Centre for Internet and Society

WikiConference India 2016 Submission: How to better tell your Wikimedia Community Story using Media as a Tool

subha — 2016-08-17T02:24:19Z

The Wikimedia community has constantly struggled to a) reach out to masses and tell them about their contribution, and motivate people to contribute to the Wikimedia projects. Media plays a very important role in spreading the word about Wikimedia projects and the contributor community, and at times, encouraging the audience to contribute.

A presentation was made at the WikiConference India 2016. This was one of the submissions which was accepted.

This has not been a very successful trend in the movement so far that a large number of people have engaged on Wikimedia projects because of a media shoutout. But there is no doubt about media being a great tool to engage with a large number of people. Apart from the mainstream media, social media has also been a gamechanger in mobilizing masses. The audience in both these kinds of media demand a certain kind of content and storytelling. And it is not easy to create relevant content for an audience that is hungry for new stories. Also, dealing with mainstream media has a lot to do with interpersonal skills.

This workshop would cover a few best practices from lessons learned from several media-related exercises in the recent years. Some of these exercises come with success and some with failures with some specific learning. And these important takeaways will hopefully lead a path in creating some kind open education resources (OER) for the Wikimedia community. However, none of the methodologies that are going to be discussed here are going to be ready solutions to change the awareness about the Wikimedia movement overnight. But these will certainly help the participants map their own community stories. The interactive workshop will help the participants to make some roadmap for a regular and sustained engagement on media.

Those who are keen on learning about using different media tools and take their Wikimedia stories to a wider world should consider participating this. It would be beneficial if they come prepared with a list of challenges that they are facing in media outreach.

For more details visit http://editors.cis-india.org/a2k/blogs/wikiconference-india-2016-submission-how-to-better-tell-your-wikimedia-community-story-using-media-as-a-tool

Who the Hack?

praskrishna — 2015-05-14T12:16:59Z

A hacker is not an evil spirit, instead he can outwit digital systems to bring about social change, writes Nishant Shah in this column published in the Indian Express on April 24, 2011.

One of the most sullied words that have pervaded public discourse, with the rise of the internet, is “hacker”. The word conjures up images of a silent, menacing, technology-savvy young man, who, with his almost magical control over the digital realm, manipulates systems, changes the laws, rewrites the rules and takes complete control. We hear stories about criminals hacking often enough — people who break into national security systems and retrieve sensitive information, teenagers who crash servers by spamming them with unnecessary traffic, users who commit credit fraud by phishing or breaking into bank accounts, or shutting down entire systems by erasing all the code.

Hackers v/s Crackers

As many of us know, the term hacker has a different origin and meaning than its abused application. In fact, people who perform maleficent activities using their technological prowess are called “crackers” — these are people who use their ability to interact with a system in order to make personal gains or to harass others. A hacker is a person who has extraordinary technology skills and is able to manipulate digital systems and makes them perform tasks which were not a part of their original design. Which means that a geek who can hack into a server and uses the free space to host a free website, aimed for public good, or a techie who writes a programme that can use the idle computing time of your machines to run peer-to-peer networks, or a teenager who can break the constraints of an existing software to integrate it with other programmes, are all hackers. A hacker is defined by his ability to play around with the basic elements of a system (not necessarily digital and internet-based) and perform actions, sometimes for social good, but often, for fun and to explore the digital world’s frontiers. They are not the evil spirits that we often imagine them to be.

Hackers can be suffused with a spirit of civic good and of social beneficence. Around the world, hackers have used their technology skills to make public interventions to resolve a crisis in their environments. From the now notorious Julian Assange and his WikiLeaks platform to more positive efforts like Ipaidabribe.com, a civic hackers have emerged as our new heroes. Ipaidabribe.com is a civic hacking website, which allows users to use digital storytelling as a method by which they can start discussions on corruption and what we can do to change the systems.

Many digital natives are civic hackers. Aditya Kulkarni, one of our earliest participants with the “Digital Natives with a Cause” programme, is a digital native civic hacker. Like many young people in India, Aditya, from Mumbai, found the field of electoral politics opaque. He found it difficult to understand why good people voted for bad leaders and why large sections of the society shirk their responsibility to vote, thus leading to flawed governments. He, with his friends, started VoteIndia.in, a website where they collected information from public domain sources about electoral candidates in their local constituencies, so that voters could make informed decisions. The website was an instance of civic hacktivism.

