, and is rarely or never available to the end user.

Prof. Chaudhuri also speaks of ways in which the notion of textuality has been rendered differently through the use of the internet and digital technologies. Digital or electronic text has helped theorize better the notion of a fluid text - the fact that a text is never complete, but only bound between the covers of a book at a given point of several processes that are technological as well as social. The notion of the text itself as an object of enquiry has undergone significant change in the last several decades. Various disciplines have for long engaged with the text - as a concept, method or discursive space - and its definitions have changed over time that have added dimensions to ways of doing the humanities. With every turn in literary and cultural criticism in particular, the primacy of the written word as text has been challenged, what is understood as ‘textual’ in a very narrow sense has moved to the visual and other kinds of objects. The digital object presents a new kind of text that is difficult to grasp - the neat segregations of form, content and process seem to blur here, and there is a need to unravel these layers to understand its textuality. As Dr. Madhuja Mukherjee, with the Department of Film Studies, at Jadavpur University points out, with the opening up of the digital field, there are more possibilities to record, upload and circulate, as a result of which the very object of study has changed; the text as an object therefore has become very unstable, more so that it already is. Film is an example, where often DVDs of old films no longer exist, so one approaches the 'text' through other objects such as posters or found footage. Such texts also available through several online archives now offer possibilities of building layers of meaning through annotations and referencing. Another example she cites is of the Indian Memory project, where objects such as family photographs become available for study as texts for historiography or ethnographic work. She points out that this is not a new phenomenon, as the disciplines of literary and cultural studies, critical theory and history have explored and provided a base for these questions, but there is definitely a new found interest now due the increasing prevalence of digital methods and spaces.

Shaina Anand, artist and filmmaker, further espouses this thought when she talks about the new possibilities of textual analysis of film that are now possible, particularly in terms of temporal control, first with the DVD, then the internet and now with online archival platforms like Indiancine.ma [10] and the Public Access Digital Media Archive, or Pad.ma [11]. The first is an online archive of Indian film from the pre-copyright era (so effectively before 1955), while the second is an archive of found and archival footage, images sound clips and unfinished films [12]. Both platforms allow the user to search through an array of material, view/listen to them download or embed them as links. They make available to users not just an online database for storage and retrieval but also a space to work with a range of materials in multiple video and audio formats and themes through annotations and referencing. The annotation tool is perhaps the most innovative aspect of these platforms, wherein a user can pause, isolate a section of a sequence and annotate it using a range of options and filters. The annotations are textual, in the form of comments, commentary and marginalia (in the case of Pad.ma) and can also link to other paraphernalia around the film object, such as posters, images, advertisements and other literature. Users can also contextualize material by adding transcripts, descriptions, events, keywords, and even locating the events in the video on a map. These have brought to the fore several questions on relevance, accessibility and ownership, as in the case of raw footage from films, and opened up possibilities for such materials to be re-contextualized by the reader in different ways. This layering of annotations around the film object also creates a new research object, or text that then necessitates new methods of studying it as well. As opposed to the earlier practice of the researcher/critic having to watch the film first and then comment or analyse it, and relying on memory to generate the scholarship, it is now possible to pause, analyse or read and come back to the film and annotate the text in several ways. What does this do to the film text - the process documenting the form is new, not cinema as a form itself – is a question that comes up quite prominently here. The computational aspect also is important here, given the vast amount of footage that is now available, which then requires better lexical indexing to compute and manage large data sets. This has been a constant endeavour with Pad.ma and Indiancine.ma as well.

As in the case of film, what becomes prominent here is the move to a digital text of some sort. One such example of a digital text perhaps is the hypertext. George Landow in his book on hypertext draws upon both Barthes and Foucault’s conceptualisation of textuality in terms of nodes, links, networks, web and path, which has been posited as the 'ideal text' by Barthes (Landow 2006: 2). Landow’s analysis emphasises the multilinearity of the text, in terms of its lack of a centre, and therefore the reader being able to organise the text according to his own organising principle - possibilities that hypertext now offers which the printed book could not. While hypertext illustrates the possibilities of multilinearity of a text that can be realised in the digital, it may still be linear in terms of embodying certain ideological notions which shape its ultimate form. Hypertext, while in a pragmatic sense being the text of the digital is still at the end of a process of signification or meaning-making, often defined within the parameters set by print culture. As such it is only the narrative, and not the form itself that is multi-linear in hypertext fiction.

