Centre for Internet and Society

Digital Transition in Newspapers in India: A Pilot Study

zeenab — 2016-07-20T11:43:53Z

Introduction

This pilot study situates itself at the intersection of global trends in news and journalism, and emergent practises of legacy print media in India. Our aim is to explore how legacy print newspapers are transitioning to the online space. The study will address questions in two thematic clusters: 1) the work of journalism, and 2) how the emergence of the digital, both as a source of news, and the medium of distribution, is shaping the work of newspaper journalists, which has expanded to include various functions particular to the digital environment. And two, newsroom practices, which focus on the different modalities of convergence emerging in Indian newsrooms, and the organisational re-engineering that is being attempted in order to do journalism in a space where professional editors and journalists no longer have dominance with respect to the production and distribution of content.

News Culture in Transition

The influx of digital technology combined with advancements in the field of telecommunications has had a disruptive effect on the global news industry. This year’s World Press Trends survey, released last month, reports that at least 40 per cent of global internet users read newspapers online and that in most developed countries, readership on digital platforms has surpassed that in print(WAN-INFRA, 2016). However, while revenue from print is said to be declining, it still makes up for more than 92 per cent of all newspapers revenues. At the same time, circulation increased by 4.9 per cent globally, mostly owing to the 7.8 per cent growth in numbers from India, China and other parts of Asia which made up 62% of the global average daily print unit circulation in 2015. This growth, the report suggests, is a function of low prices and expanding literacy in these markets.

While newspapers are a thriving industry in India, newspaper organisations and journalists are adopting new technology in order to remain relevant in a fast changing environment (Chattopadhyay 2012, Panda 2014). One one hand, they are swept up in the disruptive shifts in the global media economy, while on the other, they are in a unique position to convert this disruption into an opportunity.

The WPT report also notes, perhaps to the relief of those struggling to find a sustainable revenue model for digital news, that revenue from paid digital circulation has increased 30 per cent in 2015 and that one in five readers from the countries studied are willing to pay for online news. Revenue from digital advertising on the other hand, is growing at the slower pace of 7.3 per cent.

The report points out that there is a huge opportunity in mobile growth, with more than 70 per cent of readers in countries like USA, UK, Australia and Canada reading newspapers via a mobile device. Similar trends can be seen in India, as internet usage here is increasingly shaped by mobile growth (Google India Report, 2015). The fact that many digital-born news sites are adopting a mobile-first strategy (Sen and Nielsen, 2016) reflects this. More recently, Hindustan Times has hired a mobile editor to build a team of over 700 journalists specialising in mobile journalism.

Earlier this year the Reuters Institute for the Study of Journalism released a report on digital news start-ups in India (Sen and Nielsen, 2016), which explores how digital-born news start-ups are developing new editorial priorities, funding models and distribution strategies for news in the Indian digital media market. The study, which included observing the practices of The Quint, Scroll, The Wire, Khabar Lahariya, Daily Hunt and InShorts, concluded that India was not short of noteworthy experiments in journalism and online news. It also found that more news publishers are adopting mobile-first approaches, given that internet use in India is increasingly through mobile devices. More relevant to this study, the report established that social media has emerged as a tool for distribution and also stated that digital news start-ups are turning their focus to Hindi and local language content, in order to serve new audiences.

Studying the Effects of Convergence

Their digital transition can be witnessed on two counts: publishing with digital and publishing for digital. The first involves a shift towards using the digital in the process of sourcing and publishing news. Workflow is managed by advanced content management systems, news articles contain multimedia and interactivity that require technical expertise, and the web and social media are increasingly becoming a reliable source of primary and secondary information for journalists. Second, publishing for the highly competitive comes with it’s own challenges. Distribution and consumption of news is increasingly being carried out on digital platforms, fostering a culture of interdependence that impacts news providers in previously unforeseen ways. As the decision to prioritise their digital products take hold, newsrooms themselves evolve to contain a diverse range of skill and expertise.

According to the 2015 Trends in Newsroom report, editors and senior reporters in newsrooms across the globe are experimenting with new ways of storytelling using podcasts, chat apps, automation, virtual reality and gamification, as well as dealing with new challenges with respect to source protection in the face of increased surveillance and intermediaries like Facebook and Google and reporting on culturally sensitive subjects(World Editors Forum, 2015).

The dynamics of these shifts in different countries may be shaped by several factors including the availability of human and financial resources, and pace of adoption of new technologies by the readers. In markets like Japan, complexities of the existing newspaper trade in the country act as a deterrent to technological change (Villi and Hayashi, 2014). Given the pace at which the media ecology of the web evolves; this transition is an ongoing process characterised by experiments in business, marketing and editorial strategies. A good example of such an experiment is last week’s decision by leading Indian newspapers, to make their content unavailable to those consumers who had ad-blocking software installed.

Such a shift also demands that we ask new questions of news in journalism. In his paper on studying computational and algorithmic journalism, C. W. Anderson tackles how sociologists and media scholars can frame inquiries related to journalism, given its computational turn (Anderson, 2012). He suggests using the added lens of ‘technology’ and ‘institutions and fields’ to Michael Schudson’s (Schudson, 2010) typology on the sociology of news which approaches the study of news from economic, political, cultural and organisational approaches. While most of these are self-explanatory, by institutions and fields, he refers to the ‘field of journalism’ as a whole and the different actors that shape it. This frame will examine the cultural power struggles that occur within the field and the way these struggles shape newsroom practises and news content (Anderson, 2012). Anderson adds that it is imperative to understand that the dynamics of the field of journalism are closely connected to nearby fields which now include computer science, web development and digital advertising.

We adopted a similar approach for our study. We began our inquiry by asking questions about how the emergence of digital technologies and the Internet are changing the process of producing news and how news organisations are rising up to the challenges posed by the digital space: what technologies and software are being used in the production and distribution of news in India, how are these technologies and softwares influencing the process of news production and distribution, how are the everyday practices and roles with respect to journalistic and editorial work transforming with their transition to digital, how do media agencies conceptualise and measure online viewership, and how do these metrics impact journalistic and editorial practices.

These questions led us to explore how leading legacy print newspapers across three language markets - English, Hindi and Malayalam - are making the transition from producing news stories exclusively for print to producing multimedia stories for the highly competitive and and diverse media ecology of the web.

Research Plan

As already mentioned, the study is divided into two thematic clusters: work of journalism and newsroom practises.

The former will include asking questions related to strategies and skills of information gathering and validation, methods and tools of communicating a news story in an online-first (or simultaneously print and online) environment, personal engagements with audiences via social media websites, new methods of performance assessment and sources and practices of learning and capacity building.

The latter will explore how choice/emphasis of content and reportage is being re-shaped by the digital environment by inquiring into changes in editorial responsibilities, dynamics of decision making, news-making workflows, technical diversity of the work force, and interaction between news producers within an increasingly convergent newsroom.

This being a pilot study, we will conduct intensive interviews with journalists, editors, and management personnel associated with one newspaper in each language market: 1) Hindustan Times in English, 2) Dainik Jagran in Hindi, and 3) Malayala Manorama in Malayalam. We selected these three languages due to their large market sizes and geographic distribution, and selected the newspapers for either their pioneering efforts in adopting digital technologies, or their dominant position in terms of circulation.

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

References

Anderson, Christopher W. 2013. ‘Towards a Sociology of Computational and Algorithmic Journalism’. New Media & Society 15 (7): 1005-1021.

Bajaj, Ambrish. 2016. “Indian news sites lost 100 million page views and $500K in three weeks - and had no clue why” http://factordaily.com/indian-news-sites-lost-100-million-page-views-500k-three-weeks-no-clue/.

Chattopadhyay, Saayan. 2012. ‘Online Journalism and Election Reporting in India’. Journalism Practice 6 (3): 337-48. doi:10.1080/17512786.2012.663596.

Coddington, Mark. 2014. ‘Defending Judgment and Context in “original Reporting”: Journalists’ Construction of Newswork in a Networked Age’. Journalism 15 (6): 678–95.

– 2015. ‘The Wall Becomes a Curtain: Revisiting Journalism’s News–business Boundary’. Boundaries of Journalism: Professionalism, Practices, and Participation. New York: Routledge. [forthcoming]. Accessed from http://markcoddington.com/wp-content/uploads/2014/09/CoddingtonFINAL.NewReferences.docx.

Diakopoulos, Nicholas, and Mor Naaman. 2011. ‘Towards Quality Discourse in Online News Comments’. In Proceedings of the ACM 2011 Conference on Computer Supported Cooperative Work, 133–42. ACM. http://dl.acm.org/citation.cfm?id=1958844.

Diakopoulos, Nicholas, Mor Naaman, and Funda Kivran-Swaine. 2010. ‘Diamonds in the Rough: Social Media Visual Analytics for Journalistic Inquiry’. In Visual Analytics Science and Technology (VAST), 2010 IEEE Symposium on, 115–22. IEEE. http://ieeexplore.ieee.org/xpls/abs_all.jsp?arnumber=5652922.

Hermida, Alfred. 2010. ‘Twittering the News: The Emergence of Ambient Journalism.’ Journalism Practice. Special Issue on the Future of Journalism. 4 (3): 297-308. doi:10.1080/17512781003640703.

Jalarajan, Sony, Rohini Sreekumar, and Nithin Kalorth. 2014. ‘“Tweeting” the News: Twitter Journalism as a New Age Crowd News Disseminator in India’. http://euacademic.org/UploadArticle/317.pdf.

Kilman, Larry. 2015. ‘World Press Trends: Newspaper Revenues Shift To New Sources - WAN-IFRA’. World Press Trends. June 1. http://www.wan-ifra.org/press-releases/2015/06/01/world-press-trends-newspaper-revenues-shift-to-new-sources.

K. J., Shashidar. 2016. ‘Hindustan Times has appointed a Mobile Editor’. Published online on Medianama.com. http://www.medianama.com/2016/07/223-hindustan-times-has-appointed-a-mobile-editor/.

Nielsen, Rasmus Kleis, Frank Esser, and David Levy. 2013. ‘Comparative Perspectives on the Changing Business of Journalism and Its Implications for Democracy’. The International Journal of Press/Politics 18 (4): 383-91. doi:10.1177/1940161213497130.

Örnebring, Henrik. 2010. ‘Technology and Journalism-as-Labour: Historical Perspectives.’ Journalism. February. 11 (1): 57-74. doi: 10.1177/1464884909350644.

Panda, Jayanta K. 2014. ‘Impact of Media Convergence on Journalism: A Theoretical Perspective’. Pragyaan, 14.

Paulussen, Steve and Pieter Ugille. 2008. ‘User Generated Content in the Newsroom: Professional and Organisational Constraints on Participatory Journalism.’ Westminster Papers in Communication and Culture. 5(2): 24-41.

Royal, Cindy. 2010. ‘The Journalist as Programmer: A Case Study of The New York Times Interactive News Technology Department.’ Presented at the International Symposium in Online Journalism, The University of Texas at Austin, April 20. Accessed from https://online.journalism.utexas.edu/2010/papers/Royal10.pdf.

Schudson, Michael. 2010. ‘Political Observatories, Databases * News in the Emerging Ecology of Public Information’. Daedalus. 139(2): 100–109. doi:10.1162/daed.2010.139.2.100.

Scott, Ben. 2005. ‘A Contemporary History of Digital Journalism.’ Television & New Media. February. 6(1): 89-126. doi: 10.1177/1527476403255824.

Sen, Arijit and Nielsen, Rasmus Kleis. 2016. Digital Journalism Start-Ups in India. Reuters Institute for the Study of Journalism. Accessed from: http://reutersinstitute.politics.ox.ac.uk/sites/default/files/Digital%20Journalism%20Start-ups%20in%20India_0.pdf.

‘Nine top #TrendsinNewsrooms’. 2015. WAN-IFRA blog. http://blog.wan-ifra.org/2015/06/02/nine-top-trendsinnewsrooms-of-2015.

Villi, M., and K. Hayashi. 2014. ‘“The Mission Is to Keep This Industry Intact”: Digital Transition in the Japanese Newspaper Industry’. In 64th Annual International Communication Association (ICA) Conference, Seattle, WA, 22-26 May.

For more details visit http://editors.cis-india.org/raw/digital-transition-in-newspapers-in-india-pilot-study

New Modes and Sites of Humanities Practice

sneha-pp — 2016-06-30T04:45:25Z

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

Sections

01. Digital Humanities in India?

02. A Question of Digital Humanities

03. Reading from a Distance – Data as Text

04. The Infrastructure Turn in the Humanities

05. Living in the Archival Moment

06. New Modes and Sites of Humanities Practice

07. Digital Humanities in India – Concluding Thoughts

Introduction

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

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

Technology in the Classroom

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

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

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

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

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

Towards a Digital Pedagogy

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

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

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

Alternate Spaces of Humanities Practice

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

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

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

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

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

Humanities and Technology: A Twinned History

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

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

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

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

Final Notes

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

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

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

Endnotes

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

References

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

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

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

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

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

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

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

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

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

Production Sprint — A Public Exhibition at CIS

praskrishna — 2015-10-24T14:23:30Z

The Making Change project invites you for a public exhibition of stories of change from all over Asia, where the first of its Production Sprints will take place. The exhibition will be held at the Centre for Internet and Society (CIS) office in Bangalore on June 7, 2014 between 5 p.m. and 7 p.m.

Download the event flier [PDF, 402 Kb]

What does 'Making Change' mean to you? What are the processes of change? The infrastructure of change? The actors of change? A round-table discussion and exhibition by 23 change makers from 15 countries in Asia, at the Centre for Internet & Society, Saturday, 7th June, 5 - 7 p.m. Please do come.

The Making Change project questions traditional understandings of change –where change is employed in the name of power, reduced to a ‘spectacle’ by global media and goes largely unquestioned in the public discourse- and aims to build more adequate frameworks to address the idea of change in the context of common knowledge, networked media and information societies.

Making Change is hosting focused, intensive, and production-oriented workshops called Production Sprints to facilitate the convergence of actors and ideas.These will be spaces of knowledge exchange between change-makers around processes, narratives and experiences of change and of experimentation with multi-modal forms and formats of knowledge production (text, image, sound, etc). Participants will be asked to group around four topics: concepts, crises ecologies and networks of change. These visions and practices, we hope will produce new ways of thinking about change.

During the Bangalore production sprint, we will document the various knowledges acquired through the pre-production stage and the 5 day intensive sessions on formats, storytelling and visual presentation modes; and we will close with an exhibition of the resulting narratives of change. We invite you to come and participate in the exhibition.

Date: June 7th, 2014
Time: 5pm- 7pm
Location: The Center for Internet and Society

For more details visit http://editors.cis-india.org/digital-natives/events/production-sprint-public-exhibition-at-cis

From Taboo to Beautiful - Menstrupedia

denisse — 2015-10-24T14:25:59Z

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

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

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

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

What is menstruation?

It can be defined as:

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

And it looks something like this:

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

The Beauty of RED

My Periods: A Blessing or a Curse

By Naina Jha

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

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

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

Find it in Menstrupedia's blog.

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

Stigma as a Crisis

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

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

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

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

Why does it matter?

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

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

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

Here's where Menstrupedia comes in

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


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

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

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

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

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

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

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

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

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

Technology's role in the mix

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

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

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

And here's why it works

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

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

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

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

Red is my colour by Umang Saigal

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

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

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

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

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

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

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

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

Submission to the Menstrupedia blog

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

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

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

Gloria Steinem
[excerpt]

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

Making Change through Menstrupedia

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

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

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

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

Sources:

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

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

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

Footnotes

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

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

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

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

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

Multimedia Storytellers: Panel Discussion

denisse — 2015-10-24T14:26:51Z

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

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

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

METHOD OF CHANGE: Storytelling

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

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

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

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

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

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

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

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

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

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

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

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

Introductions

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

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

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

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

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

1. The Power of Storytelling

What makes it a powerful vehicle of communication?

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

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

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

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

Find full cartoon here

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

Ameen:

Ajay:

2. Storytelling as a vehicle to make change

How and where does change happen?

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

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

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

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


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

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

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

Find full cartoon here.

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

Ameen:

Ajay:

3. The role of technology in storytelling

How does technology influence and impact your work?

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

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

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

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

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

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

Ameen:

Ajay:

4. Translating awareness into action through stories

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

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

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

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

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

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

Ameen:

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

5. Influence of stories on citizenship and political participation

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

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

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

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

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


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

Find full cartoon here

Ameen:

Ajay:

Closing Remarks

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

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

1. On the power of storytelling:

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

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

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

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

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

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

4. Translating awareness into action

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

5. Impact of storytelling on citizenship and political participation

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

Footnotes

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

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

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

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

Sources:

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

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

Information Structures for Citizen Participation - Janaagraha

denisse — 2015-10-24T14:28:47Z

In our efforts to understand how change is conceptualized in the digital era, we find a growing emphasis on the role of effective information structures to empower the citizen and the government. We interview Joylita Saldanha from Janaagraha to answer questions around information, participation and e-governance.

CHANGE-MAKER:Interview with Joylita Saldanha

ORGANIZATION: Janaagraha - I change my city

METHOD OF CHANGE: Online platforms to enable communication between the citizen and the government.

STRATEGY OF CHANGE:Empower the government -create resources to help them do what the citizens expect them to do.

10 posts into the project, we are identifying the most outstanding patterns between processes of change. One of the themes that comes up often is: information management. How do we translate data to information, and information to knowledge? What is the best way to produce, consume and disseminate information? How does visible information lead to better mechanisms of participation in democracy? As the topic recurs in my conversations with change-makers, I have even reflected about the way that I display the research outputs of this project, and have adapted the format of these articles to make them as interactive and accessible as possible. Why? Because we believe this research is an entry point for a wider conversation around different ways to understand ‘making change’, and in order to produce this knowledge we need different actors to take part in the conversation. Hence, the format of our information must be (visually) persuasive enough to sway the readers into at least reading the article, and encourage their engagement, interaction and participation.

This is also the rationale behind digital information platforms, including e-governance. Governments, authorities and organizations are devising new ways of presenting their information and making their services more accessible and interactive for the public. According to the UNESCO’s definition, e-governance is the public sector’s use of information and communication technology with the aim of:

Improving information and service delivery
Encouraging citizen participation in decision-making processes
Making governments accountable, transparent and effective

What is e-governance?
By the IDRC and IdeaCorp

India has its own National e-governance plan in place. It’s ambitious in scope:

“a massive country-wide infrastructure reaching down to the remotest of villages is evolving, and large-scale digitization of records is taking place to enable easy, reliable access over the internet. The ultimate objective is to bring public services closer home to citizens”.