I talk about hacking because I want to draw your attention to the phenomenon that started with Anna Hazare’s anti-corruption stance and the series of public interventions that surrounded it. Hazare has emerged as a hero for many. He has been trending on Twitter, there are pages dedicated to him on Facebook, Tumblr blogs have been spreading his word, text messages have urged people to come out in support. While there is much speculation about Hazare’s politics and the media spectacle that it has created, little attention has been given to Hazare’s almost exclusively off-line campaign and the way in which social media tools have been able to capture his momentum and turn it into a series of civic hacktivist interventions.

Flashmobs with people bearing candles and chanting against corruption emerged in cities. Public consultations organised by young people saw critical engagement with questions of corruption. The interwebz have been abuzz with people expressing opinions and calling for public mobilisation. Anti-corruption convictions have found resonance with people who, otherwise, despite having access to these technologies, would not necessarily have engaged in these kinds of civic hacktivities. This, for me, is not only a sign of hope but also a moment of understanding that digital activism is not always restricted to the digital domain.

As in the case of Aditya, and that of Hazare, the germ of an idea is often offline. The processes of protest and demonstration towards social change travel across the physical and the digital world. The idea of a digital native as a civic hacktivist reminds us that the young person behind the computer, in a virtual reality, is not dissociated from the embedded contexts of everyday life. Their skills with the computer often help them make critical interventions to mobilise social change.

See the original article published by the Indian Express here

For more details visit http://editors.cis-india.org/digital-natives/blog/who-the-hack

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

The Elements of Role Playing Games

arun — 2011-08-02T05:58:06Z

This article, the first in a three part series addresses the definitions of role-playing games (RPGs) and their elements, the integration of elements from other genres facilitating to what might lead to the hybridization of genres and the relation between online and offline games as well as solo gaming with respect to the ‘Alone Together’ phenomenon.

What are RPGs?

RPGs include a broad family of games where a player assumes the role of a character who interacts with the game(s) world (often imaginary) in some manner. It is to be noted that even an empire building game, which technically belongs to another genre has mild elements of role play where the player is a ruler and certain elements of characterization that follows are noticeable in the Caesar series designed by Sierra. The in-game character from generation (character generation is prominent among most RPGs, particularly fantasy based, and this marks the beginning of a particular route or path that a player wishes to take) to growth and development along various pathways and strands in multi-pathed RPGs would be an interesting read and is duly examined in the third and final part of this series. Role-playing games examined here are not table top games or board games but simulations, which sufficiently justify the basic RPG elements as well as the incorporation of other generic elements from turn based gaming, real time strategy, and simulation.

The ideal examples used are ‘Dragon Age: Origins’ (DA: O) and ‘King Arthur: The Role-playing Wargame’ (KA).

What are some of the key elements of RPGs?

Interviews given by Chris Beleszinski from Epic Games and Ray Mayzuka from Bioware echo similar statements on the future of shooters (both first person{FP} and third person{TP} shooters), on the lifting of the pillars of RPGs, and the merging of genres, which may inevitably lead to some form of hybridization of genres. The key features among many of RPGs are (also described as the three key pillars, with the fourth pillar being a new addition/merger):