Textual Criticism in the Digital

But to return to what has been one of the fundamental notions of textual criticism, the 'text' is manifested through practices of reading and writing (Barthes 1977). So what have been the implications of digital technologies for these processes which have now become technologised, and by extension for our understanding of the text? While processes such as distant reading and not-reading demonstrate precisely the variability of meaning-making processes and the fluid nature of textuality, they also seem to question the premise of the method and form of criticism itself. Franco Moretti, in his book Graphs, Maps and Trees talks about the possibilities accorded by clustering algorithms and pattern recognition as a means to wade through corpora, thus attempting to create what he calls an 'abstract model of literary history' (Moretti 2005: 1). He describes this approach as "within the old territory of literary history, a new object of study." He further says, "Distant reading, I have once called this type of approach, where distance is however not an obstacle, but a specific kind of knowledge: fewer elements, hence a sharper sense of their overall interconnection. Shapes, relations, structures. Forms. Models" (Moretti 2005: 1, emphasis as in original). The emphasis for Moretti therefore is on the method of reading or meaning-making. There seem to be two questions that emerge from this perceived shift - one is the availability of the data and tools that can 'facilitate' this kind of reading, and the second is a change in the nature of the object of enquiry itself, so much so that close reading or textual analysis is not engaging or adequate any longer and calls for other methods of reading.

As is apparent in the development of new kinds of tools and resources to facilitate reading, there is a problem of abundance that follows once the problem of access has been addressed to some extent. Clustering algorithms have been used to generate and process data in different contexts, apart from their usage in statistical data analysis. The role of data is pertinent here; and particularly that of big data. But the understanding of big data is still shrouded within the conventions of computational practice, so much so that its social aspects are only slowly being explored now, particularly in the context of reading practices. Big data as not just a reference to volume but also its other aspects of data such as velocity, scope, and granularity among others significantly increases the ambit of what the term covers, with implications for new epistemologies and modes of research (Kitchin 2014). But if one were to treat data as text, as is an eventual possibility with literary criticism that uses computational methods, what becomes of the critical ability to decode the text – and does this further change the nature of the text itself as a discursive object, and the practice of reading and textual criticism as a result. Reading data as text then also presupposes a different kind of reader, one that is no longer the human subject. This would be a significant move in understanding how the processes of textuality also change to address new modes of content generation, and how much the contours of such textuality reflect the changes in the discursive practices that construct it. Most of the debate however has been framed within a narrative of loss - of criticality and a particular method of making meaning of the world. Close reading as a method too came with its own set of problems - which can be seen as part of a larger critique of the Formalists and later New Criticism, specifically in terms of its focus on the text. As such, this further contributes to canonising a certain kind of text and thereby a certain form of cultural and literary production (Wilkens 2012). Distant reading as a method, though also seen as an attempt to address this problem by working with corpora as opposed to select texts, still poses the same issues in terms of its approach, particularly as the text still serves as the primary and authoritative object of study. The emphasis therefore comes back to reading as a critical and discursive practice. The objects and tools are new; the skills to use them need to be developed. However, as much of the literature and processes demonstrate, the critical skills essentially remain the same, but now function at a meta-level of abstraction. Kathleen Fitzpatrick in her book on the rise of electronic publishing and planned technological obsolescence dwells on the manner in which much of our reading practice is still located in print or specifically book culture; the conflict arises with the shift to a digital process and interface, in terms of trying to replicate the experience of reading on paper (Fitzpatrik 2011). Add to this problem of abundance of data, and processes like curation, annotation, referencing, visualisation, abstraction etc. acquire increased valence as methods of creatively reading or making meaning of content (Ibid.). More importantly, it also points towards a change and diversity in the disciplinary method. Where close reading was once the only method by which a text became completely accessible to the reader, it is now possible to approach it through a set of processes, thus urging us to rethink the method of enquiry itself.

Whether as object, method or practice, the notion of textuality and the practice of the reading have undergone significant changes in the digital context, but whether this is a new domain of enquiry is a question we may still need to ask. Matthew G. Kirschenbaum in his essay on re-making reading (quoted earlier in this chapter) suggests that perhaps the function of these clustering algorithms, apart from serving to supplant or reiterate what we already know is to also ‘provoke’ new ideas or questions (Kirschenbaum XXXX: 3). The conflict produced between close and distant reading, the shift from print to digital interfaces would therefore emerge as a space for new questions around the given notion of text and textuality. But if one were to extend that thought, it may be pertinent to ask if DH can now provide us with a vibrant field that will help produce a better and more nuanced understanding of the notion of the text itself as an object of enquiry. This would require one to work with and in some sense against the body of meaning already generated around the text, but in essence the very conflict may be where the epistemological questions about the field are located. The digital text, owing to the possibilities of ‘massive addressability,’ mentioned earlier is now more fluid and socialized. The renewed focus on the textual is most apparent in this manner of imagining the text, using the metaphor of a highly interlinked, networked and shared text. It also puts forth important questions then of how we understand technology a certain way, especially in the context of language and representation as an important factor of understanding new textual objects. Is technology a tool for textual analysis, or is it in inherent to our understanding of the nature of the text? Is the development of these methods of enquiry shaped by certain disciplinary requirements, and do they also challenge or create new conflicts for traditional methods of enquiry? The growth in the study of different media objects, such as video and cinema, and the advent of areas such as media studies, oral history, media archaeologies has further prompted concerns regarding the study of the digital object in these disciplines, and a rethinking of how we understand the notion of the text.