Information and Urban Governance

(This section will be revised)

The question on information management is key in the analysis of citizen action in emerging information societies. This project acknowledged from its inception that the information flow of networks is changing and shaping the dynamics of state-citizen-market relationships (Shah, 2014). I will refer to Yochai Benkler’s The Wealth of Networks, to revisit the information economy, as it has been a recurrent reference in my analyses throughout the project, and it will be a useful benchmark to cross-reference findings in the future. On this opportunity, I would like to highlight his views on the role of information flow in democratic societies:

“The basic claim is that the diversity of ways of organizing information production and use, opens a range of possibilities for pursuing the core political values of liberal societies-individual freedom, a more genuinely participatory political system, a critical culture, and social justice” Benkler, 2006

Enabling a smoother and more transparent information flow, according to his work, has the following effects on citizen’s participation:

1. Autonomy: Access to information enables citizens to perceive a wider range of possibilities and options against which they can gauge their choices. This is particularly important when the citizen participates in decision-making processes.

2. Democracy: The emergence of an information economy, creates information structures that are not only an alternative to mass media, as Benkler states, but I would like to add are also alternative to government-run e-governance platforms that cannot fully cater to citizens' need for participation and debate. Creating an accessible and participatory information structure also creates a space that fosters public discussion, and hence, the expression of our political nature. (Visit Storytelling as Performance Part 2 for a larger exploration of the political in the public space)

3. Human justice: The freedom to access basic resources and services, allows us to fulfil our capabilities in society, including producing our own information, as well as improving our well-being by accessing information about health, education, public infrastructure, etc.

These three characteristics can be very well tied up with the three objectives of e-governance outlined above: wider information delivery, citizen participation and government accountability. Citizens aspire to access information that enables them to make good choices and participate in conversations that affect their livelihoods. For this reason, we find a common goal among the change actors (interviewed in the series), is devising new modes to engage with government-related information that complement or replace government-owned platforms.

Civil Society' and E-governance

One of the best known examples of these initiatives have been spearheaded by the Bangalore-based NGO: Janaagraha. the Centre for Citizenship and Democracy.

Image courtesy of Duke University website

The organization works to improve the quality of life in Indian cities and towns, by improving the information around infrastructure and services; and citizenship. We interviewed Joylita Saldanha, who works for the NGO’s leadership team to learn more about Janaagraha’s views on the role of information for urban governance, based on the experience of platforms such as I change my city. Her perspective c aught me off guard, as she framed the problem in urban governance from a somewhat unconventional angle:

Joylita Saldanha

Janaagraha's Leadership Team

Experience conceptualizing and
building Mobile and Web products in Los Angeles and Bangalore

Believes technology is a great lever and enabler.
Sees potential in technology to drive community action at the ground level

Whenever we talk about social change, participation and democracy, we root for the discourse that works to empower the citizen. Janaagraha finds this assumption incomplete. Saldanha suggests it is our role to find new ways to empower the government and help them do their job: "One citizen cannot be always an agent of change so we need communities coming together [...] We want to look at how to get citizens involved, because we can’t keep blaming the government if we don’t participate. We need to help them do what they do".

Read this short interview to get a glimpse of the information structures Janaagraha is building to empower the government.

Interview:

In order to gauge the extent to which Janaagraha is empowering and enabling the government to make information accessible for the public, we will look at how their online platforms are improving e-governance, based on the three characteristics outlined in the UNESCO definition and the three characteristics of effective information economies outlined by Benkler.

Stage 1: Improving information delivery

How does I change my city tackle this information crisis?

JS: Janaagraha wants to improve the quality of life in two ways:

Improving the quality of infrastructure.
Improving the quality of citizenship and citizen engagement.

We look at I change my city as something that enables citizens and governments to be more transparent for each other. Janaagraha can’t be everywhere, but technology crosscuts all the programs to allow us to roll it out to other cities.

How does Janaagraha know what information people need?

JS:We have a Net Plus Roots approach:

Stage	Roots: Information transactions at the grassroots level	Net: Information transactions through technology
Process	Reach out to communities and engage with them Community outreach and advocacy teams contacts the government Get the government and the citizen connected Send out citizen reports to government Follow up with the government to get responses Share responses with the citizens	We take all learnings from the grassroots and apply them to technology. The design/product team in place does customer research. Look at google keywords and try to understand what people are searching for Disseminate that content with citizens
Example	Crisis: Low voting turn out. Roots intervention: Look at where people go to enroll for voting and how we can clean up the electoral role at the grassroots level. Net intervention: Jaagte Raho: A portal People can register online to vote.	Crisis: How to get a driving license in Bangalore. Roots intervention: People were not getting them because they don’t know the correct process or what to do. They don’t know the hows or the whys. Net intervention We created a section called How To and put the process of a) How to get a driving license b) why do you go and get a driving license c) what are the documents you need to carry.

Right now we are playing the role of facilitator, but eventually we don’t want to be those facilitators. We want these platforms to be bridges between the citizen and the government.

My only problem with this is that an information structure based and reliant on digital technologies will only allow the interests of the middle class to permeate the system. How will information from other groups feed into the structure?

JS: We definitely want to enable access for everyone, but we don’t want a duplication of efforts. If the road is broken; even if one person complains and gets that pothole fixed then the road will be good for everyone to use. At the end of the day what we want people is to participate. From then we can take it to the next level and ask: ok what are we really missing in terms of planning? where are we missing participatory budgeting? where can we involve everybody: not only the urban but everybody. That’s what it takes it to the next level.

Stage 2: Encouraging citizen participation in decision-making processes

How does access to information improve urban governance?

JS: A very basic important aspect of where you live is to find which is your ward who is your electoral representative and what does he do. People don’t even know which ward they are living in, which is their assembly constituency, etc. Engaging with the electoral representative, then engaging with civic agencies. These are things you need to have in place before we start looking beyond this.

And you are facilitating this information?

JS: Yes, we are trying to map out services in the neighborhood and give more information about this. We have Municipal Commissions in Bangalore, and most people don’t know where these agencies are located, so our survey team went out found the offices and mapped them.

We use maps a lot because we make a lot of emphasis in spatial data. We want people to participate: tell us where their the park or playground is, locate it and then we take this information and find out: what is the budget allocated for this park, when was the last clean up, what is the future of this park, etc. At the same time, we want the citizen to tell us about its state and their wish-lists for this park.

You mention spatial data. What is the best way to use it? and who should manage it?

One thing we see when we interact with civic agencies or electoral, is that most of them don’t have a grasp of the analytics to understand what is the ground level situation, and that is where we come in. We have an information structure in place and we make data accessible. This helps representatives understand what are the patterns: a) what are the trends, b) where are their successes, c) where are their failures. Data needs to play a major role in how we take our decisions. It cannot be intuitively thought out.

Stage 3: Making governments accountable and transparent

How can these resources make the government more accountable?

We need more [information] systems in place to identify what is accessible in terms of services and infrastructures. First step is making things transparent; and making elected representatives, civic agencies, citizens -all these people accountable. We believe that accountability and participation goes hand in hand. You need to participate in order to make it accountable. The process of engagement is empowering for the citizen once they realize they can bring about change."

It takes time to get things done; change happens very slowly. And we can’t keep blaming the government if we don’t participate. We don’t lend them a hand, and let’s be honest, we probably don’t have the resources. So, how do we enable the government? How do we empower them? That’s something Janaagraha works for: helping the government do what they need to do.

***********

The next interview will feature Surabhi HR from Political Quotient, an organization working to redefine how youth engage with politics in the digital era. We will refer back to the characteristics about information economies and e-governance outlined on this post and use Janaagraha's experience as a backdrop, to explore the work PQ is doing: organizing spatial data, improving information structures for the government and bridging communication between citizens and their elected representatives.

Sources:

Benkler, Yochai. The wealth of networks: How social production transforms markets and freedom. Yale University Press, 2006.

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

For more details visit http://editors.cis-india.org/digital-natives/making-change/information-structures-janaagraha

Digital Design: Human Behavior vs. Technology - Vita Beans

denisse — 2015-10-24T14:29:23Z

What comes first? Understanding human behavior and communication patterns to design digital technologies? Or should our technologies have the innate capacity to adapt to the profiles of all its potential users? This post will look at accessibility challenges for digital immigrants and the importance of behavioral science for the design of digital technologies. We interview Amruth Bagali Ravindranath from Vita Beans.

CHANGE-MAKER: Amruth B R

PRODUCT:
Vita Beans and Guru G

METHOD OF CHANGE:
Borrow elements from behavioral science and social marketing to make technology more intuitive.

STRATEGY OF CHANGE:
Make technology easy to use, fun and effective.

Chirptoons: Create Cartoons in a Jiffy. Designed by Vita Beans
(The animation seems to be skipping a few lines. Check box below for a transcript)
Design your own here: http://bit.ly/1dOEpPo

Transcript of animation:

Ajoy: Hi!
Usha: Hi! What will we talk about today?
Ajoy: We will learn to design digital stories!
Usha: What do you mean by digital stories?
Ajoy: What we are doing right now!.
Telling a story through a digital medium.
Usha: Oh! But what is so complicated about that?
You write a story and then you post it online What’s
the big deal?
Ajoy: This is true. But you want everyone to access
your story right?
Usha: Yes! Of course!
Ajoy: Then you need to think about your audience!
Are you sure they all know how to use this technology?
Usha: Well...no, not really.
Ajoy: Do you know what makes it challenging for them?
Or how to adapt technology to make it easier?
Usha: Eh, no...no clue :(
Ajoy: Then read on.Today we will take a step back.
We must think about human behaviour first!
and then design our technology accordingly.
Usha: Sounds good! Let's do it.

First off, apologies for such a feeble and sad animation. When I was given access to Chirptoons, I was quite confident I would be able to produce a somewhat interesting introduction to this post and get you excited about our next interview. However, between first-time user friction and a couple of glitches in the program, I found myself -a semi-savvy digital native who has been using technology, almost every day of her life, for the last 15 years- struggling to create the cartoon and clearly failing at it. The biggest challenge was translating what I had in mind into a digital format (The demo was very straightforward. I was just particularly inept), and it was frustrating to the point I decided to drop it, leave it as is, publish my unfinished cartoon and turn this post into a reflection on 'design challenges behind digital storytelling', so I could move on with my life.

What I experienced with Chirptoons is what many users: both digital natives and immigrants constantly face due to the pace at which new digital technologies are emerging. While the privileged demographic who has physical access to technology has a decent knowledge of basic web browsing and document processing features, there is still a very large gap in accessibility in terms of how to navigate more complex formats. At the end of the day, producers retain the creative power and determine the functions and flexibility of the technologies we use in the day to day. Just think of Facebook and its constant interface updates. We have all felt the wrenching need for that 'dislike' button to make our interactions a tad more honest, yet we have no power to create it or change Facebook's format to one that enables our needs better.

So far, we have explored information from different angles: as activism, as visual design, as stories; and how digital technologies have been used strategically to disseminate it. However, our analysis is lacking a better understanding of the digital. We have been focusing on citizens as technology 'consumers', and we have not looked at whether digital infrastructures are accessible enough for users to become 'producers'. The question is: how do we do this: how do we engage different users with different digital literacy levels, skills and aptitudes in the production of digital content? With this post we bring a new topic into our series: accessibility and Information infrastructures. This one will focus on design and the role of behavioural science. Our interview with Amruth Bagali Ravindranath, brought a very unique perspective into the conversation, from which I would like to highlight three points:

a) The importance of behavioral science for design. Amruth stressed why we need a thorough understanding of behavioral and cognitive science in the design of digital technologies and how crucial it is to investigate the decision processes and communication strategies of humans to make technologies user-friendly and context appropriate.

b) How public relations and social marketing concepts can also provide insight on how to target and engage potential users more effectively. This point starts to answer some of the questions we raised on the Information Design post: thinking about the citizen as a consumer. This point also works as an alternative take on how to target civic engagement through technology.

c) How to engage different type of users: not only the digital native, but also digital immigrants[1]

who still play crucial roles as information gatekeepers in fields such as education or urban governance.

Vita Beans

We interviewed Amruth Bagali Ravindranath, Founder of Vita Beans to answer some of these questions. Vita Beans’ mandate is to create inspiring, easy-to-use applications in areas of education and human resources, to share knowledge in innovative, fun an effective ways. The logic behind their technological framework is trying to mimic the profile of the human brain linked to decision making -including economic, evolutionary, emotional, and psychological elements- and design their applications based on these patterns. Some of the products they offer are cognitive skill development applications, game based learning applications, educational technology research, among others, and their latest educational product: Guru G was chosen by the Unreasonable at Sea program (by Unreasonable institute & co-founder of Stanford d.school) as one of the 11 companies changing the world.

"We are trying to adapt to how the user wants to use something, rather than expecting the user to learn. This is essential in the education space to make things work".

Guru G is a "gamified teaching, teacher training & open certification platform", that aims to democratize access to technology for quality teachers. Rather than focusing on the student as most education technologies do, Guru G believes that teachers are the most important element of the education system. Enabling teachers, means quality education will reach the lives of hundreds of students during their professional life time, and with this in mind, Vita Beans designed a platform that is engaging, easy to use and intuitive, designed specifically with teachers, schools and governments in mind.

Unreasonable Barcelona: Anand Joshi, Guru-G from Unreasonable Media on Vimeo.

Inspiration

"Teachers don't use and don't like to use technology"

The idea came from the products Vita Beans had already developed for the education space, such as their text2animation & text2game prototypes. They had produced over 80 collaborative games teachers were using in the classroom. Students play together in teams and learn about different topics through the process of gaming. However, suddenly they realized teachers had great ideas they didn't know how to translate into a digital form because they did not have the knowledge or the skills to create digital content. This is, according to Amruth, the crisis they are trying to solve in the education space: the quality of teachers, access to good teachers and the difficulty for teachers to adopt new technologies were the biggest challenges. "

The design challenge

Their initial prototypes were designed with assumptions based on their gamification experiments with students. "We miserably failed with teachers and we discovered what a good gamification system for teachers looks like by prototyping with teachers and looking at the small things. It was an interesting learning experience." They identified two common reasons why they hesitated to adopt anything new in the classroom.

Teachers don't want to feel like they can't use something a student can.
Teachers can't visualize themselves using that tool, this there is an element of uncertainty and lack of confidence.

It was imperative for Vita Beans to switch focus: "Any tool you design, you expect to train the user to understand your tool, and if they refuse to do that; you blame them." They used their behavioural science background to come up with infrastructural solutions that solve the limitations from the outset.

The solutions

They started prototyping with natural language processing for their text2animation & text2game projects. NLP is a branch of computer science concerned with the interactions between computers and human languages. Teachers articulated their ideas in simple English and the program used NLP to take what they said, try to understand what they were trying to visualize and convert into programming language to build an animated movie out of it (like what we used to open this article -but with hopefully better results). Amruth was very confident about the potential of this prototype and shared with us that UNICEF might take it up and implement it as an open source animated video and game creation tool in Africa.

They also developed an adaptive navigation engine for one of their game based learning platforms; a tool that adapts to what you are trying to do: "There is no fixed way to navigate from one task to another. It tries to learn the closest action that each teacher is trying to do and it executes that. It tries to learn how the teacher wants to use it."' This was a success. They incorporated touch screens to make the product more intuitive and the teachers picked it up quickly.

Amruth claims they are the first in the world to develop a gamification platform specifically for teachers and the reason was their solution to the navigation issue. This experience also indirectly helped in designing Guru-G.

"Amruth Bagali Ravindranath talks about text2animation & text2game prototypes"
Amruth B R, at TedxMcGill. Courtesy of YouTube

These design solutions and the learnings from each project inspired the team to come up with products which have been adopted commercially across 10 states in India, reached 4000+ schools & over 3 million kids internationally through partners in India & North America. They have helped education companies build their primary and secondary school education products, (including one of India's top classroom technologies), have been covered by the media and won several entrepreneurship awards. More information here and on their website. Our question is: what is it about behavioral science that helped Amruth's team arrive to this epiphany in tech design?

Behavioral Science and Social Marketing

Comparing marketing to advocacy is bound to be met by resistance and perhaps controversy. I raised this question when we interviewed Maya Ganesh for the Information Design post, and stated the following in our conclusion: "Our consumption habits in the market are shaping how we process and interact with information in the public space. The possibility of 'consumer behavior' permeating modalities of activism, reinforces the need to explore more interesting strategies for information dissemination." Now that we are starting to look closely at the infrastructure supporting information, I will stubbornly return to the same question: to what extent should we borrow tactics for advocacy from marketing? and add: how much of it should permeate the design of digital technologies?

Amruth made a casual reference during our interview that triggered this thought. We were discussing the importance of understanding behavior patterns, when he brought up Edward Bernays. This man used psychoanalysis, psychology and social science to design public persuasion campaigns and could get masses to choose what he wanted them to without them realizing it. While this sounds awfully dangerous and manipulative, I would like to rescue the idea of understanding human behavior well enough to design technology around it and I will entertain this thought in the context of social change -please, don't judge.

Pillip Kotler, S. C. Johnson Distinguished Professor of International Marketing at the Kellogg School of Management at Northwestern University, wrote a paper bringing marketing and social change together: “Can social causes be advanced more successfully through applying principles, concepts and techniques of marketing?”. He defines marketing as:

"a sophisticated technology, that draws heavily on behavioral science for clues to solve communication and persuasion related to influencing accessibility. [...] Most of the effort is spent on discovering the wants of a target audience and creating goods and services to satisfy them" (Kotler, 1971)

This definition is a useful bridge to link marketing with accessibility of digital technologies. G.D. Wiebe wrote an influential paper on social marketing, that coined the question: "Why can't you sell brotherhood and rational thinking like you can sell soap?", that later influenced public information campaigns by USAID, the WHO, and the World Bank [2] . While he recognized how these models can to an extent commodify human behavior and social principles, he stressed that knowledge of behavioral science is a useful framework for product planning, that must be given a socially useful implementation. He developed the following criteria of considerations:

Criteria	Description
Force	The intensity of the person's motivation toward the goal -a combination of his predisposition prior to the message and the stimulation of the message
Direction	Knowledge of how or where the person might go to consummate his motivation.
Mechanism	The existence of an agency that enables the person to translate his motivation into action.
Adequacy	The ability and effectiveness of the agency in performing its task.
Distance	Estimate of the energy and cost required (by the user) to consummate the motivation in relation to the reward

Considering this framework is part of recognizing how knowledge circulating market networks affects our behavior. Nishant Shah addressed two ideas along these lines in the thought piece. First, he suggests us to recognize the negotiations that take place in the state-citizen-market ecosystem, and how they affect our rights, demands and responsibilities in society. Second, how this leads to a different understanding of the citizen as an "embodiment of these state-market negotiations". Keeping consumer behavior, and the forces shaping, enabling and constraining it in mind, is an interesting framework when we think of ourselves as information consumers -and as Yochai Benkler posits in The Wealth of Networks- in an ongoing transition to information producers. This also depends on how we think of information. We usually define content as information, but the structure and infrastructure are also pieces of 'information' we continuously shape through our interaction with technology. Hence, when we talk about making information accessible, we are also talking about producing legible and intelligible infrastructures.