Combat/Conflict: Some of the new RPGs such as Mass Effect, DA: O and KA have options of combat centred on the choices that are made. In KA allies and enemies and such other categorizations depend on the ability of the character. All RPGs have some form of conflict which may present itself in the third person form in DA: O or in the slightly merged Real Time Strategy (RTS) form in KA.
Progression: Progression is hard to define since there are different levels of progression often simultaneously operating in RPGs. It may be based on Quest/Plot progression without which the game (most if not all) do not progress (for example, finding Dr. Young is imperative in Batman: Arkham Asylum. This quest cannot be overridden or bypassed as is possible in others with a more flexible quest progression system, such as DA: O or KA). Progression may also include character progression in terms of statistics such as health, agility, dexterity, constitution, intelligence, and mana/magic. They are the six main attributes that defer among character classes. Depending on the fantasy game there are considerable differences or overlaps in their attributes (refer the RPG terminologies listed earlier). Progression could also mean levelling in a war game where there are no identifiable characters but cities/towns or some similar collective.
Exploration: Another main feature of any RPG almost always present in a shooter (FP/TP) also reiterated by developers such as Bioware and Epic Games in their RPG shooters is Exploration! This is most notably found in Dungeon Crawlers (with non-persistent characteristics being the best example), which contributes to replayability. Exploration often contributes to the immersiveness of the game environment in conjunction with storytelling. Exploration is also linked to quest and character progression in that the game does not sufficiently progress without a minimum amount of exploration meanwhile some content/areas are always hidden and accessible only through certain quests and characters. For example - in T.O.M.E, an ASCII based game which follows Tolkien’s fictionalized world of LOTR, it is nearly impossible to locate ‘Sauron the Sorcerer’ in the dungeons of ‘Angband’ level 99 without first finding/defeating ‘The Necromancer of Dol Guldur’ in the dungeons of ‘Dol Guldur’. In the LOTR world ‘The Necromancer’ is the disguise Sauron uses to conceal his presence from Middle Earth. In fact Greg Zeschuka developer (and co-founder) from Bioware, mentions ‘developing of vast parts of content that an ordinary player might never see in an interview to Gamasutra. Almost 30 per cent of the content including sub-quests and related content are available but generally not explored by a casual gamer (the distinctions between casual gamers and hardcore gamers is problematic, but in this case suffices to say that the casual gamer would be an ordinary player who spends a few hours a week gaming compared to the hardcore gamer).
The Story (The Narrative) as the fourth pillar of RPG: Releases such as Mass Effect 2 and DA: O are by the developers own definition catering to a new RPG (shooter) and a more traditional RPG (in terms of classical role-play). The narrative is one of the elements of an RPG that has in recent releases strengthened enough to be termed as a key pillar particularly by prominent developers such as Epic Games and Bioware whose efforts are to create immersive game worlds, which respond to a player’s actions and characterizations.
Another feature important to gameplay but which do not possess such commonalities is social interaction. Although focus is given to social interaction in RPGs, there is no identification of social interaction as a relevant feature. This may manifest in two phases, one is the ‘alone together’ phenomenon and the second is the emulation of social interaction through choice (moral) in games such as DA: O.

The Playing ‘Alone Together’ Phenomenon

The ‘Alone Together’ phenomenon refers to gaming on and off MMOs in either solo play or in small manageable teams. These phenomena are noticed in MMO Games and multi-player games. ‘Alone Together’ elements are also imported into the offline gaming scene. This is not a new phenomena, rather it is something which has gained more prominence with MMO releases and offline/LAN games trying to incorporate these elements for better gameplay. DA: O has a specific in-game function where you can login and post screenshots/character profiles and achievements online through the game. This is also noticeable in newer releases of T.O.M.E (v2.35 and 3.00 alpha 19 release). Fan content and MODs were usually put up on the Games official website or fans sites, a few games incorporate these modifications as custom maps and thus incorporating fan content into the game. The incorporation of this element in DA: O suggests the merging or the blurring of lines between genres, explored in the following sections.

Unification and/or Merger of Genres

Ray Mayzuka and Chris Beleszinski echo similar sentiments. Genres are ‘almost a vestige of the past’, says Mayzuka, and Beleszinski echoes this as he says that the future of shooters is lodged with RPG. Mayzuka stretches this to predict a future, which may no longer subscribe to traditional classifications and have borrowed elements from multiple genres. The rising importance given to story and narrative technique by game developers such as Epic Games and Bioware are telling, since generically opposite developers (Epic works on shooters, while Bioware is renowned for its RPG) are working towards similar goals—goals which focus on creating games which are more realistic and require the addition of elements that traditionally remains the exclusive domain of one genre. Traditionally, Shooters and RPGs have been simulating the same experience (fighting) from two different perspectives, the former focuses on the action and combat, and the latter focuses on development and story behind warfare. The inclusion of the story in shooters enhances its immersiveness. Beleszinski states that the content is there for a purpose just like a script and as such the feedback by the in-game character contributes to the immersive environment for the player/reader. Feedback becomes one aspect of the immersive environment, one that responds and reacts to the player as and when the game is played. The player creates the game as it is played and takes part in the process of authorship of that playthrough. This element of authorship gives an amount of independence and moral choice that allows the player to create the narrative as the game progresses and this among many elements contributes to the immersiveness of the game environment (by environment I mean the game world including all its design aspects as well as the programming aspects which create this world).

The second part will review the debates around narratives and gameplay and focuses on the 'Demands of the story' and the 'Demands of the Game' derived from Greg Costikyan’s ‘Where Stories End and Games Begin’.