Notes

[1] "The Text Encoding Initiative (TEI) is a consortium which collectively develops and maintains a standard for the representation of texts in digital form. Its chief deliverable is a set of Guidelines which specify encoding methods for machine-readable texts, chiefly in the humanities, social sciences and linguistics. Since 1994, the TEI Guidelines have been widely used by libraries, museums, publishers, and individual scholars to present texts for online research, teaching, and preservation." See: http://www.tei-c.org/.

[2] See: https://storify.com/

[3] See: http://www.scoop.it/

[4] For more on text mining see Lisa Guernsey in 'Digging for Nuggets of Wisdom,' in The New York Times, October 16, 2003 http://www.nytimes.com/2003/10/16/technology/circuits/16mine.html?pagewanted=print. For more on data mining, distant reading, and the changing nature of reading practices see Matthew Kirschenbaum in 'The Remaking of Reading,' http://www.csee.umbc.edu/~hillol/NGDM07/abstracts/talks/MKirschenbaum.pdf.

[5] See: http://bichitra.jdvu.ac.in/.

[6] Interview with author, July 30, 2015.

[7] A term coined by Theodor H. Nelson, which he describes as "a series of text chunks connected by links which offer the reader different pathways." As quoted in George Landow, Hypertext: The Convergence of Contemporary Critical Theory and Technology, Baltimore: John Hopkins University Press, 1992, 2-12.

[8] Bichitra, 'Collation Guide,' accessed on September 17, 2015, http://bichitra.jdvu.ac.in/bichitra_collation_guide.php.

[9] Omicron Lab, accessed September 17, 2015. https://www.omicronlab.com/avro-keyboard.html.

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

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

[12] For more on these platforms see the section on DH institutions in India.

References

Barthes, Roland. "From Work to Text". In Image, Music, Text. London: Fontana Press, 1977.

Fitzpatrick, Kathleen. "Texts" in Planned Obsolescence: Publishing, Technology and the Future of the Academy. New York: New York University Press, 2011.

Kirschenbaum, Matthew. "The Remaking of Reading". http://www.csee.umbc.edu/~hillol/NGDM07/abstracts/talks/MKirschenbaum.pdf.

Kitchin, Rob. 'Big Data, New Epistemologies, and Paradigm Shifts,' Big Data & Society, 2014, April–June, pp. 1–12, DOI: 10.1177/2053951714528481.

Landow, George. Hypertext: The Convergence of Contemporary Critical Theory and Technology. Baltimore: Johns Hopkins University Press, 1992.

Moretti, Franco. Graphs, Maps, Trees: Abstract Models for a Literary History, Verso, 2005.

Wieseltier, Leon, 'Crimes Against Humanities,' The New Republic, September 3, 2013, http://www.newrepublic.com/article/114548/leon-wieseltier-responds-steven-pinkers-scientism.

Wilkens, Mathew. "Canons, Close Reading and the Evolution of Method". In Debates in the Digital Humanities Ed. M.K. Gold. Minneapolis: University of Minnesota Press, 2012.

Witmore, Michael. "Text: A Massively Addressable Object". In Debates in the Digital Humanities, Ed. M.K. Gold. Minneapolis: University of Minnesota Press, 2012

For more details visit http://editors.cis-india.org/raw/reading-from-a-distance-data-as-text

RAW Lectures #02: Anil Menon on 'Speculative Fiction and Freedom' - Video

sneha-pp — 2016-02-09T08:38:19Z

Anil Menon spoke on 'Undermining the Tyrant’s Protocols: Speculative Fiction and Freedom' at the second event of the RAW Lectures series in Bangalore on January 13, 2016. Here is the video recording of the talk and the discussion that followed.

RAW Lectures

The Researchers at Work programme initiated the RAW Lectures series to take stock, reflect, and chart courses into the studies of Internet in/from India. The lectures address the experiences and practices of Internet in India as plural and intertwined with longer-duration processes. The lectures also critically respond to the questions around the methods of studying Internet in/from India, and the opportunities and challenges of studying Indian society on/through the Internet.