Linking it back to digital technology

I am aware that the relationship we are trying to draw seems little far-fetched, but Amruth and the Vita Bean's team experience shows this behavioral-science approach, not only has a lot of potential, but is seldom explored in the education technology market. He told us about his success story with a behavior simulation engine. They used neuroscience as a base to build computer based activities and games to predict the behavior of its users on specific situations. They had an accuracy of 86%, which according to Amruth, is larger than every known psychological framework, and according to their testimonial, above most behavioral tests in the market (which only yield 20-40% of accuracy). Amruth said: "That was the first behavior research connection that brought us into the start-up space. Exploring games, exploring human behavior."

Design challenges in
mobile applications**

Make it noticeable
Make it useless if not shared
Manufacture peer pressure
Easy to personalize
Must evolve constantly
(static stories die)

We can also link these ideas back to storytelling. Amruth and I discussed what is the best way to use technology to engage users with digital stories. He made a good point at pairing up both processes: "What makes a storytelling session effective is how you contextualize a story for the person you are sitting with. As kids we are used to a one way process. As adults, stories are more interactive, so you may bring a new dimension, and the story might go in a very different direction. The technology must enable and reflect that." Compelling narratives must motivate the audience to interact with the stories, and digital devices must perform the same function. The infrastructure and interface of technologies must be intuitive, familiar and persuasive enough to sway users into interacting with it.

A way to do this is by pairing up technologies with the criterion above. In terms of functionality: provide them with a mechanism that translates the users ideas into action, that is efficient at enabling them, and that reduces the 'distance (the cost or amount of energy needed) to perform a task -as has been accomplished with Guru G in India. As for the force and direction of motivation, Amruth brought up some design challenges when discussing adoption of mobile applications [**"by analysing what increases the probability of a solution / campaign growing organically by word of mouth, going viral, and specifically what make something fashionable". See box on the left]. These challenges may vary from one application to the other but, at the end of day, the analysis and conceptualization of the product must be persuasive and empathetic with its users.

Making Change

To close our interview, Amruth and I talked about what it means to 'make change' through digital design. He believes 'making change' is composed of three elements:

Empathy: Your attempt to make change will depend on the amount of empathy you feel towards the people you are trying to create change for. "We spend time interacting with teachers, classrooms, just to get an idea of how the teacher thinks, empathize with prospective users".
Imagination: How you translate this empathy into solutions. "Imagination helps you think of as many solutions as you can to solve the design and adoption challenges"
Action: The most challenging stage according to Amruth: "If your technology is too hard to use, you will lose audience. If it's not impactful enough, it is trivialized. How do you reach a balance in making it effortless and yet, impactful?"

This post took a step back in our analysis of citizen action, to uncover a less visible space where change is also taking place: the intersection of the user with the machine. We seldom look at the relationship: producer-machine-consumer (and its multiple combinations) and how our behavior is being reconfigured by new digital technologies (in this project). The pace at which we need to upgrade our own operation systems, requires a degree of digital literacy that is not being facilitated by the state, the market or even civil society. Vita Beans, is one of the few examples of market actors working towards cutting the middle-man between users and digital technologies. If widely adopted, this model has the potential of re-organizing the state-citizen-market dynamic: from how citizens interact with the technology market to how new ways of producing and using technology might shape citizens' negotiation with the state.

This was also a set of explorations. It is a fairly new area in our research that will lead to more conversations with people who understand technology as an infrastructure and as material, as opposed to us- who often understand it as a practice, a space or an actor. Our goal is to bring content and infrastructure closer together, and make a stronger emphasis on inter-disciplinarity and multi-stakeholderism as a strategy to leverage change.

Footnotes:

[1] Refer to Marc Prensky's Digital Native, Digital Immigrant, for more on the limitations of digital immigrants in the education space; "It‟s very serious, because the single biggest problem facing education today is that our Digital Immigrant instructors, who speak an outdated language (that of the pre-digital age), are struggling to teach a population that speaks an entirely new language". Access it here: http://bit.ly/IMBu0j

The CIS book : Digital Alternatives with a Cause, is also an interesting and comprehensive read of what comprises a digital native or digital immigrant today: http://cis-india.org/digital-natives/blog/dnbook

[2] The World Bank makes reference to G.D. Wiebe's thinking on their blog: http://bit.ly/1jNZVZA. Also refer to: Baker, Michael (2012). The Marketing Book. Oxford: Butterworth-Heinemann. p. 696 and Lefebvre, R. Craig. Social Marketing and Social Change: Strategies and Tools to Improve Health, Well-Being and the Environment\year=2013. San Francisco: Jossey-Bass. p. 4. for examples of these interventions. Finally, the Wikipedia page on Social Marketing explains the role of G.D. Wiebe in the field: http://bit.ly/1lw4jPV

Sources:

Kotler, P., & Zaltman, G. (1971). Social marketing: an approach to planned social change. Journal of marketing, 35(3).

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

Wiebe, G.D. (1951-1952). "Merchandising Commodities and Citizenship on Television". Public Opinion Quarterly 15 (Winter): 679.

For more details visit http://editors.cis-india.org/digital-natives/making-change/digital-storytelling-human-behavior-vs-technology

February 2014 Bulletin

praskrishna — 2014-04-07T07:27:46Z

The Centre for Internet and Society (CIS) welcomes you to the second issue of its newsletter (February) for the year 2014:

-------------------------------
Highlights
-------------------------------

We published revised chapters for the states of Mizoram, Dadra and Nagar Haveli, Himachal Pradesh and Haryana, as part of our National Resource Kit project.
In the concluding blog post of a three-part study Ananth Padmanabhan looks at the Indian law in the Copyright Act and the Information Technology Act, and concludes that both those laws restrain courts and private companies from ordering an ISP to block a website for copyright infringement.
Telugu Wikipedia celebrated its 10^th anniversary. An event was co-organized in Vijaywada to celebrate the same.
The second Institute on Internet and Society was held in Pune from February 11 to 17. The proceedings from the workshop are captured in a blog post.
CIS announced an Open Call for Comments for the latest draft of the Privacy Bill, 2013 prepared by Bhairav Acharya.
Forbes India published its “30 Under 30 List”. Pranesh Prakash is featured in the list.
As part of the Making Change Project, Denisse Albornoz wrote a blog post that compares the production behind a performance with the process of storytelling.
Beli gives an introduction to spectrum sharing. The post looks at GSM and CDMA, and touches upon LTE, and how they might share spectrum.

-----------------------------------------------
Jobs
-----------------------------------------------
CIS is seeking applications for the post of Program Officer (Access to Knowledge): http://bit.ly/1fnydB0. There are two vacancies for this post and it is full-time based in Delhi. To apply, please send your resume to Sunil Abraham (sunil@cis-india.org), Nirmita Narasimhan (nirmita@cis-india.org) and Pranesh Prakash (pranesh@cis-india.org) with three writing samples of which at least one demonstrates your analytic skills, and one that shows your ability to simplify complex policy issues.

----------------------------------------------
Accessibility and Inclusion
----------------------------------------------
As part of our project (under a grant from the Hans Foundation) on creating a national resource kit of state-wise laws, policies and programmes on issues relating to persons with disabilities in India, we bring you draft chapters for the states of Mizoram, Dadra and Nagar Haveli, Himachal Pradesh and Haryana. With this we have completed compilation of draft chapters for 35 states.

Based upon discussion with the office of the Chief Commissioner for Persons with Disabilities (CCPD) the following chapters were revised:

► National Resource Kit Chapter

The Mizoram Chapter (by CLPR, February 5, 2014): http://bit.ly/1eUSvxW
The Dadra & Nagar Haveli Chapter (by CLPR, February 6, 2014): http://bit.ly/1mv3YhJ
The Haryana Chapter (by Anandhi Viswanathan, February 10, 2014): http://bit.ly/1dVOiKI
The Himachal Pradesh Chapter (by Anandhi Viswanathan, February 12, 2014): http://bit.ly/1jSk03x

► Other

# Participation in Events

National Consultation on Inclusion of Persons with Disabilities in Development Process (organized by CBM India in collaboration with United Nations Solution Exchange for Gender Community, WHO Regional office for South-East Asia, New Delhi, February 12, 2014). Anandhi Viswanathan participated in a panel discussion. She made a presentation on the National Resource Kit project: http://bit.ly/OlkHVq.
Zero Project Conference on Accessibility: Innovative Policies and Practices for Persons with Disabilities (organized by Essl Foundation, the World Future Council and the European Foundation Centre, United Nations Office, Vienna, February 27 and 28, 2014). Pranesh Prakash spoke on Affordable Text-to-Speech Software from India: http://bit.ly/1czo32s. Nominations on e-speak were recognised as examples of innovative practices and policies from India. Pranesh Prakash was also a speaker on Copyright Exception for Accessible Formats: http://bit.ly/1l8HRth.

-----------------------------------------------------------
Access to Knowledge
-----------------------------------------------------------
The Access to Knowledge programme addresses the harms caused to consumers and human rights, and critically examines Open Government Data, Open Access to Scholarly Literature, and Open Access to Law, Open Content, Open Standards, and Free/Libre/Open Source Software.

# Analyses

Can Judges Order ISPs to Block Websites for Copyright Infringement? (Part 2) (by Ananth Padmanabhan, February 5, 2014): http://bit.ly/1cddoKm. Analyses the law laid down by the U.S. Supreme Court and the Delhi High Court on secondary and contributory copyright infringement.
Can Judges Order ISPs to Block Websites for Copyright Infringement? (Part 3) (by Ananth Padmanabhan, February 5, 2014): http://bit.ly/1g35mDg. Analyses the Indian law in the Copyright Act and the Information Technology Act.

# Participation in Events

2nd International Conference on Managing Intellectual Property Rights and Strategy (MIPS 2014) (organized by Shailesh J. Mehta School of Management, IIT Bombay with support from the Ministry of Human Resources Development IPR Chair Project, Government of India): http://bit.ly/PsPEbq.
Consultation on Institutional Arrangements for IP management under MHRD (organized by the Planning Commission and Ministry of Human Resource Development, New Delhi, February 21, 2014). Nehaa Chaudhari participated in this consultation: http://bit.ly/1fTCoar.
National Conference on Use of Technology in Higher Education (organized by the Ministry of Human Resource and Development and Planning Commission in partnership with Microsoft Research and British Council, Indian Institute of Technology, Bombay, February 25, 2014): http://bit.ly/P6u78i. Nehaa Chaudhari participated in the event as a panelist in the session on "Future of Content Creation".

# Media Coverage

Pranesh Prakash: Influencing India's IP Laws (by Samar Srivastava, Forbes India, February 15, 2014): http://bit.ly/1kBzLMq.

The following has been done under grant from the Wikimedia Foundation (http://bit.ly/SPqFOl). As part this project (http://bit.ly/X80ELd), we organised 4 workshops in the month of January, published an article in DNA, and signed a memorandum of understanding with KIIT University and Kalinga Institute of Social Sciences to further the development of Odia Wikipedia:

►Wikipedia

# Articles / Blog Entries

Odia Language's Presence in Digital Media and Wikipedia's Role (by Subhashish Panigrahi, The Samaja, March 2, 2014): http://bit.ly/1ieF3sC.
Indian Wikimedia community coordinates Women’s History Month (by Netha Hussain and Jeph Paul, Wikimedia Foundation, March 6, 2014): http://bit.ly/1cyRfqf,

# Events Co-organized

Cinemathon2014 Bangalore (organized by Pad.ma and CIS-A2K, CIS, Bangalore, February 8-9, 2014): http://bit.ly/MRRkZz.
Tewiki 10th Anniversary (organized by CIS-A2K and Telugu Wikipedia community, February 15, 2014): http://bit.ly/1iI2Pxs. T. Vishnu Vardhan and Rahmanuddin Shaikh were speakers at the event.
Cinemathon2014 Mumbai (organized by Pad.ma and CIS-A2K, CAMP Studio, Mumbai, February 15-16, 2014): http://bit.ly/P5YGL8.
Wikipedia Mangalore Workshop (organized by Roshini Nilaya and CIS-A2K, Mangalore, February 26, 2014). Dr. U.B.Pavanaja gave a presentation on Wikipedia with a special focus on students and women.

CIS gave its inputs to the following media coverage:

# Media Coverage

Father-son duo promote Punjabi online (by Jatinder Preet, Sunday Guardian, February 1, 2014): http://bit.ly/1l87b2h.
୧୦ ବର୍ଷରେ ଓଡ଼ିଆ ୱିକିପିଡିଆ (Rabibara Sambad (Sunday supplement of Odia newspaper The Sambad), February 9, 2014): http://bit.ly/1igMynn. This is a feature about Odia Wikipedia's 10th anniversary and the story of a dead volunteer community reviving after 8 years.
Wikipedia Mangalore Workshop (Prajavani, February 27, 2014): http://bit.ly/1gVMG6f.

# Participation in Event

The Dynamics of Education to Employment Journey: Opportunities and Challenges (organized by KIIT School of Management, KIIT University, Bhubaneswar, February 21-22, 2014). T. Vishnu Vardhan gave a talk: http://bit.ly/1ePwqHc.

Event Organized

Wiki Women's Workshop (ICG – Dona Paula, Goa, March 9, 2014): http://bit.ly/MRRJLy. The event is being organized as part of the commemoration of the International Women's Day.

Openness

# Event Organised

Bitcoin & Open Source with Aaron Koenig (CIS, Bangalore, February 7, 2014): http://bit.ly/1fbN6mP.

-----------------------------------------------
Internet Governance
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CIS is doing a project (under a grant from Privacy International and International Development Research Centre (IDRC)) on conducting research on surveillance and freedom of expression (SAFEGUARDS). So far we have organised seven privacy round-tables and drafted the Privacy (Protection) Bill. Gautam Bhatia gives an analysis of the right to privacy from a constitutional perspective. Bhairav Acharya prepared an updated version of the Privacy Protection Bill which was published for comments.

# Call for Comments

The Privacy Protection Bill, 2013 (by Bhairav Acharya, February 25, 2014): http://bit.ly/1g3TwIX. CIS announced an Open Call for Comments to the latest version of the bill.

# Articles

The Internet Way (by Nishant Shah, Biblio Vol. 19 No.8 (1&2), January – February 2014): http://bit.ly/1kBp9gJ. Dr. Nishant Shah's review of the book “The Everything Store: Jeff Bezos and the Age of Amazon” by Bantam Press/Random House Group, London can be found on page 16.
Surveillance and the Indian Constitution - Part 3: The Public/Private Distinction and the Supreme Court’s Wrong Turn (by Gautam Bhatia, Indian Constitutional Law and Philosophy Blog, February 25, 2014): http://bit.ly/1kBosnw. This was originally published on Indian Constitutional Law and Philosophy Blog.
Big Democracy, Big Surveillance: India's Surveillance State (by Maria Xynou, Open Democracy, February 28, 2014): http://bit.ly/1nkg8Ho.
Will You be Paid to Post a Picture? (by Nishant Shah, Indian Express, February 18, 2014): http://bit.ly/P65d8L.

# Blog Entries

February 11: The Day We Fight Back Against Mass Surveillance (by Divij Joshi, February 14, 2014): http://bit.ly/1e7drCV.
Calcutta High Court Strengthens Whistle Blower Protection (by Divij Joshi, February 24, 2014): http://bit.ly/1cG8v7t.
CIS Welcomes 52nd Report on Cyber Crime, Cyber Security, and Right to Privacy (by Elonnai Hickok, February 24, 2014): http://bit.ly/1oviMJ4.
UIDAI Practices and the Information Technology Act, Section 43A and Subsequent Rules (by Elonnai Hickok, February 25, 2014): http://bit.ly/1fbSfep.

# Events Organized

Nullcon Goa Feb 2014 — International Security Conference (organised by Nullcon, Bogmallo Beach Resort, Goa, February 12 – 15, 2014). CIS is one of the sponsors for this event: http://bit.ly/1lrBu5I.
Counter Surveillance Panel: DiscoTech & Hackathon (co-organized by CIS, MIT Centre for Civic Media Co-Design Lab, Tactical Technology Collective, Hackteria.org, and Shristi School of Art, Design and Technology, Bangalore, March 1, 2014): http://bit.ly/NCGMyH

# Participation in Events

First Meeting of the Multistakeholder Advisory Group for India Internet Governance Forum (organized by the Department of Electronics and Information Technology, New Delhi, February 10, 2014). Sunil Abraham participated in this meeting: http://bit.ly/1fKu5xz.
Internet Intermediary Liability: Towards Evidence-based Policy and Regulatory Reform to Secure Human Rights on the internet (organized by Association for Progressive Communications, The Wedgewood, Melville, Johannesburg, February 10-11, 2014): http://bit.ly/1fMAEK2. Elonnai Hickok was a speaker.
Towards an Equitable and Just Internet (organized by IT for Change, New Delhi, February 14-15, 2014). Bhairav Acharya was a speaker: http://bit.ly/1cz9EDt.
Workshop on Media Law & Policy Curriculum Development (organized by the Centre for Communication Governance, National Law University, Delhi and University of Oxford in support with the International Higher Education-Knowledge Economy Partnerships Programme of the British Council, February 16, 2014, National Law University, Delhi): http://bit.ly/1ovoT00. Bhairav Acharya was a speaker.
The Changing Role of the Media in India: Constitutional Perspectives (organized by School of Law, Christ University, February 28, 2014): http://bit.ly/1lB2nTO. Snehashish Ghosh moderated a session at this conference.

--------------------------------
News & Media Coverage
--------------------------------
CIS gave its inputs to the following recent media coverage:

The Dangers of Birdsong (by Namrata Joshi, Outlook, January 25, 2014): http://bit.ly/1kB8J7L.
A Tale of Two Internet Campaigns (by Deepa Kurup, The Hindu, February 11, 2014): http://bit.ly/1lDdRZy.
Dark days for the creative class in India: Siddiqui (by Haroon Siddiqui, thestar.com, February 16, 2014): http://bit.ly/1gdtgbC.
The Forbes India 30 Under 30 List (by Abhilasha Khaitan, Forbes India, February 21, 2014): http://bit.ly/1ovnvKM. Pranesh Prakash features in the list.
India ‘tea parties’ enable politicians to woo urban youth with technology (by Avantika Chilkoti, Financial Times, February 26, 2014): http://bit.ly/1cGfOMm.

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Digital Humanities
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CIS is building research clusters in the field of Digital Humanities. The Digital will be used as a way of unpacking the debates in humanities and social sciences and look at the new frameworks, concepts and ideas that emerge in our engagement with the digital. The clusters aim to produce and document new conversations and debates that shape the contours of Digital Humanities in Asia:

# Blog Entries

Defending the Humanities in the Digital Age (by Nishant Shah, DML Central, February 24, 2014): http://bit.ly/1czdZqg.
Digital Humanities in India- Mapping Changes at the Intersection of Youth, Technology and Higher Education (by Sneha PP, February 21, 2014): http://bit.ly/1qd6xo4.