For more details visit http://editors.cis-india.org/raw/histories-of-the-internet/blogs/gaming-and-gold/the-elements-of-role-playing-games

Technology, Social Justice and Higher Education

praskrishna — 2015-03-30T14:54:21Z

Since the last two years, we at the Centre for Internet and Society, have been working with the Higher Education Innovation and Research Applications at the Centre for the Study of Culture and Society, on a project called Pathways to Higher Education, supported by the Ford Foundation.

The main aim of the project is to research the state of social diversity and justice in undergraduate colleges in India and encourage students to articulate the axes of discrimination and exclusion which might keep them from interacting and engaging with educational resources and systems in their college environments.

Peer-to-Peer Technologies

The entry point into these debates was digital technologies, where through an introduction to peer-to-peer technologies, digital story telling through various web based platforms, and a collaborative thought environment mediated by internet and digital technologies, we facilitated the students to identify, articulate and address questions of discrimination, change and the possibility of engaging with these critically in order to build a better learning environment for themselves (and their peers) in their own colleges.

Each workshop was designed not only to be sensitive to the specificities of the locations of the colleges, but also to accommodate for the needs, desires and aspirations of the students involved. The participants looked at their own personal, family and community histories, their everyday experiences, their affective modes of aspiration and desire, and their own circumstances which often circumscribe them, in order to come up with certain themes that they thought were relevant and crucial in their own contexts.

As a follow-up on the workshops, the students developed specific projects and activities that will help them strengthen their hypotheses by looking beyond the personal and finding ways by which they can engage with the larger communities, spreading awareness, building histories and acquiring skills to successfully bolster their classroom interaction and learning.

The following is a bird’s eye view of the key themes that have emerged in the workshops:

The Costs of Belonging

Almost unanimously, though articulating it in different ways, the students looked at different costs of belonging to a space. Sometimes it was the space of the web, sometimes of the larger educational institution, sometimes to distinct language groups which do not treat English as the lingua franca, and sometimes to communities and friend circles within the college environment.

It was particularly insightful for us to understand that granting access, providing infrastructure or equipping ‘underprivileged’ students with skills is not enough. In fact, it became apparent that there is a certain policy driven, post-Mandal affirmative action that has already bridged the infrastructural and access gap in the educational institutions. The easy availability of computers, internet access, the ubiquitous cell phone, were all indicators that for most of the students, it wasn’t a question of affording access. Even when we were dealing with economically disadvantaged students, there were a plethora of technology devices they had access to and familiarity with. Shared resources, public access to digital technologies, and institutional support towards promoting digital familiarity all played a significant role in demystifying the digital for them. In many ways, these students were digital natives if defined through access, because they had Facebook accounts and browsed Google to find everything they wanted. Their phone was an extension of their selves and they used it in creative ways to communicate and connect with their peers.

Based on this, the students are now prepared to work on documenting, exploring and raising awareness about these questions, to see what the gating factors are that disallow people with access to still feel excluded from the power of the digital.

The Need for Diversity

It is a telling sign about the state of the Internet in India that every student presumed that the only way to be really fluent with the digital web is to be fluent in English. The equation of English being synonymous with being online was both fascinating and troubling to us. Of course, a lot of it has to do with India’s own preoccupations, marked by a postcolonial subjectivity, with English as the language of modernity and privilege. But it also has to do with the fact that almost all things digital in India, lack localisation. The digital technologies and platforms remain almost exclusively in English, fostered by the fact that input devices (keyboards, for example) and display interfaces favour English as the language of computing.

Such an idea might also help in reducing the distance between those who can fluently navigate the web through its own language, and those who, through various reasons, find themselves tentative and intimidated online.

The breakthrough that the participants had, when they realised that they don’t have to be ‘proper in English’ while being online – the ability to find local language resources, fonts, translation machines, and the possibility of transliterating their local language in the Roman script was a learning lesson for us.

Peer-to-Peer (P2P) Learning

As a part of their orientation to the world of the digital, especially with the methodologies of the workshops, the students literally had an overnight epiphany where they could see the possibilities and potentials of P2P learning. The recognition that they are not merely recipients of knowledge but also bearers of experience and contexts which are rich and replete with knowledge, gave them new insights on how to approach learning and education. Through digital storytelling, the workshops demonstrated how, in our own stories and accounts of life, there are many indicators and factors which can help us engage with the realities of exclusion and injustice.