Lecture #02 - Undermining the Tyrant’s Protocols: Speculative Fiction and Freedom

Anil Menon’s research work has appeared in peer-reviewed journals such as Intl J. of Neural Networks, Neural Proc. Letters, IEEE Trans On Evolutionary Computation, Foundations of Genetic Algorithms, British J. of the History of Science, and Small Business Economics. His short fiction has appeared in a variety of magazines and anthologies including Interzone, Interfictions, Strange Horizons, Jaggery Lit Review, and Lady Churchill’s Rosebud Wristlet. His stories have been translated into German, French, Chinese, Romanian and Hebrew. His debut novel The Beast With Nine Billion Feet (Zubaan Books, 2010) was short-listed for the 2010 Vodafone-Crossword award and the Carl Brandon Society's 2011 Parallax Award. Along with Vandana Singh, he co-edited Breaking the Bow (Zubaan Books 2012), an international anthology of speculative fiction inspired by the Ramayana epic. His most recent work is the novel Half Of What I Say (Bloomsbury, 2015).

More: http://cis-india.org/raw/raw-lectures-02-anil-menon.

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Video: MP4, OGG, and Torrent.

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For more details visit http://editors.cis-india.org/raw/raw-lectures-02-anil-menon-video

RAW Lectures #01: Nishant Shah on 'Stories and Histories of Internet in India' - Video

sneha-pp — 2016-02-09T08:45:00Z

Dr. Nishant Shah spoke on the 'Stories and Histories of Internet in India' at the first event of the RAW Lectures series in Bangalore on March 6, 2015. Here is the video recording of the talk and the discussion that followed.

RAW Lectures

Lecture #01 - Stories and Histories of Internet in India

Dr. Nishant Shah is the Professor of Culture and Aesthetics of New Media at the Leuphana University Lüneburg, Research Associate at COMMON MEDIA LAB, Affiliate at DIGITAL CULTURES RESEARCH LAB, and International Tandempartner at HYBRID PUBLISHING LAB. He is the co-founder and former-Director-Research at the Centre for Internet and Society, Bangalore, India.

More: http://cis-india.org/raw/raw-lectures-01-nishant-shah.

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Video files: MP4, OGG, and Torrent.

The video is shared under Creative Commons Attribution-ShareAlike 4.0 International license.

For more details visit http://editors.cis-india.org/raw/raw-lectures-01-nishant-shah-video

Presentation at Global Digital Humanities Symposium

sneha-pp — 2019-05-03T09:41:53Z

P.P. Sneha gave a virtual presentation of her work on digital cultural archives at the Global Digital Humanities Symposium organised by Michigan State University on March 21-22, 2019.

Puthiya Purayil Sneha (Centre for Internet and Society, Bangalore, India)

The archive has been an important context for conversations around digital humanities (DH) in India, as it has been globally. The last few decades have seen several large-scale efforts in digitalization across various sectors, including state institutions (National Museum, National Cultural Audio-Visual Archive (IGNCA)) universities (Jadavpur University, Ambedkar University,) and individual and collaborative efforts (Indian Memory Project, Indiancine.ma ) to name a few. The emergence of new fields like DH, digital cultures and cultural analytics also indicate several shifts in scholarship, pedagogy and practice, on the one hand alluding to the potential offered by democratizing technologies, but also reflecting persistent challenges related to the digital divide, and more specifically politics around the growth and sustenance of the humanities disciplines.

The growth of new areas of study and creative practice like DH has brought about a renewed focus on the creation of digital corpora, and the need for new technologies and methods of research, more specifically through the development of digital pedagogies. The contexts of these questions are however much wider, located in long-spanning efforts in digitization and digital literacy more broadly, which are still fraught with challenges of access, usage and context. Even as the colonial imagination of state archives remains prevalent in India, digital archival initiatives facilitated by infrastructure such as open source content management systems and tools like web annotation have opened up spaces for alternate narratives. Drawing upon excerpts from a report on mapping the field of DH in India, and ongoing conversations on the digital transition in archival practices, this presentation seeks to understand the politics of digital archiving in a postcolonial context, and how it informs larger trajectories of digitalisation, and the growth of fields like DH in India today.

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P.P. Sneha - Mapping Digital Humanities in India

sneha-pp — 2016-12-31T05:56:49Z

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

Download: Mapping Digital Humanities in India (PDF)

Foreword

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

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

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

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

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

Executive Summary

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

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

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

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

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

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

CIS Papers

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

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Download: Mapping Digital Humanities in India (PDF)

Foreword

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