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Digital Natives
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CIS is doing a research project titled “Making Change”. The project will explore new ways of defining, locating, and understanding change in network societies. Having the thought piece 'Whose Change is it Anyway' as an entry point for discussion and reflection, the project will feature profiles, interviews and responses of change-makers to questions around current mechanisms and practices of change in South Asia and South East Asia:

►Making Change Project

# Blog Entries

Storytelling as Performance: The Ugly Indian and Blank Noise 1 (by Denisse Albornoz, February 24, 2014): http://bit.ly/1jX4qBb.
Storytelling as Performance: The Ugly Indian and Blank Noise 2 (by Denisse Albornoz, February 27, 2014): http://bit.ly/1fKwQil.

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Telecom
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Shyam Ponappa, a Distinguished Fellow at CIS is a regular columnist with the Business Standard. The articles published on his blog Organizing India Blogspot is mirrored on our website:

# Newspaper Column

Centre- or State-Driven Development? (by Shyam Ponappa, Business Standard, February 5, 2014, Observer India Blogspot, February 7, 2014): http://bit.ly/1ceuWFS.

# Blog Entry

An Introduction to Spectrum Sharing (by Beli, February 24, 2014): http://bit.ly/NZlknd.

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Knowledge Repository on Internet Access
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CIS in partnership with the Ford Foundation is executing a project to create a knowledge repository on Internet and society. This repository will comprise content targeted primarily at civil society with a view to enabling their informed participation in the Indian Internet and ICT policy space. The repository is available at the Internet Institute website: http://bit.ly/1iQT2UB.

►Event Organized

Institute on Internet and Society (organised by Ford Foundation and CIS, Yashada, Pune, February 11-17, 2014): http://bit.ly/1fpTdDS. Bishakha Datta, Ravikiran Annaswamy, Kingsley John, Prof. G. Nagarjuna, Nisha Thompson, Prashant Naik, Nehaa Chaudhari, Bhairav Acharya, Manu Srivastav, Dr. Abhijeet Safai, Payal Malik, Nishant Shah, Laura Stein, Sunil Abraham, Madan Muthu and Chinmayi Arun taught at the institute.

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About CIS
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The Centre for Internet and Society is a non-profit research organization that works on policy issues relating to freedom of expression, privacy, accessibility for persons with disabilities, access to knowledge and IPR reform, and openness (including open government, FOSS, open standards, etc.), and engages in academic research on digital natives and digital humanities.

► Follow us elsewhere

Twitter: https://twitter.com/CISA2K
Facebook group: https://www.facebook.com/cisa2k
Visit us at: https://meta.wikimedia.org/wiki/India_Access_To_Knowledge
E-mail: a2k@cis-india.org

► Support Us

Please help us defend consumer / citizen rights on the Internet! Write a cheque in favour of ‘The Centre for Internet and Society’ and mail it to us at No. 194, 2nd ‘C’ Cross, Domlur, 2nd Stage, Bengaluru – 5600 71.

► Request for Collaboration:

We invite researchers, practitioners, and theoreticians, both organisationally and as individuals, to collaboratively engage with Internet and society and improve our understanding of this new field. To discuss the research collaborations, write to Sunil Abraham, Executive Director, at sunil@cis-india.org or Nishant Shah, Director – Research, at nishant@cis-india.org. To discuss collaborations on Indic language Wikipedia, write to T. Vishnu Vardhan, Programme Director, A2K, at vishnu@cis-india.org.

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

For more details visit http://editors.cis-india.org/about/newsletters/february-2014-bulletin

Storytelling as Performance: The Ugly Indian and Blank Noise 2

denisse — 2015-10-24T14:30:15Z

This post compares the method of storytelling with performances. To illustrate this, we explore the narratives of the Blank Noise project and The Ugly Indian, two civic groups from Bangalore making interventions in the public space. Part 2 looks at the role of actors and the stage in performances to explore the role of agency and the public space in storytelling.

This is part 2 of our analysis of Blank Noise and The Ugly Indian, two civic groups thriving in Bangalore by making a strategic use of storytelling to intervene in the public space. In the previous post, we explored the mediums and narratives used by these organizations to craft an identity for themselves. This one will look at the impact of this identity on the agency and actions of their volunteers. We will also draw some final conclusions relating the analysis back to the Making Change project.

How to navigate this post:

Section	Performance	Storytelling
Pre-production	Preparing all elements involved in a performance including locations, props, costumes, special effects and visual effects.	Preparing all elements needed to convey the message of the story including: spoken word, text, images, audio, video or other artifacts.
Screenplay	A written work narrating the movements, actions, expressions and dialogues of the characters.	Building a narrative in storytelling
Actors	Actors performing characters in a production.	The relationship between storytelling actors and agency
Stage	Designated space for the performance of productions	The public space as the stage for storytelling
Action!	Cue signifying the start of a performance	When storytelling leads to action

3.actor
ˈaktə/
1. a person portraying a character in [a dramatic or comic] production
2. a participant in an action or process

The cast of a production learns the script from beginning to end; rehearses the lines and internalizes the characters they have been chosen to represent. In the same way actors sustain the narrative of the production while they are on stage, we too act upon the identities we have chosen for ourselves in our day to day (Giddens, 1991). Oggs & Capps call this: constructing agentive identities: “participants assume agentive stances towards present identities, circumstances and futures” (1996; Hull, 2006). Embracing a set of traits and integrating them to the ‘story of the self’ (Gauntlett, 2002; Giddens 1991). This suggests there is a direct relationship between self-identity and agency, that will influence how we conduct ourselves in the public space.

As seen in the last section, The Ugly Indian’s self-ascribed identity frames their speech and action:

The Ugly Indian

We are a group of Ugly Indians who feel strongly about the state of visible filth in our cities.
Our philosophy can be described simply as: Kaam chalu mooh bandh. Stop Talking, Start Doing.
We believe in direct action, with a common-sense problem-solving approach. 
We do not finger-point or blame the system. We aim to make a change from within - 
one that sustains because everyone wants it and is comfortable with it.

This means the online identity of the organization (on Facebook, Youtube, Twitter and their website) must be consistent with the offline actions of volunteers in clean drives and TUI inspired activities.

Indira Nagar Rising	Koramangala Rising

TUI Clean Drives (Click to enlarge)
Photos courtesy of The Ugly Indian Facebook Album.
Visit the rest of the album here.

"[Join us] if you think like us, and want to achieve something meaningful in your immediate surroundings."

The Ugly Indian

Given the anonymity of the voices behind the narrative, the ideas and attitudes endorsed by TUI organizers can only remain at the discursive level, and it is TUI volunteers who collectively translate the set of beliefs into action. In other words, volunteers are the agentive extension of the movement, as they use their agency to execute the plan of action designed by the anonymous TUI organizers. The narrative in this case becomes somewhat of a ‘creed’ for responsible civic action, and while most volunteers choose to “stick to the script”, they are not really given the opportunity to explore their own narrative within.

In the case of Blank Noise, if we take another look at its mandate, it is collaborative by definition.

Blank Noise
Blank Noise is a public and participatory arts collective that seeks to
 explore the range of street interactions and recognize 'eve teasing' as
 street sexual harassment/ violence.

The processes to translate the Action Hero identity into action are far more open-ended than in the case of TUI. There is further room for volunteers to interpret what being an Action Hero means to them (as an identity), how they will respond to it (as agents), and how do they fit in the larger context of the Action Hero narrative (in the collective). The role of volunteers is to participate in the construction of a new narrative for the public space, defined by how women feel, what they think and do when they navigate it. It is not conclusive, and each intervention is an invitation for further dialogue.

"Adding agency to the equation gives the actor a purpose and new -revised- conception of the self and aligns its behavior with who he wants to be. "[2]

Blank Noise volunteers take ownership of who they want to be in the public space. Through their testimonials and actions, they do not only draft an identity for themselves, but they create one -or many- for the streets, for women, for men, for sexy, for safety. Stretching out our 'performance' analogy even further, their type of action is what we would deem improvisational theatre: the improvisation and intuition of BN volunteers takes over the dialogue, action and characters, as these are “created collaboratively by the players as [the play] unfolds in present time”[1]

4. stage
steɪdʒ/
a raised floor or platform, typically in a theatre, on which actors, entertainers, or speakers perform.

Finally, the stage. This is the space where actors display these learned identities in front of (or with) members of the audience. While stories are not necessarily presented on a conventional ‘raised floor or platform’, stories are meant to permeate "the stage" of the 'public space'. In spite of what Sartaj Anand told us in his interview: “stories as increasingly personal and local”, in order for them to trigger imagination and public discussion they must also be public and visible. Hannah Arendt posits in Essays for Understanding, that the task of storytelling is to extend the meaning of the actions, symbols and allegories into the public, making them visible to broader audiences and initiating a process of critical thinking among them (Jackson, 2002; Oni, 2012; Arendt, 1994). Hence, the role of storytelling in the public space has two functions:

a) Visibility:

Enhanced visibility is an extremely powerful asset. Narratives produced by activist-oriented storytellers do not only reflect greater autonomy of production, but also enjoy a wider rate of consumption[3] (Vivienne, 2011). From a tech-optimist perspective, multimedia representations of these stories further this visibility, making it also accessible to broader online audiences.

The Ugly Indian in particular thrives on visibility, due to its beautification mission. Its highly visible presence online is used to ratify the work they are doing to erradicate "visible" filth:

"X was a big fan of the Broken Windows Theory – which suggested that if a street looked ugly or neglected, it attracted more anti-social behaviour, while a well-maintained and beautiful street discouraged vandalism and often earned respect from passers-by. [...] Could the ugly Indian’s civic behaviour be a function of the environment and the signals it gives him? If so, could changing the environment change behaviour?" Chapter 7 - Nudge

In the case of Blank Noise, they use online visibility to re-introduce the testimonials collected through their interventions and installations, back into the public space.

Reporting to Remember (2009)

Triggered by the Mangalore pub attack, the report wants to compile a list of incidents involving attacks on/threats to women under the pretext of culture, tradition and religion.

By who:

Political parties
Religious groups
Individuals

2. Nature of attack:

who they attacked
why they attacked
You can also send articles/links explaining that.

3. When: Date

4. Location: Region.

Make a Sign (2009)
Volunteers were welcome to say anything they wanted.

What Blank Noise wants to say:
We are talking of safer cities not feared cities
We are talking of independent women, not paranoid women.
We are talking about collective responsibility- don't tell me to be even more 'cautious'.
We are talking about eve teasing as street sexual harassment and street sexual violence.
We are talking about autonomous women, not just mothers daughters and sisters amidst fathers brothers and sons.

Tales of Love and Lust

The vocabulary project, stems from a need to build a dictionary of 'eve teasing', Blank Noise asked participants to email in to comments and remarks they had heard addressed to them on the street. BN compiled them into an 'eve teasing' vocabulary.

The vocabulary was represented in the form of charts, school-style, simple lettering and graphics, in an attempt to desexualise and remove obscene reference from the terms that are used leerily at us on the streets.

Find the full list of interventions, campaigns and tactics here.

b) Political:

"[Politics is] the space of appearance that comes into being whenever men are together in the manner of speech and action, predating and preceding all formal constitutions of the public realm”

Hannah Arendt (1989) [4]

This visibility also re-conceptualizes how we do politics by creating political spaces. Setting up a ground for public discussion creates the opportunity to flesh out our ability to be political (Rawls 1971 in Sen, 2005). Hence, producing and consuming a story with, for and by the public, should constitute a political experience in itself -especially in the context of civic interventions as is the case of both our productions.

However, this does not seem to be the case for TUI. The identity of The Ugly Indian focuses on action; on collecting manpower to fill voids left by the state in waste management. In the words of Nishant Shah, they are aligning their work with needs and systems that have already identified by the state, as opposed to devising new modes of engagement or participation. Having said that, staying away from politics is an intentional mandate, and their focus today is removing all obstacles that stand between the middle class and their action in the public space; even if that includes extricating the group from its political nature. For now, spreading ‘action’ and its ‘visibility’ in the network is a priority. The bigger their beautification spectacle grows, the better.

Blank Noise has a different view of how to engage the middle class [5]. The group has identified the need to talk about ‘sexual harassment’ in public; a conversation that has not been addressed and is continually dismissed by the state. This void is hence being filled with stories and articulations of the communities involved [6],as a mean of resisting the stronger dominating narrative of silence around the issue. As opposed to TUI, the priority of Blank Noise is to reassert our ability to perform our role as active, visible and political agents in the public space; initiating a larger process of social critique in their network [7]

(We interviewed Jasmeen Patheja earlier in the project and discussed Blank Noise's political nature. Read the article here)

5. action! (and conclusions)
ˈakʃ(ə)n/
something done so as to accomplish a purpose.

As per definition, action must be purpose-driven, and throughout the last two posts, we have unpacked how this sense of purpose can be built using storytelling. We explored this looking at its methods, narrative identities, actors and spaces of action.

In the case of both organizations, storytelling was imbued in their organizational identity, the interaction with their volunteers and; the way in which they disseminate information. Expanding on what we said in the first installment on storytelling: its interactive nature makes it a tool for empowerment. The identities created by both organizations resonated so much with their audiences, that volunteers adapted their own identities and actions in the public space to align with them and participate in their initiatives.

The post also brought attention to the challenges of locating the ‘political’ within the spectacle. Storytelling as a mode of engagement is effective: it captures people’s attention and participation. However, it becomes problematic when the story becomes a creed adopted without question, as is the case of The Ugly Indian. The lack of opportunities to craft new arguments in public discussion leads to an equally passive participation to the one the group intended to eradicate. Citizens get involved without making critical connections with the material realities they are working to reverse. The citizen is trapped in the performance of citizen awakening and they are ceasing to articulate new ideas. In the case of Blank Noise, the political precedes the spectacle, but at the end of the day, it still relies on a visible and manageable network to disseminate its narrative and attract new story-lines and actors into the discourse.

On the issue of visibility: at the outset of the project we asked the question: what is it about the spectacle that makes it so enticing, and what can we borrow from it to strengthen political participation? [8]. This post visited the three elements that, according to Shah, makes an event visible: legibility, intelligibility and accessibility[9]; and started to answer some of these questions.

Performance	Storytelling	Visibility
Pre-production	The mediums chosen to tell the story (images, video, text, digital technologies) are used to give clarity to the message.	Legible
Screenplay	Creating (or borrowing narratives) from history and fiction makes stories easy to relate to, better understood and hence, better received by the audience	Intelligible
Actors	Acting out these identities shows the message was understood and internalized by the audience.	Intelligible
Pre-production	Digital technologies are effective at disseminating the story and making it more accessible in the public online space.	Accessible
Stage	Telling the story in the public (online and offline) space makes participation and interaction more likely.	Accessible

Finally, the main role of technology in storytelling is to provide and enhance visibility for stories (from all three fronts). As much as the thought piece criticizes the spectacle hype and suggests we move beyond it, this research is finding it useful to look further into: why visibility is desirable for advocacy and how it can bring new and different stakeholders into the process. At least, it seems to be working for The Ugly Indian and Blank Noise. Their outreach is for the most part online and digital media continues to be their best friend to scale up their visibility, showcase their actions and/or installations and sustain their narratives.

I will not make a conclusive statement on whether we should use storytelling for social change or not. However, understanding the power of stories and learning how to craft consistent narrative structures is -as Ameen Haque, founder of The Storywallahs told me- as fundamental for storytelling, as it is for activism: At the end of the day, "movements need supporters. Supporters need leaders; and leaders need to be good storytellers".

Footnotes:

[1] Based on the Wikipedia Definition of Improvisational Theatre. "Improvisational Theatre, often called improv or impro, is a form of theater where most or all of what is performed is created at the moment it is performed. In its purest form, the dialogue, the action, the story and the characters are created collaboratively by the players as the improvisation unfolds in present time, without use of an already prepared, written script." http://bit.ly/1hnByRp

[2] (Oggs & Capps, 1996; Miller, 1995; Hull, 2006).

[3] Refer to Sonja Vivienne's ethnography: Trans Digital Storytelling: Everyday Activism, Mutable Identity and the Problem of Visibility. She puts forward the experience of activists from the LGBT community who used storytelling to reassert, negotiate and in cases, expose their identities.

[4] Find resources to read more on Hannah Arendt's work on narrative and action here: http://stanford.io/1ge7JkX

[5] While the project does seek to collect voices across traditions, cultures, religions, etc; its reliance on digital technologies to crowdsource stories keeps the practice somewhat gentrified and homogenous. Lack of diversity in public discussion is a huge constraint for democracy, but from our conversations with Jasmeen, we understand this is a challenge to be tackled at a later stage of the project

[6] Refer to Nishant Shah's Whose Change is it Anyway?. (Page 29): "only certain kinds of discourses are made possible through technology-mediated citizen action. This discourse is often alienated from specific histories, particular contexts, and the affective articulations of the communities involved. It leads to a gentrification of contemporary politics that discounts anything that does not fit into the quantified and enumerated rubric of citizen action in network societies."

[7] Paulo Freire, the Brazilian educator and philosopher, was a strong proponent of using dialectics to question social structures around class, and stories come across as a way to link issues around power back to our personal experiences Refer to: Shor and Freire, 1987 and Williams, 2003.

[8] Some of the questions we have been exploring in Methods for Social Change: http://bit.ly/OCKrgy

[9] Refer to Nishant Shah's Whose Change is it Anyway?. (

Sources:

Arendt, Hannah (1994) Essays in Understanding Edited with an Introduction by Jerome Kohn. The literary Trust of Hannah Arendt Bluecher.

Holland, Lachicotte, Skinner & Cain, (1998). Identity and agency in cultural worlds. Cambridge, MA: Harvard University Press.

Hull, Glynda A., and M. Katz. (2006) "Crafting an agentive self: Case studies of digital storytelling." Research in the Teaching of English 41, no. 1: 43.

Jackson, Michael. (2002) The politics of storytelling: Violence, transgression, and intersubjectivity. Vol. 3. Museum Tusculanum Press,

Oni, Peter (2012). "The Cognitive Power of Storytelling: Re-reading Hannah Arendt in a Postmodernist/Africanist Context."

Sen, Amartya. The argumentative Indian: Writings on Indian history, culture and identity. Macmillan, 2005.

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

Shor, I. and Freire, P. (1987) A pedagogy for liberation:dialogues on transforming education. Bergin & Garvey, New York.

Williams, Lewis, Ronald Labonte, and Mike O’Brien. "Empowering social action through narratives of identity and culture." Health Promotion International 18, no. 1 (2003): 33-40.

Vivienne, Sonja (2011). "Trans Digital Storytelling: Everyday Activism, Mutable Identity and the Problem of Visibility” Gay & Lesbian Issues & Psychology Review 7, no. 1.