Working together in groups, not only to excavate knowledge from the outside, as it were, but also to unearth the knowledge, experience, stories, emotions that we all carry with ourselves and can serve as valuable tools to bring to the classroom, is a lesson that all the groups learned. The idea of a peer also led them to question the established hierarchies within formal education. What was particularly interesting was that they did not – as is often the case – translate P2P into DIY education. They recognised that there are certain knowledge and skill gaps that they would like experts to address and have incorporated special trainings with different experts in areas of language, communication, ethnography, interviews, film making, etc. However, the methods for these trainings are going to emphasise a more P2P structure that is different from the regular classroom learning.

What would happen if a teacher is looked at as a peer rather than a superior? How would they navigate curricula if the scope of their learning was greater than the curricula? How could they work together to learn from each other, different ways of learning and understanding? These are some of the questions that get reflected in their proposed campus activities, where they are trying to now produce knowledge about their communities, cities, families, groups and experiences, by conducting surveys, ethnographies, historical archive work, etc. The digital helps them in not only disseminating the information they are collecting but also in re-establishing their relationship with learning and knowledge.

Ideas like open space dialogues, collaborative story-telling, mobilising resources for knowledge production, creating awareness campaigns and interacting with a larger audience through the digital platforms are now a part of their proposals and promise to show some creative, innovative and interesting uses of these technologies. How the teachers would react to such an imagination of the students as peers within the formal education system, remains to be seen as we organise a faculty training workshop later in December.

These three large themes find different articulations, interpretations and executions in different locations. However, they seem to be emerging as the new forms of social exclusion that we need to take into account. It is apparent that the role of technologies – both at the level of usage and of imagination – is crucial in shaping these forms of social inequities. But the technologies can also facilitate negotiations and engagements with these concerns by providing new forms of knowledge production and pedagogy, which can help the students in developing better learning environments and processes. The Pathways to Higher Education remains committed to not only documenting these learnings but also to see how they might be upscaled and integrated into mainstream learning within higher education in India.

For more details visit http://editors.cis-india.org/digital-natives/pathways/blog/higher-education

Tech transformation: how agriculture is being redefined through digital innovation and startups

Admin — 2018-07-06T15:39:53Z

At a recent YES Bank panel and digital startup competition, it was evident that India’s digital boom was lending the Indian startup ecosystem a distinctly agri-flavour.

The blog post was published in Your Story on June 29, 2018. CIS was mentioned in the report.

The convergence of mobile networks, broadband internet, cloud platforms, IoT, AI and open data is helping transform one of the world’s oldest professions. This is of great significance as agriculture and related sectors like dairy production form the backbone of the Indian workforce. Today, tradition is merging with technology as the IT services sector is helping open up new opportunities for both seasoned and emerging entrepreneurs.

New fronts are opening up across the sector from organic farming and hydroponics to drones and agri apps. Startups are also playing a key role in transforming agriculture, which accounts for half of India’s workforce, but only about 13 percent of its GDP.

Entrepreneurship trends

An interesting trend to watch for is the rise of the number of agri-entrepreneurs, many of whom have no background in agriculture. There is more interest now in this sector compared to even five or ten years ago. Another indicator is the number of agri-tech competitions, awards and investors that are emerging. India’s demographic dividend is also attracting more youth segments to the agricultural sector, with cross-fertilisation across states, economic sectors, and scientific fields.

The challenges seem formidable, but need to be acknowledged and tackled. Thousands of farmers commit suicide each year due to debt problems, as documented by the National Crime Records Bureau (NCRB). This is a sad reality in states such as Maharashtra, Odisha, Gujarat, Uttar Pradesh, Karnataka, Punjab, Madhya Pradesh, Chhattisgarh, and others.

Many issues being tackled by startups relate to productivity and distribution, according to Sahil Kini, Vice President, Aspada Investment. There are large yield gaps in Indian farming as compared to its global counterparts, due to inadequacies in domains ranging from farm inputs and equipment to farming practices and retail connects. Multiple intermediaries, poor refrigeration during transportation, small farm sizes, and lack of fairness in financial stakeholders are other challenges.

Agri-tech startups

Today, the agri-tech sector is witnessing a number of startups in India disrupting everything from organic farming and equipment rentals to connected supply chains and cloud-based analytics. The startups in this report showcase the diversity in the sector, followed by an analysis of the broader ecosystem. Some cover pricing of produce, others include equipment marketplaces; still others cover digital workflow and smart supply chains.

Farms2Fork offers farmers water monitoring solutions that ensure better productivity by reducing water wastage. The solution includes IoT wireless soil sensors, AI support, and real-time analytics. While earlier agri-tech solutions were based on batch processing of data, Farms2Fork operates on real-time data.

Agribolo, founded in 2015, is a farming services platform spanning activities such as information dissemination, quality input procurement, market linkages, irrigation facilities and farming equipment. The franchise network, launched in Rajasthan, uses the aggregator model to connect farmers to experts, development institutions, financial services, and training institutes.

AgroWave, founded by an IIT Delhi alumna in 2017, aims to optimise agriculture supply chain using research, analytics, and technology. Demand and supply analytics connect farmers in Panipat, Sonipat, Harpur, and Rajasthan to caterers, retail shops, restaurants, and canteens.

Truce, founded by an IIT Bombay alumnus, is a B2B web and mobile platform that directly connects farmers and suppliers to wholesalers and retailers. The app is available in Hindi, English, Marathi and Gujarati, and enables tracking quotes and orders.

Farm Again has converted 2,500 acres of land into organic farms, along with tech tools to trace the product’s origin, when sold in outlets such as Reliance Retail, Big Bazaar, and More. IoT devices are used to monitor and record moisture content and soil conditions, with pipes for water and fertiliser inputs.

Crofarm, a Delhi-headquarted agri-supply chain startup founded in 2016, buys fresh produce directly from farmers and supplies them to online and offline retailers. It supplies nearly 8-10 tonnes of fruits and vegetables from its two distribution centres in Delhi NCR, and connects 100 retailers to more than 5,000 farmers.

Aibono improves farm yields by using AI on a cluster of parameters like weather and soil condition. The testing and measurement services indicate parameters such as crop stress, along with recommendations on the right fertiliser mix to be used based on the soil condition.

Gold Farm, founded in 2012, helps farmers book farm equipment such as solar-powered pumps in districts of Karnataka and Tamil Nadu. Beneficiaries have included over 25,000 farmers on ground, who tap the services of 250 booking agents and over 500 tractor owners connected via a mobile app. The equipment is also tracked with IoT devices, resulting in rich data sets for analysis and forecasting.

Earthy Tales, founded in NCR in 2016, works with farmers across 11 states to provide chemical-free fruits, vegetables, groceries, and dairy products. These include snacks, jams, preserves, and pickles, provided direct to consumers. Other services include mentoring for farmers and farm cooperatives.

ONganic Foods works with small farmers to boost their organic produce. Based on contract farming, it identifies higher-priced grains and spices and gives quality inputs to farmers to increase their yield. It connects farmers to various government schemes as well as e-commerce platforms such as Amazon and Spencer’s Retail.

Oxen Farm Solutions offers agricultural equipment on rent using a ‘Farming as a Service’ (FaaS) model. The platform connects farmers, farm equipment manufacturers, and government schemes. Access to such machinery can boost farm productivity in an affordable manner. The company operates in Punjab, Madhya Pradesh, Uttar Pradesh, Chhattisgarh, and Odisha, and connects to corporates such as PepsiCo and Yes Bank.

Farmizen is a mobile-based platform that lets users grow vegetables and fruits on mini-farms, and monitor the process of growing food on a real-time basis. Located in the outskirts of Bengaluru, users get pictures and live videos of their farm plots. The startup also provides recommendations based on real-time inputs from the field as well as pre-defined schedules for over 50 different types of crops.

Harvesting, founded by in 2016, has offices in California and Bengaluru, and offers smart farming solutions based on analytics and AI. It also uses farmer profiles to build creditworthiness profiles for financial organisations. The idea is to provide both increased farm productivity and better financial services.

SatSure uses IoT and Big Data to provide financial security to farmers, via its 15-year database of satellite images. It makes recommendations clustering techniques for farmers to get an estimate of the total agriculture production, and provides this data to agri-insurance companies as well.

Organic Thelawala enables a transparent pricing mechanism so that the consumer knows the price of the produce as well as how much of the selling price actually goes to the farmer. It is s assisting 13,000 farmers to switch to organic farming, thereby, creating a positive impact on bio-diversity, soil contamination, water, and air pollution. Further, by providing free thelas (pushcart), the team promotes micro-entrepreneurship among pushcart vendors and farmers.