For more details visit http://editors.cis-india.org/digital-natives/making-change/storytelling-performance-2

Storytelling as Performance: The Ugly Indian and Blank Noise 1

denisse — 2015-10-24T14:31:11Z

This post compares the production behind a performance with the process of storytelling. To illustrate this analogy, we explore the stories of the Blank Noise project and The Ugly Indian- two civic groups from Bangalore making interventions in the public space. This post looks at the stages of pre-production and the screenplay to explore methods and narratives in storytelling.

spectacle
ˈspɛktək(ə)l/
a visually striking performance

performance
pəˈfɔːm(ə)ns/
an event in which a performer or group of performers behave in a particular way for another group of people: the audience. Sometimes the dividing line between performer and the audience may become blurred, as in the example of "participatory theatre" where audience members get involved in the 
production.

One of the mandates of this project is to locate discrepancies between "spectacles"[1] and realities of change to identify less visible examples of citizen action. However, an alternative route is to identify the characteristics of the spectacle, and learn how they can be used to make activism more visible: that is, more legible, intelligible and accessible. In this context, storytelling comes across as a method that can provide the same experience and benefits of a performance. This potential manifests itself in two ways:

a) First, in its infrastructure. We find that the structure holding stories together plays an important role in their ability to deliver a clear message. By unpacking the process of staging a performance -from what happens in the dressing rooms to what happens on stage- we will identify the building blocks of performances and by default, those comprised in effective storytelling.

b) Second manifestation occurs in the audience. The dynamic of performances resembles how we behave every day in our "socially and constructed worlds". We are constantly telling stories about ourselves and this 'sense of being' is what determines our actions and behavior (Holland et al, 1998). Furthermore, as social beings, we also build identities as a community and engage in "collective moments of self-enactment" (Urciuoli, 1995).

Linking this back to our project, understanding the performative potential of storytelling; its infrastructure and how it can touch on issues of identity, agency and collective action, is relevant to tackle challenges in activism and civic engagement -where the collective is very much linked to the political. To illustrate the relationship between storytelling and performance, I will use the example of two civic groups thriving in Bangalore: Blank Noise (founded by Jasmeen Patheja, who we interviewed back in January) and The Ugly Indian; and I will ask you to think about them as theatrical productions:

(The following images are 'Broadway posters' adapted to the identity of these groups. They were created merely for the purpose of this post and do not reflect the views of these organizations).

The Ugly Indian
stop talking. start doing.

Blank Noise
set new rules for street behavior

These groups were formed (in 2003 and 2010 respectively) to re-conceptualize how we understand our presence in the public space; Blank Noise focusing on sexual harassment and women safety and The Ugly Indian on waste management and civic interventions. On this post, we will look at their campaigns and identify features of the spectacle/performance in the storytelling methods they are using to communicate their mandates and interact with their volunteers. So, without further ado, let's explore this glossary of tweaked theatrical terminology:

How to navigate this post:

Section	Performance	Storytelling
Pre-production	Preparing all elements involved in a performance including locations, props, costumes, special effects and visual effects.	Preparing all elements needed to convey the message of the story including: spoken word, text, images, audio, video or other artifacts.
Screenplay	A written work narrating the movements, actions, expressions and dialogues of the characters.	Building a narrative in storytelling
Actors	Actors performing characters in a production.	The relationship between storytelling actors and agency
Stage	Designated space for the performance of productions	The public space as the stage for storytelling
Action!	Cue signifying the start of a performance	When storytelling leads to action

1. pre-production
ˈpri-prəˈdʌkʃ(ə)n/
the action of making or manufacturing from components or raw materials prior to the initial performance.

The stage of pre-production is when all the locations, props, cast members, costumes, special effects and visual effects are identified. It works in tandem with the screenplay to ensure the maximum consistence, coherence and clarity in the story. In the same way, planning storytelling also implies selecting the right elements and materials to hold the story together. Initially, only traditional mediums were available, such as spoken word, text and images; but storytellers today (the directors orchestrating these productions) are experiencing an urgency to re-invent and adapt the language of their stories to make it accessible in the network[3] (Hull and Katz, 2006; Urciuoli, 1995) and the practice has evolved into 'trans-media' or digital storytelling. Formats like audio-bytes, videos, sms, mobile apps are also part of its semiotic makeup and these mediums are mixed and matched to enhance the visibility of the message. As Scott McCloud suggests in ‘Understanding Comics: The Invisible Art’: “we need to invent new ways [and] develop new techniques of showing the same old thing” (1994) to make sure people still listen to what we have to say.

Both Blank Noise and The Ugly Indian have led highly visual campaigns in the online space, as they combine blogging with videos, audios, images and active community managers that interact with their volunteers. A few examples of the mediums they are using to capture the public's attention:

Video: Blank Noise did this art intervention, using real rape and sexual harassment reports from 2003 to challenge what we consider 'normal' and 'news'-worthy when it comes to sexual harassment and domestic violence:

Artifacts: ‘I never ask for it’ campaign: Blank Noise asked women to send garments they wore when they experienced ‘eve-teasing’ to challenge the notion “that women ask to be sexually violated”

I never ask for it. http://bit.ly/1mnEhMJ

Audio: Blank Noise documents and disseminates stories of sexual harassment as told by their Action Heroes' This is: Kitab Mahal's story.

The message transmitted by the garments, the video and the audio are based on cultural and social constructions of what ‘sexual harassment’ means. Removing one of the garments from the installation, for instance, removes it from its resistance identity and hence, it can only exist in the narrative context Blank Noise is constructing alongside its volunteers.

On the other hand, The Ugly Indian's mandate is to change people's "rooted cultural behaviour and attitudes [...] to solve India's civic problems"; starting with the visible filth on the streets. It does not pursue systemic change, but seeks impact at the behavioral level. One of the methods it uses to achieve this, is the dissemination of images and videos showcasing their work. Their publications minimize the use of text in order to drive attention to aesthetics:

They recently complemented their graphic stories, by starting a blog that documents "the philosophy and the process" that drives The Ugly Indian. This excerpt from Chapter 3 explains their visual strategy and why they have chosen before-after pictures to communicate their work:

“The citizens of the online world are brutal – they only care for instant gratification and real results. So are citizens in the real world. They too only care for results. [...] V & X know that and have focused all their energies on delivering this dramatic result, this single Before-After image, that is proof of dramatic change. And it has worked – in terms of creating initial positive impact (both on the ground and online). Whether it will survive and change community behavior is another story. But this initial impact is crucial, as we will discover later, in generating respect from the community and the authorities.”

“When pictures carry the weight of clarity in a scene, they free words to express a wider area. And when words lock in the meaning of a sequence, pictures can really take off” Scott McCloud on comics

This is how pre-production is important for storytelling. Planning, designing and choosing the right elements, and how they interact with one another, will determine the level of legibility and meaning we give to the story (McCloud, 1994). Each medium: video, audio, text, music, etc.- becomes “a new literate space” or “symbolic tool” storytellers have on hand to portray narratives about the self, family community and society (Hull, 2006), and the introduction of digital technologies into storytelling space, coupled with the current hype around the method, signals we are moving towards a more strategic use of technology to produce and share knowledge more effectively. In this way, the choice of mediums and technologies will reflect a "conscious construction of identity" and "performances of the self" (Vivienne, 2011); a theme we will explore further in the 'screenplay' section.

2. screenplay
ˈskriːnpleɪ/
The script including descriptions of scenes and some camera/set directions.

The process of writing a screenplay is a careful exercise of creation and articulation. The dialogues, expressions and actions of the characters are narrated and located in a specific context that will determine how the events of the play unfold. The ability to build a coherent narrative structure is, in itself, a powerful tool of self-expression that enables the storyteller to a) construct an identity for the story and b) expose it to the public. Let's take a closer look at each stage:

a) Self-expression is directly related to the amount of freedom we experience in our ecosystem. Barriers to expression can come through our political regime or in the form of social norms and taboos, as is the case of conservative pockets in India. In either context, storytelling comes across an alternative outlet to describe ambiguous, unapologetic and personal truths (Vivienne, 2011). It enables less visible voices to claim a space and construct their own narrative within. Blank Noise has been very active on this front, as it creates opportunities for its volunteers, participants (dubbed Action Heroes), and otherwise silent voices to articulate their emotional and physical experiences in the public space. One of the ways they did it was by publishing a step by step guide to unapologetic walking, and then requesting people to participate:

step by step guide to unapologetic walking: http://bit.ly/1bz3MZZ

" Our street actions over the last few years have been based on emphasizing small simple scenarios- which can be challenging even though they appear 'normal' and everyday. For instance- should it be hard to just 'stand' on the street as an 'idle' woman? Would you 'dare' try it?"

The idea behind this intervention is to re-conceptualize how women navigate the public space, drawing inspiration, ideas and encouragement from the “personal truths” and stories shared by women who are doing it. This grants them greater autonomy at representing themselves through their online and offline presence and the narrative is continuously re-shaped through new submissions and testimonials.

b) Self-representation is how you create yourself: who you want to be and how you want others to see you. Miller’s work on identity and storytelling explores the role of storytelling in socialization and self-construction: “stories change depending on who is listening” (1993) as we construct ourselves with and for other people. In the same way a character in the script cannot come to life without an audience, the identities we create for ourselves need a public that recognizes who we are and our role in the world. Anthony Giddens' work on identity also draws a relationship between our identity and its narrative: “self-identity is not a set of traits but a person’s reflexive understanding of their own biography (...) and the capacity to keep a coherent narrative going: integrating events in the external world and sorting them into the story of the self” (Gauntlett, 2002; Giddens 1991).

The Ugly Indian took a solid stance against middle class apathy and idleness in its narrative, and with this premise, it built an identity for the organization that represents the opposite: a selfless, active, responsible middle class citizen. These are some examples:

Anonymous identity	Middle class citizen	How they are different to the common middle class citizen
“They call themselves The Ugly Indians and operate anonymously [...]. If you aren’t aware of The Ugly Indian (TUI), that’s understandable – they work hard to stay anonymous and underground, and want only their work to speak for itself.” (Chapter 1)	“The more the urban middle-class see ‘people like them’ mucking about in garbage, the more they will face up to the issue and start thinking about it [...] This leap from ‘it’s someone else’s job’ to ‘it’s my duty to fix this’ is what can transform our cities – this leap has to be made in the mind!” (Chapter 6)	“There is a specific purpose to making Amir (the garbage truck driver) talk. X and V are looking for cues on what really troubles him, what improvement in his daily working life he will really appreciate. Too often, well-meaning urban middle-class do-gooders think they know what the working class needs (gloves, better equipment and so on) and they get it so wrong. Listening without being judgmental is an art, and X and V are good at that. (Chapter 8)

You can read more about TUI’s story here.

“Human lives become more readable and intelligible when they are applied to narrative modes borrowed from history and fiction; and in function of stories people tell about themselves.”

Ricoeur, 1991

The set of traits chosen by The Ugly Indian is important. Their initiative is intentionally gentrified as they want it to resonate specifically with the middle class (as they are "people like them"). But at the same time, they integrate a reflexive understanding of their role as citizens by mentioning the need for a personal awakening ("this leap has to be made in the mind!") and further interaction with stakeholders outside of their network ("making the truck driver talk"), that will enable the common middle class citizen transition into the level of 'street and citizenship authority' TUI is at. On top of this, their clean drives back up this discourse, and while their identity remains incognito, the work is widely shared on social media every week -drawing a coherent narrative between their speech and their actions.

c) Interaction with audience: Finally, once the storyteller has created a coherent identity, its sense of purpose must also be evident for the audience. The possibilities for this are endless, but I would like to draw attention to the super-hero narrative chosen by both Blank Noise and The Ugly Indian. Both groups are seeking an internal awakening in their volunteers by juxtaposing their experiences with what a 'hero' would do in the same situation.

Bangalore Hero video on The Ugly Indian:

“Our message to all Bangalore citizens is simple. Go out and be a hero on your own street.
Take charge of it. Don’t be helpless. You have the power. You just need to go and use it”

Blank Noise's Action Hero game:

The Action Hero Game is built on a series of personal challenges in the city.
The game is simple. Your game partner and opponent is you.
There is no one method or quick solution to be an Action Hero. 
Each potential Action Hero goes to a new area in his / her city. On arriving there potential Action Heroes receive 'challenges' via phone messages 
Action Heroes across locations receive a set of 6 tasks over 4 hours via sms
If you don't wish to do a task (eg task 1a) text us and we will send you another task (eg task 1B) 
Are you an Action Hero? 
Find out! Play this game!

Blank Noise Action Hero
http://bit.ly/1fld8cV

“Share your Action Hero experience: An Action Hero sets new rules for behaviour. She could experience fear and threat, but devises ways to confront it. Being fearless is a process. Every person is a unique Action Hero.Tell us how you said NO to sexual violence. [...] This blog set out to record testimonials of when and how you became an Action Hero; documents and shares the memory of when you surprised yourself, did the unexpected. [...] You are an Action Hero not by the magnitude of what you did but how it made you feel. You are an Action Hero by the way you define your own Action Heroism. We don't have a reference for you.]

They both advance ideals of courage, fearlessness and responsibility in the public space through their campaigns. These are not only desirable traits by any citizen -let alone marginalized or silenced voices in the case of Blank Noise- but the strategy also speaks to a language of hope and empowerment we can relate to at a human level. It sheds light on our fears, our limits and the extent to which we are willing to use our power to act.[3] Mediating this message with digital technologies also creates the illusion of an omniscient narrator who is drawing the volunteers' path to heroism and guiding their journey through it. As Ricoeur puts it: "there is no self-understanding that is not mediated by signs, symbols and texts; and self-understanding will coincide with the interpretation given to these mediating terms" (1995) It is ultimately the interpretation the volunteers give to this ideal, and the magnitude to which they identify with it, what will determine their eagerness to emulate it and translate it into action. As said in the last post, one of the faculties of good storytelling is turning the experience being told, into the experience of those who are listening (Benjamin, 1955).

Before moving on to how 'action' unfolds in the performance, it is worth reflecting on the role of narratives, identities and mediation in collective action. Why do we need the hero narrative to mobilize agents? Why is heroic citizenship the gold standard and why does it work as a method for engagement? The topic is unfortunately out of the scope of this post, but the next one will attempt to address how identities as these ones can mediate our agency and action in the public space.

******

Access Part 2 here to look at the role of actors and the stage in performances to explore the role of agency and the public space in storytelling. We will also draw some final conclusions relating this back to the Making Change project.

Footnotes:

[1] Refer to Nishant Shah's Whose Change is it Anyway?. He argues that global audiences engage with local causes that embody "spectacles of the rise of the citizen". This is problematic as the more significant -less visible/undocumented- acts remain unnoticed, while they may be central to understand what it means to make change in a networked and information society. He posits we need to move beyond this 'spectacle imperative',recognize the context of these revolutions and re-evaluate how we conceptualize 'action'.

[2] Novelty: Quick exercise: run a quick google search of the words: ‘storytelling + social change’. You will find stories by influential magazines and publications, including Forbes, the Huffington Post and Open Democracy, all from 2013-2014. ‘Storytelling’ seems to be the newly (re)discovered tactic to advance business and social impact objectives, noticed by activists and corporates alike.

[3] For more on our power as agents and the role of narrative and identity, refer to Paul Ricoeur's work on the selves and agents (Oneself as another) and narratives (Time and Narrative). "As the most faithful articulations of human time, narratives present the moments when agents, who are aware of their power to act, actually do so, and patients, those who are subject to being affected by actions, actually are affected." Resources here: http://stanford.io/1c0pUwQ

Sources:

Benjamin, Walter. (1977): "The storyteller."89.

Gauntlett, David (2002), Media, Gender and Identity: An Introduction, Routledge, London and New York.

Giddens, Anthony. "Modernity and self-identity: self and identity in the late modern age." Cambridge: Polity (1991).

Holland, Lachicotte, Skinner & Cain, (1998). Identity and agency in cultural worlds. Cambridge, MA: Harvard University Press.

Hull, Glynda A., and M. Katz. (2006) "Crafting an agentive self: Case studies of digital storytelling." Research in the Teaching of English 41, no. 1: 43.

McCloud, Scott. (1993)."Understanding comics: The invisible art." Northampton, Mass

Miller, P. (1994). Narrative practices: Their role in socialization and self-construction. In Neisser & Fivush (eds.), The remembering self: Construction and agency in self narrative (pp. 158-179). Cambridge: Cambridge University Press.

Miller, P. & Goodnow, J. J. (1995). Cultural practices: Toward an integration of culture and development. New Directions for Child Development, No. 67 (pp. 5-16). San Francisco, CA: Jossey-Bass Publishers.

Ochs, E., & Capps, L. (1996). Narrating the self. Annual Review of Anthropology, 25, 19-43.

Ricoeur, Paul (1991). "Narrative identity." Philosophy today 35, no. 1 : 73-81.

Ricoeur, Paul. (1995) Oneself as another. University of Chicago Press,

Urciuoli, B. (1995). The indexical structure of visibility. In B. Farnell (ed.), Human action signs in cultural context: The visible and the invisible in movement and dance (pp. 189-215). Metuchen, NJ & London: The Scarecrow Press, Inc.

Vivienne, Sonja (2011). "Trans Digital Storytelling: Everyday Activism, Mutable Identity and the Problem of Visibility” Gay & Lesbian Issues & Psychology Review 7, no. 1.

For more details visit http://editors.cis-india.org/digital-natives/making-change/storytelling-performance

Nishant Shah: “We will develop new textual and visual practices to facilitate the transfer of knowledge worldwide”

praskrishna — 2014-03-06T12:05:45Z

Today we are starting with a new format for the blog of the Hybrid Publishing Lab. There will be an interview series with our International Tandem Partners giving an insight on their current work, interest and cooperation with HP.

Read Dr. Shah's interview by Julia Rehfeldt published on the website of Hybrid Publishing Lab

First up is our Tandem Partner Dr. Nishant Shah, Research Associate at Common Media Lab and Hybrid Publishing Lab. He is the co-founder and Director-Research at the Centre for Internet and Society in Bangalore, India.

Julia Rehfeldt: Dr. Shah, can you introduce yourself briefly und tell us what you are currently concerned with in your research?

Dr. Nishant Shah: This is a question that has always flummoxed me. I have spent all of the last decade trying to figure out how to explain what I do and what my research concerns are and I never have one straightforward answer to give.

The easiest way to answer this would be to say that I wear many hats. I am deeply interested in looking at how the digital shift is changing the way in which we see the world around us. And so my work spans several sectors, disciplines and intersections, trying to look at the mechanics and logics, logistics and structures of the world that we live in.

At the Hybrid Publishing Lab, as an International Tandem Partner, I look at the knowledge infrastructures of the digital times. I learn from the research and practice of my colleagues to explore the future of academic publishing, and I try to critically think through questions of Intellectual Property, Open Access movements, and concerns of Digital Humanities in the global knowledge circuits. Apart from that, I like to translate my research and knowledge for different stakeholders, to work with practitioners, policy makers, artists, technologists, hackers, legal scholars and development actors at the intersection of Internet and Society. As the Director – Research at the Centre for Internet and Society, Bangalore, I have been trying to develop South-based global networks that examine the conditions of being human, being social, and being political in emerging network societies. I also enjoy exploring new forms and content of pedagogy for students in and out of the classrooms, to develop new conditions of learning through and with digital media and cultures.