Earth Food, based in Pune, provides chemical-free produce at market price. It has collaborated with Reliance Fresh and Nature Fresh. It uses a healthy mix of traditional methods and innovation to keep pollution and wastage to a minimum, thereby benefitting both consumers and the environment.

Jayalaxmi Agrotech, founded by alumni of IIMB and VEC helps farmers minimise crop loss and improve productivity via its many crop- specific mobile applications in local languages that provide timely information on agriculture and animal husbandry.

Gramophone, based in Indore, is a platform that combines both advisory and sale of inputs under a single roof. Farmers can access mentors for help with everything from crop selection to land productivity and more.

Triton Foodworks, based in Delhi, is a hydroponics startup growing fruits and vegetables. It has reportedly set up more than 2 lakh sq ft of hydroponic farms across three locations in India, and produces more than 700 tons of fruits and vegetables each year.

vDrone, based in Bengaluru, uses drones and thermal imaging to increase yield. It analyses areas of the farm that need attention, and helps the farmer cater to these needs. Parameters include soil, cropping pattern, and use of fertilisers.

Ninjacart, based in Bengaluru, enables retailers and merchants to source fruits and vegetables directly from farmers without resorting to middlemen. It connects 2,500 farmers and handles 14,000 tons of fruits and vegetables, accounting for revenue of around Rs 4 crore every month.

BigHaat, based in Bengaluru, is an online agro e-store for farmers that lets them buy seeds, crop protection nutrients and solutions, and agro instruments. Last-mile connectivity is enabled via logistics partners like India Post and Ship Rocket. The footprint spans 50,000 farmers across 20 states.

Ravgo is an agri-equipment rental marketplace based on the model of the sharing economy. It is solving the farm mechanisation problem among India farmers who cannot afford to buy the farm machinery. The target market is currently small farmers based in Punjab.

Kisanmade, launched in Moradabad, UP is an e-commerce platform set up in Moradabad to empower farmers by eliminating the intermediary between the farmer and the consumer. It also aims to increase the farmer’s income and decrease the kitchen’s expense by 10-15 percent.

FlyBird Innovations, founded in Bengaluru, uses sensors in the soil to detect moisture content and control irrigation in farms across South India. The information is used to optimise irrigation practices, improve crop yield, and save water, time, and labour. It claims 25-30 percent savings of water and improvement of crop yield by 10-15 percent.

Kamal Kisan reduces labour costs with innovative agri-equipment, with reported savings of up to 50 percent. Tools include sugarcane planters, versatile mulch layers, bed makers, vegetable handy planters, and power weeders.

farMart connects farmers who own machinery with those who need it but don’t have access to it. Large farmers put underutilised agri-machinery up for rent on the farMart platform, and are connected to farmers who need such machinery; they can then book it via app or call centre. The database includes 300 villages and 1,500 farmers.

AgroStar, a Pune-based m-commerce startup, sells agricultural inputs directly to farmers. The platform can be accessed online or giving the company’s 1800 number a missed call. Products are sourced from national and multinational brands, and include seeds and nutrients.

CropIn leverages GIS and data science to deliver a range of services apps to farmers and other players in the agri chain. It feeds real-time data and advice on practices related to a range of crops.

Other notable agri startups are NubeSol (soil fertility maps) and Sree Sai Aerotech Innovations (drones for monitoring crop health). Some industry players are also leveraging the platform model – such as Trringo, launched in 2016 by India’s largest tractor maker company, Mahindra and Mahindra. The franchisee network enables farmers to access tractors at an affordable price. Over 100,000 farmers have signed up, from West and South India.

There are also international players in the Indian agri market, such as PEAT. The German startup is working with 30,000 farmers across India to help mitigate crop damage. It identifies patterns of plant diseases, pests, or nutrient deficiencies via crop images.

Ecosystem

The broader agri startup ecosystem includes a number of think tanks, research labs, incubators and accelerators. For example, ONganic is supported by the Technology Development Board, Government of India and Ministry of Small and Medium Enterprise and incubated at the Indian Institute of Management, Kolkata.

Goa has an agri-focused incubator called Centre for Innovation and Business Acceleration (CIBA). TiE Bangalore and NUMA have held startup showcases in collaboration with Villgro, featuring agri-entrepreneurs.