Rehfeldt: What was the most significant change, talk or lecture you experienced in 2013 that had an impact on the rights of open access or on your personal insights on that matter?

Dr. Shah: I think, on a very personal and a professional level, the death of Aaron Swartz and the horrific face of Intellectual Property tyrannies that surround the academic publishing which ironically focuses on questions of human liberty, values, equity and access, has had the most dramatic impact on me. Aaron Swartz committed suicide just over a year ago, and the conditions of his persecution, on the behalf of the American legal system, the intellectual property conglomerates and a globally reputed university that claims to build better futures for our digital worlds, has shocked most of us.

While playing the blame-game is redundant now – it is not going to bring back a young man who only believed in dreams of utopic sharing and commons – it is important to remind us that these battles of information and intellectual property are not for niche circles. We are increasingly living in worlds where more and more of our everyday life is being mediated, mitigated and measured in big data and quantified services.

We don’t only live in information age, but we also live through information, constantly producing data. And the technologies we use, the applications we live with, the platforms we live on, the social networks that we belong to, all take our information and data and copyright it so that we have almost no rights over it. This problem becomes only more amplified in the traditional academic knowledge industries where publicly funded research and practice gets hidden behind paywalls so that it remains in niche circles of access to those with privilege. We are reaching a stage where not only our formal knowledge but even our thoughts, desires and memories are quickly being contained in forms and formats that are no longer accessible to us.

2013 has shown that the more we lose control of our data, the more we lose battles of access to our collective knowledge, the more we concede our rights to information, which is the de facto currency of our times, the more we are going to be at the service of private and governmental conglomerates that shall control and contain the possibilities of radical transformation and change in our future.

Rehfeldt: You are currently involved in setting up a ‘Making Change’ project based on your paper ‘Whose change is it, anyway?’ published April 2013. Can you tell us what prompted your reflections in that paper, and what you seek to achieve with the project?

Dr. Shah: The ‘Making Change‘ project is an example of the multi-stakeholder, multi-disciplinary, knowledge methods and production that I am interested in. It is shaped by the framework proposed in the ‘Whose Change is it anyway?’ concept paper that proposes that in order to look at the change processes around us, we need to change the ways in which forms, formats, conditions, structures, processes, and life-cycles of knowledge practices need to be re-examined. The project aims to build conceptual frameworks by engaging different change actors in digital storytelling to understand how we analyse and examine the radical processes of change in the times to come.

Making Change is a knowledge exploration through which we seek to unpack the form, function, and practice of social and political change in emerging network societies. With this project, we will map existing traditional and innovative change practices through new knowledge methods and propose hybrid ways of building a knowledge commons that helps consolidate, curate and disseminate these new insights for change actors.

Hence, we will create a Knowledge Commons. The Knowledge Commons is a mash-up of resources, which we will set in motion through four distinct processes of getting insight into the mechanics, logistics, and catalysts of social and political change:

1. In this project, we will use new methods of collaborative knowledge production methods that bring in different knowledge stakeholders and actors to reflect upon and consolidate their existing projects.

2. We will develop new textual and visual practices to facilitate the transfer of knowledge worldwide.

3. We will work with existing knowledge communities – academia, policy, and practice – to build pedagogic resources for training knowledge visionaries about the future of change.

4. We will produce, curate and disseminate knowledge prototypes through storytelling to debate, question and re-energize discussions on important keywords and concepts in the change narratives.

The core of the Knowledge Commons will consist of new narratives and prototypes of how these narratives might help other approaches for social and political change. We shall further organize these narratives to train and help social change actors to develop better strategies of working within digital and network societies. The Knowledge Commons seeks to generate cross-fertilization between different networks of knowledge actors to generate critical insights to gain access, exchange and contribute to knowledge dialogues.

The Knowledge Commons is not just an online platform, but is built up through a combination of knowledge generating workshops (production sprints) as well as reflections, which are curated through online dialogues and critique. The production sprints invite the key change actors from our networks to incite conversations inspired by the thought piece ‘Whose Change is it Anyway?’. The conversations will be further annotated by the ‘Making Change’ white paper which offers more complex and nuanced ways of looking at the contexts, catalyst and processes of change embedded in particular movements.

Rehfeldt: There has been a lot of talk about ‘Twitter revolutions’ and ‘Blackberry riots’ – what would you say do digital technologies contribute to contemporary social movements and political action in the public sphere more generally?

Dr. Shah: I have spent some time trying to do away with the binaries and polarised responses that phrases like ‘Twitter Revolutions’ and ‘Blackberry Riots’ produce. They seem to bring pre-defined responses – they either suggest that the emergence of new digital technologies and applications, by their very presence, are producing radical change practices. They deny the historical conditions, the political contexts, the social and cultural practices of the region, and the structures of inequity and injustice that are often characteristic to particularly geographies and cultures. They refuse to understand that the digital does not merely produce things new – instead, it helps extend the existing movements of social and political change and are a part of a much larger paradigm shift. They alienate existing human endeavours of change and create false dichotomies like the old and new activisms, or traditional and digital movements.

I think it is better to understand that the digital produces ruptures and interruptions in the narrative of change; but the digital also has historical continuities which need to be better embedded in the geographical and political contexts of change. At the end of the day, we need to debunk the idea that digital activism around the globe is the same. Just because everybody uses Twitter to orchestrate people’s movements in different countries, it doesn’t mean that they are doing the same thing or in the same way. We need to do away with the homogenizing rhetoric of the digital that presumes that digital cultures are universal, and learn to look at the intersections of life that inform and are shaped by the emergence of the digital technologies.

Rehfeldt: To finish up, is there an interesting online article, or video you have read or seen lately which you could suggest to our readers?

Dr. Shah: I think one of the most interesting collections around digital and new activism last year was the anthology edited by Kees Biekart: Development and Change – Special Issue: FORUM 2013

For more details visit http://editors.cis-india.org/news/nishant-shah-we-will-develop-new-textual-and-visual-practices-to-facilitate-the-transfer-of-knowledge-worldwide

Video Games: A Case Study of a Cross-cultural Video Collaboration

Larissa Hjorth and Nishant Shah — 2014-01-31T12:02:17Z

A new book focusing on Palestinian artists’ video, edited by Bashir Makhoul and published by Palestinian Art Court- al Hoash, 2013, includes a chapter co-authored by Larissa Hjorth and Nishant Shah.

This was published in a book on Palestinian art.

The rise of mobile media is heralding new forms of networked visualities. These visualities see place, politics and images entangled in new ways: what can be called ‘emplaced visuality’. In the images disseminated globally of citizen uprising such as the Arab Spring, it was mobile phones that provided the frame and context for new forms of networked visual politics. In the growth in networked photo apps such as Instagram and Hipstamic, how, when and why we are representing a relationship between place and co-presence is changing. No longer the poorer cousin to professional cameras, camera phones have lead the rise of do-it-yourself (DIY) aesthetics flooding mainstream and subcultural media cultures. In networked visuality contexts such as YouTube and Flickr, the aesthetic of what Burgess has called ‘vernacular creativity’[1] has become all-pervasive—so much so that even mainstream media borrows the DIY style.

Now, with locative media added into the equation, these visualities are not only networked but also emplaced—that is, entangled within the temporal and spatial movements of everyday life.[2]

Emplaced visualities represent a new relationship between place (as a series of what Doreen Massey calls ‘stories so far’)[3] co-presence, subjectivity and visuality. This phenomenon is impacting upon video art. In this chapter we reflect upon how mobile media visualities are impacting upon a sense of place and displacement. With the added dimension of Big Data and location-based services (like Google Maps and Facebook Places) now becoming part of the everyday informational circuits, how a sense of place and privacy is experienced and represented is changing. This phenomenon is apparent in the Palestinian cross-cultural video project called Al Jaar Qabla al Daar (The Neighbour before the House) as we will discuss in detail later in this chapter.

With its history of displacement and disapora, Palestinine’s role in contemporary art is increasingly becoming pivotal. This is especially the case with video art as a key medium for reflecting upon representations of place and movement. When we think of Palestinan video art the first artist we think of is Mona Hatoum. Hatoum was a poineer in so many ways. In particular, she gave voice to Arab women. Her work unsetttled the poetics of the everyday by evoking a sense of displacement and entanglement. While born in Beirut of Palestinan parents and then moving to London, she never identified as Lebanese. Despite never living in Palestinian, Hatoum was like a number of Palestinian refugees in Lebanon post 1948 who were never able to gain Lebanese identity cards. Unsurprisingly, Hatoum’s experiences of exile permulate her work. In particular, exile, politics and the body have played a key role. This is epitomised in her iconic Measures of Distance (1988) whereby Hatoum superimposes images of her mother having a shower with letters by her mum written in Arabian.

However, Hatoum is not the only artist representing the oevre of Palestinian video art. Over the last two decades—with the rise of mobile media affording easy accessibility to new media tools and networked contexts like YouTube—a new breed of video artists has arisen. An example is Navigations: Palestinian Video Art, 1988 to 2011 (curated as part of the Palestine Film Festival) that explored artists working in Palestine and the diaspora over nearly a quarter of a century. Unsurprisingly, motifs of diaspora and displacement feature throughout the fifteen works by Hatoum, Taysir Batniji, Manar Zoabi, Larissa Sansour and Khaled Jarrar to name a few. In Navigations: Palestinian Video Art key themes include ‘mobility and fluidity: the virtual and the real, the past and the future, the spectacular and the quotidian, the near and the far’.

Another example of an event promoting Palestinian video art is the /si:n/ Festival of Video Art & Performance. Consisting of performances, video installations, lectures, talks, and workshops in various venues all over the West Bank and includes artists from all over the world. The name /si:n/ is meant to linked the words ‘scene’ with ‘seen’ and has been seen as making an innovative context for video artists to share and collaborate in public venue. With themes such as ‘poetical revolution comes before political revolution’, the /si:n/ Festival provides a context that reflects upon exile and place in one of the most contested and politucal spaces, the West Bank. Beginning in 2009, the /si:n/ Festival became the first festival of video art in Palestine.

Given this rich tapestry of video art emerging in Palestine, in this chapter we explore the relationship between emergent mobile visualities, diaspora and place through a specific project called The Neighbour before the House. A cross-cultural video collaboration between Indian artists Shaina Anand, Ashok Sukumaran and Nida Ghouse, with Palestinian and Israeli artists Mahmoud Jiddah, Shereen Brakat and Mahasen Nasser-Eldin, The Neighbour before the House is a video art project that explores quotidian practices of life in a ‘post-surveillance society’. The Neighbour before the House is set in the context of the much contested territories and the relentless re-occupation and re-appropriation of East Jerusalem. Working with cheap surveillance technologies which have become such a ubiquitous part of the landscape of East Jerusalem, the artists use a PTZ (pan-tilt-zoom) security camera to inquire into the affective dimensions of ‘mobile’ life in the time of turbulent politics. The images that they capture look at jest, memory, desire and doubt, as fragile conditions of trust and life shape the everyday experiences of the region. The camera is given to the residents of a neighbourhood torn asunder by political strife and conflicts, asking them to search for the nugget of truth or morsel of thickness in the otherwise familiar flatness of walls and closed doors, which have been completely depleted of all depth because of the increased distance in the social relations.

The images eschew the tropes of traditional documentary making by and adopting the grainy, lo-res, digital non-frame, DIY aesthetics constantly in search of an image that might become the site of meaning making, but increasingly only capturing the mundane, the inane, the opaque and the evanescent. The image leads the commentary. The live camera operator’s interest and experience shape the image, rendering the familiar or the insignificant as hugely affective and evocative. The project further initiates a dialogue between the neighbours—both from across the contested zones, but also from across picket fences and walls of surveillance—by introducing the images to them, by inviting them to capture the images, and instil in them, the narratives of hope, despair, nostalgia, memory, loss, love, and longing.

The Neighbour before the House reflects upon the relationship between between art, technologies of visual reproduction and political strife. Moving away from the documentary style that has been popular in capturing the ‘real’, The Neighbour before the House refigures the temporality and spatiality through new affective and metaphorical tropes, playing with the tension between the presence of surveillance technologies and the familiarity of these images that breeds new conditions of life and living, trust and belonging, safety and threat, for people in Palestine. In the process, it introduces key questions to the role of the artist, the function of art, the form of video art practice, and the new negotiations that digital video apparatus introduce to the art worlds, beyond the now main-stream ideas of morphing, digitization, remixing etc.

Moreover, The Neighbour before the House reflects upon a shift away from the dominant network society paradigm and towards more contingent and ambivalent mirconarratives of camera phone practices. It toys with the DIY ‘banality’ aesthetics of camera phones in order to consider the ways in which place is overlaid with different types of information—electronic, geographic, psychological and metaphoric. On the one hand, The Neighbour before the House evokes network society metaphors. On the other hand, it suggests a move away from this paradigm and towards a politics of both ‘emplaced’ and displaced visuality. In order to discuss this transformation of the relationship between image, place and information from network society metaphors towards ‘emplaced’ visualities we firstly describe The Neighbour before the House before then reflecting upon a few key themes the project explores: that is, the movement of the networked society to emplaced visualities and the rise of the politics of the phoneur.

The Neighbour before the House 2012): A case study

As aforementioned, The Neighbor before the House is a collaborative video project between Indian, Israeli and Palestenian artists that appropriates, critically responds and insightfully rearranges the notion of art, politics and digital video technologies in its exploration of everyday practices of life in critical times in a networked post-surveillance society. The Neighbor before the House equips eight Palestenian families from East Jerusalem to be in control of PTZ (Pan Tilt Zoom) surveillance cameras mounted at strategic locations in the city, to observe the live feed on their TV sets, recording their reactions and live commentaries at what they see. Here the Big Brother, and its contemporary Big Data, is inverted through everyday citizens being given the omnipresent eye. It plays on the idea of the neighbour being both a friendly eye and when this watching shifts from being benevolent to malevolent.

As the artists write, ‘this footage shot with a security camera, takes us beyond the instrumental aspects of surveillance imaging, introducing us to the architecture of a deliberate and accelerated occupation of a city.’ Here the city is rendered into a cartography of informational circuits. Exploiting the conditions of networked spectacle, the project attempts to remap the real and the everyday through ‘inquisitiveness, jest, memory, fear, desire and doubt’. They use the surveillance cameras—symbols of suspicion and fear—to catalyse stories from Palestenians in different neighbourhoods about what can be seen: ‘messianic archeological digs; Israeli settlement activities; takeovers of Palestenian properties; the Old City, the Wall and the West Bank,’ among other mundane and marvellous details of living life in those precarious conditions.

Through the inversion of the politics of survellience from the Big Brother to the ubiquitous neighbour, The Neighbor before the House provides a rich, evocative and non-representational history of living in East Jerusalem. The networked media spectacles which have come to stand-in for the complex geo-political struggles of the region are displaced. As the low-res cameras reduce the deep geography into an alien flatness on the TV screens, as the camera captures glimpses of what could have been, records traces of blurred movements which require discussions and debates about their possible meaning, and engages the families to communicate their hopes, fears, desires and doubts, the art project also signals us to the new forms, functions and role of video art. Rather than the media event or spectacle,
The Neighbor before the House provides the micronarrative gestures of the everyday. The ways in which the place is a tapestery of subjectivities and experiences, not just a media spectacle.

As artist Shaina Anand mentions in an interview with Shah, this is a new kind of storytelling, where,

… a lot of the practice actually removes the filmmaker, the director, the auteur, and also therefore the cameraman, and also the lens... and offers these possibilities and privileges— of this look and gaze and all—to the subjects themselves[4]

And as the lens makes itself invisible, it also gives new importance to the apparatus of surveillance, seeing and its incorporation in our lives. As Florian Schenider mentions in the introduction to the project, the house upon which the camera is mounted, itself becomes a tripod made of stones. Instead of thinking of the video apparatus as out there, the private conditions of the home, the histories of the family, their relationships with neighbours and communities that they have lost, and strangers that they have inherited, all become the defining circumstances of this new crisis.

Borrowing from a Quranic saying, Al Jaar Qabla Al Daar, which is close to the idea of ‘loving they neighbour’ it explores how the presence of new digital video technologies establishes difference, distance, alienation, proximity, curiosity and surveillance which is not merely a function of governmental structures but also a condition of gamification and everyday engagement for the families in East Jerusalem. For the artists, this also takes up another connotation of ‘checking out your neighbour before you buy the house’ suggesting establishing bounded similarities to seek comfort. The edited footage of the video shows how and when the users got in control of the keyboard and a joy-stick, panning, tilting and zooming the camera, watching the live feeds on their Television sets as they speak live over the footage. These commentaries are personal as they are affective. Sometimes the commentary leads the person to probe the image, deeper, trying to find a meaning that can no longer be supported by the hyper-pixelated image on their screen, but becoming a site through which memories and interpretations

get generated. What begins as a playful probe soon takes up sinister shades, as some generate narratives of loss and death. Others take the opportunity to spy on the new settlers who have sometimes taken over their older houses, wondering what changes they are making to what was their own. There is a sense of rawness and urgency, as they look back, with fear, and anger, but also with resignation at the houses that they were evicted from, and the semblance of life that they can spot from their remote presence.

The final 5 cuts that the artist produce, give us a deep and evocative insight into geography, temporality, and the ways in which we can re-appropriate the network spectacle to look at things that are often forgotten, dropped out of, or rendered invisible in the neat and clean lines of network models and diagrams. The ‘footage’ quality of the probes, the long dwellings on insignificant images, and the panoptican nature of video as witness, video as spy, and video as affective engagement with territories and times that are lost, all give a new idea of what the future of video art would be like. Instead of looking at a tired old Foucauldian critique of surveillance, The Neighbor before the House posits the question of ‘Who watches the watchman?’ in ways that are both startling and assuring.

Visualising the Politics of the Network

One of the key themes of The Neighbour before the House is the changing role of the network society—especially in an age of Big Data and locative-based services (LBS)—whereby privacy and surveillance come to the forefront. The network society has often been cited as one of the defining frameworks of our heavily mediated times. From theorists such as Barry Wellman and Manuel Castells, the network metaphor has burgeoned in parallel with the all-pervasive rise of Information and Communication Technologies (ICTs) globally. According to Lee Raine and Wellman in Networked, the ‘new social operating systems of networked individualism liberates us from the restrictions of tightly knit groups.’[5]

Raine and Wellman argue that there has been a ‘triple revolution’: the rise of social networking, the capacity of the internet to empower individuals, and the always-on connectivity of mobile devices’.[6]

The ability of networks to explain a range of human personal and social relationships has afforded it great explanatory power, where everything (and hence, by association, everybody) can be understood and explained by the indexicalities and visual cartographies that networks produce. The network is simultaneously, and without any sense of irony, committed to both, examining sketchiness and producing clarity of any phenomena or relationality. The network presumes an externality which can be rich, chaotic and complex and proposes tools and models through which that diverse and discrete reality can be rendered intelligible by producing visualisations.

These visualisations are artefacts—in as much as all mapping exercises produce artefacts—and operate under the presumption of a benignity devoid of political interventions or intentions. The visualisations are non-representational, in terms that they do not seek to reproduce reality but actually understand it, and thereby shaping the lenses and tools to unravel the real nature of the Real. In this function, the network visualisations are akin to art, attaining symbolic value and attempting to decode a depth that the network itself defies and disowns, simulating conditions of knowing and exploring, emerging as surrogate structures that stand in for the real. Thus the rich set of actions, emotions, impulses, traces, inspirations, catalysts, memories, etc. get reified as transactions which can be sorted in indices, arranged in databases, and presented as an abstract, symbolic and hyper-visual reality which can now be consumed, accessed and archived within the network, thus obfuscating the reality that it was premised upon.

This phenomenon is what Shah calls the spectacle imperative of the network. Especially with the proliferation of ubiquitous image and video recording digital devices, this ability to create subjective, multiple, fractured spectacles that feed into the network’s own understanding of itself (rather than an engagement with a reality outside) has become the dominant aesthetic that travels from Reality TV programming to user generated content production on video distribution channels on the internet. This networked spectacle, without a single auteur or a concentrated intention—so the videos from the Arab Spring on YouTube, for example, range from small babies in prams to women forming barricades against a marching army, and from people giving out free food and water to acts of vandalism and petty thefts—has become the new aesthetic of video interaction, consumption and circulation. It invites an engagement, divesting our energies and attentions from the physical and the political, to the aesthetic and the discursive. Which is to say that when we consume these spectacles (or indeed, produce them, not necessarily only through the images but also through texts), we produce a parallel universe that demands that we understand the world ‘out there’ through these cultural artefacts which require an immense amount of decoding and meaning making. The network, in its turn, offers us better and more exhaustive tools of mining and sifting through this information, sorting and arranging it, curating and managing it, so that we build more efficient networks without essentially contributing to the on-the-ground action.

This peculiar self-sustaining selfish nature of the network, to become the only reality, under the guise of attempting to explain reality, is perhaps the most evident in times and geographies of crises. Where (and when) the conditions of politics, circumstances of everyday survival, and the algebra of quotidian life becomes too precarious, too wearisome, too unimaginable to cope with, the network spectacle appears as both the tool for governance as well as the site of protest. Hence, the same technologies are often used by people on different sides of the crises, to form negotiations and get a sense of control, on a reality that is quickly eluding their lived experiences. Surveillance cameras storing an incredible amount of visual data, forming banal narratives of the everyday, appear in critical times and geographies as symbols of control and containment, by authorities that seek to establish their sovereignty over unpredictable zones of public life and dwelling. The gaze of the authority is often criss-crossed by the cell-phone, the webcam, the tiny recording devices of everyday life that people on the streets and in their houses use, to record the nothingness of the crisis, the assurance of normalcy and the need to look over the shoulder and beyond the house, to know that whether or not god is in the heavens, all is well with the world.

The Place of the Visual: Towards a theory of emplaced visuality

However, with the rise of mobile media and its micronarrative capacity, the politics of network, and its relationship to a sense of place changes. Far from eroding a sense of place in the growing unboundness of home, mobile technologies reinforce the significance locality.[7] Mobile media also signal a move away from earlier depictions of the network society. Through the growth in camera phone practices overlaid with location-based services, we see new forms of visuality that reflect changing relations between place and information. With the rise of technologies in an increasingly mobile—physically and technologically—place has become progressively more contested. As Rowan Wilken and Gerard Goggin note in Mobile Technologies and Place, place is one of the most contested, ambiguous and complex terms today.[8] Viewing it as unbounded and relational, Wilken and Goggin observe, ‘place can be understood as all-pervasive in the way that it informs and shapes everyday lived experience—including how it is filtered and experienced via the use of mobile technologies’.[9] As social geographer Doreen Massey notes, maps provide little understanding into the complex elusiveness of place as a collection of ‘stories-so-far’:

One way of seeing ‘places’ is as on the surface of maps… But to escape from an imagination of space as surface is to abandon also that view of place. If space is rather a simultaneity of stories-so-far, then places are collections of those stories, articulations within the wider power-geometries of space. Their character will be a product of these intersections within that wider setting, and of what is made of them… And, too, of the non-meetings-up, the disconnections and the relations not established, the exclusions. All this contributes to the specificity of place.[10]

For anthropologist Sarah Pink, place is increasingly being mapped by practices of emplacement.[11] With location based media like Google Maps and geotagging becoming progressively part of everyday media practice, how place is imagined and experienced across geographic, psychological, online and offline spaces is changing. This impacts upon the role of ethnography and its relationship to geography and place. As Anne Beaulieu notes, ethnography has moved from co-location to co-presence.[12] In this shift, we see the role of ethnography to address the complex negotiations between online and offline spaces growing.

In The Neighbour before the House, we are made to consider the changing role of visuality in how place is experienced and practiced. By deploying a surveillant and multivalent gaze, The Neighbour before the House asks us to reconsider privacy and surviellance in an age of locative media. The rise of the network society has witnessed numerous tensions and ambivalence, especially around the the relationship between agency, information and place. This is epitomised by the second generation camera phones practices whereby with the added layer of LBS—where and when images were taken—becomes automatic by default. Whereas first generation of camera phone practices noted gendered differences.[13] through LBS, these differences take on new dimensions—particularly in terms of its potential ‘stalker’ elements.[14] While notions of privacy differ subject to socio-cultural context, LBS do provide more details about users and thus allow them to be victims of stalking (Cincotta, Ashford, & Michael 2011).

The shift towards second generation camera phone images sees a movement away from networked towards emplaced visualities (Pink & Hjorth 2012; Hjorth 2013; Hjorth & Arnold 2013). On the one hand, this overlaying of the geographic with the social highlights that place has always mattered to mobile media (Ito 2002; Hjorth 2005). Far from eroding place, mobile media amplify the complexities of place as something lived and imagined, geographic and yet psychological. LBS enable mobile media users to create and convey more complex details about a locality. On the other hand, LBS create new motivations for narrating a sense of place and the role of amateur and vernacular photography.

Shifts in contemporary amateur photography highlight the changes in how place, co-presence and information is navigated, performed and represented. This issues are particularly prevalent in contested location like Palestine. Last century it was the Kodak camera that epitomized amateur photography and played an important role in normalizing notions of the family as well as ritualizing events such as holidays.[15]

As Lisa Gye notes, personal photography is central to the process of identity formation and memorialization.[16] The shift towards camera phones not only changes how we capture, store, and disseminate images but also has ‘important repercussions for how we understand who we are and how we remember the past’.[17]

Moreover, with the rise in possibilities for sharing via social media like microblogs and Twitter, camera phone photography not only magnifies UCC, but also provides filters and lenses to enhance the “professional” and “artistic” dimensions of the photographic experience.[18]

For Daniel Palmer, smartphone photography is distinctive in various ways, with one key feature being the relationship between touch and the image in what he calls an ”embodied visual intimacy” (2012: 88). With the rise of high quality camera phones, along with the growth in distribution services via social and locative media, new forms of visuality are emerging (Pink & Hjorth 2012). The added dimensions of movement and touch becoming important features of the camera phone with the emphasis on networked is shifting to “emplaced” visuality. Images as emplaced in relation to what human geographer Tim Ingold has called a “meshwork” and entanglement of lines (2008). Images themselves are part of such lines as they are inextricable from the camera and person who took them. In this sense camera phone images are not simply about what they represent (although they are also about that) but are additionally about what is behind, above, below, and to either side.

By using different smartphone photo apps, respondents tried to inscribe a sense of place with emotion. This practice is what anthropologist Sarah Pink identifies as the “multisensorality of images.” That is, they are located in “the production and consumption of images as happening in movement, and consider them as components of configurations of place” (Pink 2011: 4). Drawing on Tim Ingold’s conceptualization of place as “entanglement” (Ingold 2008), Pink notes, “Thus, the ‘event’ where photographs are produced and consumed becomes not a meeting point in a network of connections but an intensity of entangled lines in movement… a meshwork of moving things” (Pink 2011: 8).

While the surveillant eye of Big Brother now takes the form of Big Data, the emplaced nature of camera phone images can help to contribute to a changing relationship between performativity, memory and place that is user-orientated. Rather than operating to memorialize place, camera phone practices, especially through LBS networks, are creating playful performances around the movement of co-presence, place and placing (Richardson & Wilken 2012). As noted elsewhere, Pink and Hjorth argue that camera phone practices are highlighting a move away from the network society towards emplaced visualities and socialities (2012). Emplaced visuality means understanding camera phone practices and the socialities that create and emerge through them in ways corresponding with non-representational (Thrift, 2008) or ‘more-than-representational’ approaches in geography which according to Hayden Lorimer encompass:

… how life takes shape and gains expression in shared experiences, everyday routines, fleeting encounters, embodied movements, precognitive triggers, affective intensities, enduring urges, unexceptional interactions and sensuous dispositions (Lorimer, 2005: 84).

Thus we see camera phone photography as a part of the flow of everyday life, an increasingly habitual way of being that is sensed and felt (emotionally and physically). Yet, because camera phone photography involves the production and sharing of images, it also compels us to engage with the relationship between the representational and the non-representational. Emplaced visualities see images as embedded with the movements of everyday life. Tim Cresswell has suggested that we consider ‘three aspects of mobility: the fact of physical movement—getting from one place to another; the representations of movement that give it shared meaning; and, finally, the experienced and embodied practice of movement’ (Cresswell, 2010: 19). These three aspects of mobility are deeply interwoven and entangled. In camera phone photography the experience and representation of camera phone photography is enacted in the ‘flow’ of everyday life at the interface where digital and material realities come together. These emplaced visualities are often abstracted through the mechanics of Big Data mega surveillance. But as The Neighbour before the House demonstrates, the perpetual movement of emplaced visualities is in sharp contrast with the unmoving, omipresent Big Data eye.

This contrast between the moving and unmoving, micro and macro information overlaid onto place can also be reflected as part of the shift from the flâneur to the phoneur. The notion of mobility—as a technology, cultural practice, geography and metaphor—has impacted upon the ways in which twenty-first century cartographies of the urban play out. Through the trope of mobility, and immobility, rather than overcoming all difference and distance, the significance of local is reinforced. While nineteenth-century narrations of the urban were symbolised by the visual economics of the flâneur, the twenty-first century wanderer of the informational city has been rendered what Robert Luke calls the phoneur. [19] The conceptual distance, and yet continuum, between the flâneur and the phoneur is marked by the paradigmatic shift of the urban as once a geospatial image of, and for, the bourgeoisie, as opposed to the phoneur which sees the city transformed into informational circuit in which the person is just a mere node with little agency. Beyond dystopian narrations about the role of technology in maintaining a sense of intimacy, community and place, we can find various ways in which the tenacity of the local retains control. In particular, through the tension between mobile media and Big Data, we can see how the local and the urban can be re-imagined in new ways.

The flâneur (or the wanderer of the modern city), best encapsulated by German philosopher Walter Benjamin’s discussion of Baudelaire’s painting, has been defined as an important symbol of Paris and modernity as it moved into nineteenth century urbanity. Thanks to the restructuring of one third of the small streets into boulevards by Baron Hausmann, Paris of the nineteenth century took a new sense of place and space.

Luke’s phoneur, on the other hand, is the ‘user’ as as part of the informational network flows constituting contemporary urbanity. If the flâneur epitomised modernism and the rise of nineteenth-century urban, then for Luke, the phoneur is the twenty-first-century extension of this tradition as the icon of modernity. As Luke observes, in a networked city one is connected as part of circuit of information in which identity and privacy is at the mercy of system. The picture of the urban city today painted by Luke is one in which the individuals have minimal power in the rise of corporate surveillance.

Neighbour before the House problematises Luke’s dystopian view of the phoneur. The picture painted by Neighbour before the House is much more ambivalent. However it does make the audience reflect upon the changing nature of surveillance in an age of Big Data.[20]

These tensions around the dystopian phoneur and a more embodied and emplaced version can be found running as an undercurrent in the work of Neighbour before the House.

Conclusion

In this chapter we have explored the cross-cultural video collaboration, The Neighbour before the House, to consider the changing relationship between a sense of place, information and the politics of visuality. As we have suggested, with the rise of location-based camera phone practices and Big Data we are seeing new forms of visuality that are best described as emplaced rather than networked. The notion of emplaced reflects some of the tensions around contemporary representations of mobility and movement, particularly prevalent in the often displaced and diasporic experiences of Palestine.

Filmed in Palestine,The Neighbour before the House explores the notion of place as entangled and embedded at the same time as displaced through the rise of ICTs. By providing some of the paradoxes and ambivalences surrounding contemporary media practices and its relationship between information and place, it allows for a space for reflection and contemplation about the surveillence and privacy.

[1]. Jean Burgess, Vernacular creativity and new media (Doctoral dissertation), 2007. Retrieved from http://eprints.qut.edu.au/16378/

[2]. Sarah Pink and Larissa Hjorth Emplaced Cartographies: Reconceptualising camera phone practices in an age of locative media’, Media International Australia, 145 (2012): 145-156.

[3]. Doreen Massey

[4]. Shaina Anand interviewed by Nishant Shah, December 2012.

[5]. Raine, L. and B. Wellman 2012, Networked, Cambridge, Mass, MIT Press.

[6]. Ibid.

[7]. Mizuko Ito, ‘Mobiles and the Appropriation of Place’. Receiver 8, 2002, (consulted 5 December 2012) http://academic.evergreen.edu/curricular/evs/readings/itoShort.pdf ; Hjorth, L. (2005) ‘Locating Mobility: Practices of Co-Presence and the Persistence of the Postal Metaphor in SMS/MMS Mobile Phone Customization in Melbourne’, Fibreculture Journal, 6, (consulted 10 December 2006) http://journal.fibreculture.org/issue6/issue6_hjorth.html.

[8]. Rowan Wilken and Gerard Goggin, ‘Mobilizing Place: Conceptual Currents and Controversies’, in R. Wilken and G. Goggin (Eds) Mobile Technology and Place, New York, Routledge, 2012, pp. 3-25 (5).

[9].Ibid 6.

[10]. Doreen Massey,For Space, London, Sage, 2005 (130).

[11]. Sarah Pink, Doing Sensory Ethnography, London, Sage, 2009.

[12]. Anne Beaulieu, ‘From Co-location to Co-presence: Shifts in the Use of Ethnography for the Study of Knowledge’. Social Studies of Science, 40 (3) 2010: June. 453-470.

[13]. Dong-Hoo Lee, ‘Women’s creation of camera phone culture’. Fibreculture Journal 6, 2005, URL (consulted 3 February 2006) http://www.fibreculture.org/journal/issue6/issue6_donghoo_print.html; Larissa Hjorth, ‘Snapshots of almost contact’. Continuum, 21 (2) 2007: 227-238.

[14]. Alison Gazzard, ‘Location, Location, Location: Collecting Space and Place in Mobile Media’. Convergence: The International Journal of Research into New Media Technologies, 17 (4) 2011: 405-417.

[15]. Lisa Gye, ‘Picture this: the impact of mobile camera phones on personal photographic practices,’ Continuum: Journal of Media & Cultural Studies 21(2) 2007: 279–288.

[16]. Ibid 279.

[17]. Ibid 279.

[18]. Søren Mørk Petersen,Common Banality: The Affective Character of Photo Sharing, Everyday Life and Produsage Cultures, PhD Thesis, ITU Copenhagen.

[19]. Robert Luke, ‘The Phoneur: Mobile Commerce and the Digital Pedagogies of the Wireless Web’, in P. Trifonas (ed.) Communities of Difference: Culture, Language, Technology, pp. 185-204, Palgrave, London, 2006.

[20]. Sites such as www.pleaserobme.com, that seek to raise awareness about over-sharing of personal data, highlight not only the localised nature of privacy but also that privacy is something we do rather than something we possess.

For more details visit http://editors.cis-india.org/internet-governance/blog/palestinian-video-art-larissa-hjorth-nishant-shah-video-games-a-case-study-of-cross-cultural-video-collaboration

Creative Activism - Voices of Young Change Makers in India (UDAAN)

denisse — 2015-04-14T13:21:22Z

This post is a short account of what happened at UDAAN in December 2013 — a conference that gathered 100 youth from across the country to discuss pressing environmental issues and creative strategies to tackle them. We conducted a survey to map the perspectives of these young change-makers and get a glimpse of how India's youth is now framing and going about making 'change'



CHANGE-MAKERS: Youth (India)

EVENT: UDAAN 2013 organized by 350 India: a global organization building grassroots movements across the country.

METHOD OF CHANGE: Behavioral change, solidarity networks and creative activism.

“Change or making change is to bring about a paradigm shift in the way we do certain things. To alter our general way of life as it remains now into something that is positive and ideal.”

This is one of the many responses we collected from UDAAN participants on what it means to make change in India today. So far, in previous articles, we have looked at organizations working with specific demographics and themes. On this opportunity, we are exploring the ideas behind a group conformed by individuals coming from different walks of life, who embody an array of historical, linguistic and cultural understandings of the world, yet still find an intersection at their intents for change. We addressed the core questions raised in the project's thought piece: Whose Change is it Anyway: “What is the understanding of change with which we were working? What are the kinds of changes being imagened? Whose change is it, anyway?” -to start touching base with the ideas underpinning their actions, and identify how -or whether- it introduces new ways to define this concept.

UDAAN 2013

I had the privilege of joining this inspiring group during a four day conference and got the opportunity to share with students, activists and entrepreneurs from 13 states of India (chosen from a pool of 2000 applicants) involved in social change practices across the country. Despite the diverging world views among participants, the sense of a common purpose was almost undisputed. Every attendee was committed to mitigate the detrimental impact of climate change in their cities, protect vulnerable populations and advocate for justice. However, the most interesting points of contention lied on how to translate this commitment into individual and collective action, create conditions that enable change, and encourage community participation in environmental, political and social issues.

With these questions in mind, the conference focused on providing strategies of action and the attendees explored all sorts of lobbying and political participation mechanisms through its workshops. Three main elements stood out for me. First, the cocktail of tactics provided by experienced campaigners: from direct resistance and non-violent action to story-telling and street theater; participants were inspired to experiment and re-conceptualize activism.

Space Theatre Ensemble

Educators Collective

Second, the use of gamification in the workshops, facilitated by the experiential learning group Educators Collective, was the key to introduce values of leadership, solidarity and sustainability into individual behaviour and team practices. And finally, the add of 'unconference slots' to the program empowered attendees to share their methods, initiatives and projects in an open platform. This fostered peer-to-peer learning and more importantly reinforced the net of support and the immense amount of admiration (that grew exponentially between participants) for each other's work.

Youth and Activism in India

Coming from the perspective of our research project: Making Change, it was second nature to me to question frameworks utilized around "making change". I was pleasantly surprised to find an array of perspectives and experiences floating around panels, workshops and keynote presentations. They were definitely seeking consensus, yet in a way that did not inhibit diversity of thought, intellectual curiosity and self-reflection. This sparked the idea of collecting these views and use them as a sample of the current status of youth activism in India. Particularly considering how many of the strategies taught at UDAAN, while incredibly powerful, require a set of resources (including capital, time and energy) that are not readily accessible for all aspiring activists in the country.

These thoughts are consistent with a couple of articles I referred to for context on Indian youth and activism. Starting with the IRIS Knowledge Foundation and the UN-HABITAT's report: "State of the Urban Youth, India 2012: Employment, Livelihoods, Skills". It states that in only seven years, India will become the youngest country of the world with a median age of 29 years old. This, coupled with the fact that India's youth is the largest group in the working-age population — in a country that is expected to become one of the world's next major economic powers (Ilavasaran, 2013) — has, according to Padma Prakash, led demographers and economists to consider youth as the future of the country's economic growth. Having said that, these promising prospects do not reflect that 87.2% of the unemployed of the country are youth, only 27% of Indian youth is literate and 64% is located in rural areas. These facts display a constant negotiation between precariousness and hope, and particularly the high level of dissonance between the expectations and opportunities surrounding this group. Furthermore, as put by Prakash, despite the amount of economic information we have on this group, we lack a deep understanding of the social constructs underpinning their motivations and actions. On one hand, Ilavasaran suggests precariousness is the trigger behind both their unrest and their activism. On the other, the path they end up taking will depend on how they understand making change and their role within this process.

This dilemma was quite evident at UDAAN. Youth from all over India came together to fervently speak about the grievances climate change is causing in their regions and share the stories behind their struggles. On this note, the conference represented an incubator for their ideas and frustrations. and one of its main goals was to steer all this energy towards a path of constructive positive change. Carpini on his work on civic engagement (2000) outlines three factors that lead to participation: motivation, opportunities and capabilities; and how the interplay of the three result in different patterns of change-making. Hence, what is left to answer is how will this chaotic ecosystem shape youth's ideas of creating change? And to what extent will these conditions determine their motivation, opportunities and capacities of participating in the process? The survey we sent out to participants is only a starting point to reflect on these points. It did not aim to resolve these questions, but instead gather a snapshot of how politically and socially active young citizens are locating change and framing some of the biggest challenges of its generation.

Online Survey

About 25 people participated in the survey. The survey had five questions that explored three concepts analyzed in the Making Change research project: change, civic engagement and methods of change. It was divided into three sections:

a) Definitions: Participants were asked how they understand 'change' and 'making change'.

b) Actors: Participants were asked to reflect on their role and the role of youth in the process of making change. It also touched on concepts of active citizenship and engagement.

c) Methods: This section looked at the practices and methods preferred by youth for making change. Participants were asked to think about strategies and tactics discussed at the UDAAN workshops or other initiatives of interest, and how ICT/technology affect the process.

The purpose was to collate as many ideas and perspectives around change-making from this group and hence, the questions were broad and open-ended. The participants remained anonymous and details about their age, religion, region, socio-economic status, etc., were not disclosed. The language barrier and access (and frequency of access) to social media platforms was a big limitation to obtain a larger sample but the responses still reflected interesting patterns, which were later classified and categorized using a keyword system.

The results were displayed on the info-graphics found below:

Infographic 1* reflects the different ways participants outlined change-making: definitions of 'change' and 'making change', type of change (positive, neutral or confrontational), location of change (individual, society or system) and time of change (now, future, long-term).
Infographics 2* and 3 outline the profiles of a change-maker and an active citizen.
Infographic 4 lists their preferred methods of change -in no particular order. The bottom section reflects the spectrum of opinions around the use of technology.

*The percentages reflect the portion of respondents who reflected this view and the texts are excerpts of the respondents' answers.

This presentation format was chosen for three reasons: first, to facilitate the consumption of raw data collected from the survey and make visual associations between themes. Second, to put into practice some the recommendations from the storytelling workshop to make research more accessible to the public. And third, as a somewhat self-serving experiment to measure a) the ability of a graphic designer rookie, with no previous experience (like me), to create visual aids and graphics with free online tools, and b) explore empirically some of the methods I have encountered through my research: Methods for Social Change. Hence, the following results will not be of an academic nature as previous posts, but will instead clarify some of the patterns, evident in the original responses, that may have been lost in graphic translation.

Locating Change: Definitions

"Change is any alteration from an established status-quo. Making change is creating a system that is self-sustaining and capable of surviving over a long period of time"

In spite of including both concepts on the same question, most respondents differentiated them in their answers. Approximately 50% of the sample responded 'change' was either an irreversible process or an outcome to a process, while the other 50% implicated themselves in the 'change' process, stating it means to shift and modify how we act and think. A similar spirit was reflected about 'making change'. About 29% of the participants acknowledges a break from previous practices, and 29% considers we are implicated through the adoption of a new model of action. Interestingly enough, only 5% considers making change a duty or a responsibility. This low percentage signals making change is understood as non-compulsory which does not affect active politically involved citizens but leaves the more passive and idle off the hook when it comes to acknowledging their role in the process of change.

Moving on to type of change: 38% of the respondents consider making change a neutral process that does not guarantee a positive change (as considered by 33% of the sample). It was defined as an event that merely breaks the norm or from usual practices. A possible reading of this is that a group is not mobilizing its efforts with a plausible positive alternative in mind. Instead, it seeks difference without a deeper considerations of how will it differ from the conditions it is breaking from. This fits into the 'politics of hope' paradigm brought up by Shah in the piece: This approach to change and the idiom 'making a difference' is "so infused with the joy of possibilities" that it doesn't evaluate whether the outcome will lead to further assurance or precariousness, when compared to the earlier structure. This approach limits structural, systemic and sustainable change, an issue that was also evident in the results of the time-line. 0% thinks change must be made immediately but the rest of the sample was divided into making plans for the future (19%) and a smaller number on securing a self-sustaining system (10%) to replace the former.

Infographic 1: Making Change (Generated using: easel.ly-)

Finally, on the question of where is change located, we find the first instance of a pattern that was evident throughout the survey. On this category 38% finds change must occur externally: either in society and others (19%), or through the shift from a status quo that is perpetuating inequality (19%). Yet the largest group (24%) identified that change must occur internally first. The role of the self was also very prominent in the following sections as well.

Agents of Change

After locating change, the project also intends to understand who are the main actors and stakeholders lumped into the category of 'citizen' or 'citizen action'. On this survey, these actors were dubbed 'change-makers'. Respondents were free to describe what they understood by the term and the social construct determining the model they were working towards (as aspiring change-makers themselves). The second actor we inquired about was 'active citizen'. The concept of citizenship is ambiguous terrain, yet there seems to be a connection between the identity confered by the 'citizen' status and the respondents' inner call for action.

a) The Change-Maker:

"I think that all of us can be change-makers. We need to be sure of what and why we need to change and have a vision of how the world will be after making the change"

The Change-Maker (Infographic 2) was defined by the four characteristics outlined below.

Infographic 2: The Change Maker (Generated using: easel.ly )

Each characteristic was coupled by actions that reinforce this behaviour. For example, understanding the issue (33%) comes hand-in-hand with inciting motivation through information: 'If one aspires to change, then one must first understand what is to be changed, how it is to be changed and what would replace the changed system. The primary step is to realize and acknowledge the problem, educate others and then action” (Anonymous survey respondent, 2013) Another interesting example is how the 28% that identified the individual as the source of change, also recommend self-reflection on how to create the most impact: "[My role as a change-maker is] practicing what I preach and learning to critique myself constructively and in a manner that helps me improve" (Anonymous survey respondent, 2013) This brings a different light to Carpinis categorization of 'capabilities' in social change. It is no longer about participation in an external movement but more about how the individual secures sustained change through his own consistent and coherent behaviour.

b) The Active Citizen

"An active citizen is who follows the constitution, understands and takes responsibility for himself and for influencing his family and community for the betterment of life's social, economic and environmental issues"

Self-awareness was a key point in how the active citizen was personified. It was one of most emphasized points, placing more responsibility on the role of the citizen as opposed to on the issue at hand. Attitudes such as 'realizing the problem', 'taking responsibility' and 'taking initiative' reflect that the individual is finding motivation on taking ownership of his choices and decision-making power. The individual is focusing less on antagonizing the structure and is instead elevating his identity to a fearless, noble status -the citizen is becoming the hero of its own narrative. This ego-emphasis, is also motivating the citizen to invest on increasing its own knowledge capital and attain a thorough understanding of the issues, to then heighten individual and collective awareness around them. The objective is either local -give back to its community- or normative -work towards justice and equity- but there seems to be consensus on the starting point.

Infographic 3 - The Active Citizen (Generated using: easel.ly)

Methods for Change

“By going out there and making the change! Get down and dirty. Then use those examples in the form of story, pictures, etc. and inspire others around you to first change themselves and then help change society!”

Finally, infographic 4 displays a mapping of the methods brought up by participants. Again, awareness and behavioural change were the most popular, placing information and the individual at the epicenter of change-making. The impact of the theater and story telling workshops on participants was also evident, on several mentions to the power of 'artivism'.

Infographic 4: Methods for Social Change (Generated using: easel.ly )

In regards to communication and technology, I was surprised to find that many respondents find it insufficient. They instead recognize the need for strong offline communities making sure activism online translates into the offline realm. “[online platforms] are vital in building quick connections amongst those who feel alike towards bringing change. But eventually, all struggles for change have to be offline [...] technology could be the first step that eventually leads the path to more offline and personal connections.”(Anonymous survey respondent, 2013) : Others were wary about its power and they recognize it can be used to both help and contain the activist with the same intensity: "Technology can either blind people or give them sight."(Anonymous survey respondent, 2013) These views reflect youth has moved on from the tech hype that pervades the digital activism discourse. The role of technology was not excluded from the conference's tactic package and the group perceives technology as a powerful complement, yet it still places a lot more emphasis on creating sustainable change through education, behaviour and offline interactions than through digital interventions.

Conclusion

Comments at the aftermath of the event reflected participants had undergone a collective mental shift on how to create social change. We arrived looking outwards: accustomed to pointing fingers and scouting for common enemies that personify the misdoings of inequality perpetrators. Five days at Fireflies later and after UDAAN's intervention, I can safely say we left looking inwards. We are now determined to seek information and identify the most effective ways to mainstream it and make it accessible; we are impelled to reconnect with our creative and artistic selves and put them at service of communication; we are encouraged to share our personal stories and have them inspire solidarity and movement in our communities, and above all, we will continue to pursue the level of behaviour-action consistency that legitimizes our efforts at making change. The conference turned out to be a very organic experience and it provided all of us with a space to connect with ourselves and one another in a time of growing loneliness and isolation in the digital age.

Furthermore, the thoughts that surfaced on the survey are important pointers to continue uncovering what drives civic engagement among youth. Seeing these activists locate change in the self was a refreshing break from the times we used to overindulge in the possibilities of technology-mediated change. It seems that the digital is already so embedded in our interactions and ecosystems that it has not only has ceased to be novel, but it is recognized as insufficent, and hence, the attention has returned back to the user and its offline communities. With this in mind, the group that attended UDAAN, as part of the demographic who represents "the promise and future of India's growth", is taking up the challenge of strengthening ideas of making change in their networks. Have them succeed, and this 'growth' will be met by a current of better informed, better armed young activists working to secure a self-sustaining system for the generations to come.

** Thanks to everyone who participated on the survey, Special mention to UDAAN organizers, Educators Collective and the wonderful UDAAN 2013 group**

Sources:

HABITAT, UN. "State of the Urban Youth, India 2012.", (2013)
Ilavarasan, P. Vigneswara. "Community work and limited online activism among India youth." International Communication Gazette 75, no. 3 (2013): 284-299.
Shah, Nishant “Whose Change is it Anyways? Hivos Knowledge Program. (April 30, 2013).

Resources:

Easel.ly: To create and share visual ideas online: www.easel.ly/‎
Info.gram: Create infographics: infogr.am
More on UDAAN: http://world.350.org/udaan/
More on Global Power Shift (350) - http://globalpowershift.org/

For more details visit http://editors.cis-india.org/digital-natives/making-change/young-voices-udaan

Internet Monitor

praskrishna — 2014-01-09T07:33:02Z

Malavika's piece on India's Identity Crisis is published in this report.

For more details visit http://editors.cis-india.org/internet-governance/blog/internet-monitor-2013.pdf

Reclaim Open Learning Symposium

praskrishna — 2013-09-30T10:44:39Z

This international convening is the culmination of the Reclaim Open Learning Innovation Challenge, committed to surfacing individuals and organizations that are transforming higher education toward connected and creative learning, open in content and access, participatory, and building on a growing range of experiments and innovations in networked learning. Nishant Shah is giving a talk at this event.

Note: The event is free and open to the public. Click to read the original published by DML Research Hub. This event is sponsored and organized by the Digital Media and Learning Research Hub, University of California Humanities Research Institute, located at UC Irvine and is co-sponsored by the MIT Media Lab and CALit2.

A Live recording of the panel discussion here.

Please feel free to follow the conversation on Twitter using the hashtag #ReclaimOpen. Certain portions of the Reclaim Open Learning Symposium will be streaming live via the DML Research Hub's YouTube Channel. Please click on the "streaming live" links below for more info. All times listed below are Pacific Time.

September 26, 2013

5:00 PM (CALit2 Auditorium + streaming live)

Welcome to Calit2 by G.P.Li and to the symposium by David Theo Goldberg

Opening Keynote Event - Conversation with John Seely Brown and Amin Saberi, moderated by Anya Kamenetz

Scientist, artist and strategist, for two decades the head of Xerox PARC, one of the country’s most innovative places, JSB is hailed as one of the premier minds bent to the work of understanding how learning evolves in a connected age. He’ll be talking with Amin Saberi, a professor of management science, computational and mathematical engineering at Stanford, and now the CEO of NovoEd, a MOOC startup offering courses from some of the world’s top business schools with the novel inclusion of small group, real-world collaborative project-based learning. Some questions we’ll take on: where are we in the MOOC hype cycle, and does it matter? What are the relative strengths and weaknesses of online and offline interaction for learning?

7:30 PM (CALit2 Atrium)

Gathering - Reclaim Open Learning Reception

We invite you to join us in celebrating the opening of the Reclaim Open Learning Symposium following the Conversation with John Seely Brown and Amin Saberi

September 27, 2013

9:00 AM - 10:00 AM (CALit2 Atrium)

Reclaim Open Learning Demos + Continental Breakfast

10:00 AM - 11:00 AM (CALit2 Auditorium + streaming live)

Reclaiming Open Learning--A Stake in the Ground

John Seely Brown, Nishant Shah, and Philipp Schmidt (Moderator)

What values are we articulating? Why does open learning matter? What is it “good for”? What are the stakes?

11:00 AM - 3:00 PM (CALit2, Room 3008)

Working Group - Reclaim Open Learning: The COURSE

Howard Rheingold

We will work all day to create a distributed multimedia open course on Reclaiming Open Learning, hacking together a syllabus, activities, assignments, competencies, and more across platforms.

11:00 AM - 12:00 PM (CALit2 Auditorium + streaming live)

Connected Learning, Digital Arts and Humanities

Susie Ferrell, Jade Ulrich, Martha Burtis, Alan Levine, Jonathan Worth, and Liz Losh (Moderator)

Why is art important in an online learning world sometimes dominated by STEM? how does the media production of learners get facilitated and managed in distributed networks and large-scale?

12:00 PM - 2:00 PM

Break for Lunch

2:00 PM - 3:00 PM (CALit2 Auditorium + streaming live)

The Warm Body Effect

Josie Fraser, Freeman Murray and Anya Kamenetz (Moderator)

Space, place, and collocation -- what do physical presence, local communities and live social interaction mean for learners connected by the web? What power relationships and hierarchies are implied/facilitated by openness?

3:00 PM - 4:00 PM (CALit2 Auditorium + streaming live)

Contexts & Outcomes

Howard Rheingold, Anya Kamenetz, and Mimi Ito (Moderator)

What are the broader social and economic contexts in which open learning is happening? How do questions of value and quality get negotiated? How do we define success?

4:00 PM - 4:30 PM (CALit2 Auditorium + streaming live)

Presentation from 'Reclaim Open Learning: The COURSE'

Howard Rheingold

The working group will present their course.

4:30 PM - 5:00 PM (CALit2 Auditorium + streaming live)

Closing Remarks

David Theo Goldberg

Winners

DigiLit Leicester www.digilitleic.com | Josie Fraser (Leicester City Council), Lucy Atkins (Leicester City Council), Richard Hall (De Montfort University)

This distributed course has a local aim: increasing the ability of local teachers in Leicester to use connected learning methods to support teaching and transform learning.

Digital Storytelling 106 (DS106) ds106.us | Jim Groom, Martha Buris, Alan Levine, University of Mary Washington, United States

Based on the principle “a domain of one’s own,” Groom’s course connects registered students and open participants in an ever-evolving online community where they submit, complete and collaborate on assignments in writing, mash-ups, design, video, audio, and other media. DS106 lives online as a livestreaming radio station, a sub-reddit, a G+ group, a Twitter feed, and more.

FemTechNet femtechnet.blogspot.com | Susanna Ferrell, Jade Ulrich Scripps College, United States

FemTechNet bills itself as the first “distributed online collaborative course.” In their beta outing, students applied feminist texts to labor, digital art, and archives, drawing connections between the dichotomies of software/hardware and feminism/masculinity. They edited Wikipedia, created sculptures and images and held dialogues with others of diverse backgrounds. The course is expanding globally.

Jaaga Study jaaga.in/study | Archana Prasad, Freeman Murray, India

Jaaga is a multidisciplinary creative hub in Bangalore, India. They are piloting informal learning programs leveraging MOOC resources with volunteer facilitators in a face to face community setting, with the goal of creating market-ready computer programmers.

Photography BA Hons and Phonar-Ed www.phonar.covmedia.co.uk | Jonathan Worth, Matt Johnston, Shaun Hides, Jonathan Shaw, Coventry University, UK; David Kernohan, JISC, UK

These free and open photography classes are available in app form and deal directly with the nature of the photographer as publisher. Classroom-based but leveraging various online communities, they are expanding to a full master’s and bachelor’s program.

For more details visit http://editors.cis-india.org/news/dml-hub-reclaim-open-learning-symposium

Communication	Government to Citizen	Citizen to government
Portal	Aadhar Kiosk	Portal for Public Grievances
Link	http://resident.uidai.net.in/	http://pgportal.gov.in/
Interface