At the recent YES Bank Transformation Series (YBTS) speakers and panelists included Ramanathan Ramanan, Mission Director, Atal Innovation Mission, NITI Aayog; Raju Kapoor, Head, Corporate Affairs, Dow AgroSciences India; Hemendra Mathur, Venture Partner, Bharat Innovations; Nitin Puri, Senior President, Food and Agribusiness Strategic Advisory and Research, YES Bank; and Amardeep Sibia, CEO, SatSure.

At the 2017 edition of YBTS three agri-tech winners were awarded out of 15 finalists. Winners included teams from IIM Shillong (Rs 5 lakh for a smart soil sensor proposal), IIM Bangalore (Rs 3 lakh for a solar-powered drip technology proposal), and ISB Hyderabad (Rs 2 lakh for IoT-based SIM-enabled farm data sensors).

The Government of India is also catalysing agri- entrepreneurship with programmes like the Agri-Udaan Accelerator and the Agri Grand Challenge. Government-backed funding agencies like the Credit Guarantee Fund Trust for Micro and Small Enterprises (CGTMSE) is incentivising banks to lend at highly affordable rates to startups.

Incubators in this space include Villgro, a-IDEA, ABI-ICRISAT, Startup Oasis, IIMC Innovation Park, IIT Kanpur SIIC, KIIT TBI, and CIIE, IIMA. They provide mentorship and connects to farmer cooperatives, NGOs, channel partners, and individual farmers in some cases.

Indigram Labs Foundation (ILF), supported by Department of Science and Technology via the National Science and Technology Entrepreneurship Development Board, Government of India, is a technology-based incubator founded in 2015 to promote creativity and innovation in agriculture, renewable energy, and rural healthcare industry. Its host organisation is Indian Society of Agribusiness Professionals (ISAP).

ISAP has set up more than 1,800 agri-based ventures through its Agri-Clinics and Agri-Business Centres (ACABC) programme and has around 50 agri-business experts in various verticals who help in mentoring incubates, according to Manisha Acharya, CEO, Indigram Labs Foundation.

It has graduated 18 startups, such as New Leaf Dynamic Technologies(refrigeration system powered by farm waste), Intello Labs (AI-based deep-tech solution for crop inspection and agricultural products grading), Sainhun Ventures(honey by-products), Nutrelis Agro Foods (organic groceries, beverages), and Innosapiens Agro Technologies (phenomics device for pre-detection of pests).

Indigram takes an equity of up to 5 percent in the startup. In the long run, agri incubators need support in areas like trained manpower, pilot testing costs, rural outreach, and patent advisory services, according to Acharya.

International Crops Research Institute for Semi-Arid Tropics (ICRISAT) hosted an agri-business investors camp in Hyderabad on June 12. The camp addressed three themes: agri-technology, agri-engineering and food processing.

IIM Ahmedabad’s technology business incubator, Centre for Innovation Incubation and Entrepreneurship (CIIE), has launched a food and agri-business accelerator in partnership with a-IDEA, the business incubator at Indian Council of Agricultural Research’s (ICAR) National Academy of Agricultural Research Management (NAARM). Top teams are provided seed investment of up to Rs 30 lakhs each. CIIE also has a sustainability focused fund called Infuse Ventures.

Funding

Recent reports have tracked the investment line-up for Agricx Lab (Ankur Capital, CIIE), Agrostar (IDG Ventures, Aavishkaar Venture Management), Agrowave (Daffodil Software), Airwood (StartupXseed Ventures), Arya Collateral (Aspada), Farm Taaza (Epsilon Venture Partners), Farmizen (Venture Highway), FarmLink (Pioneering Ventures, Syngenta), Gobasco (Matrix Partners India), KisanHub (Notion Capital, IQ Capital, Calibrate Management), KrishiHub (INVENT accelerator, Villgro Innovation Fund), NinjaCart (Trifecta Ventures), RML AgTech (IvyCap Ventures), Utkal Tubers (CapAleph Indian Millennium SME Fund, Zephyr Peacock India), and VillFarm (Unitus Seed Fund, Rianta Capital).

Crofarm has received funding from angels such as Rajan Anandan (MD, Google India) and Jitendra Gupta (MD, PayU India). Gold Farm raised funds from Infuse Venture and the Mahindra Group. Truce was funded by 3one4capital, Beenext, FreeCharge founders, Snapdeal founders and Anupam Mittal, CEO, People Group. CropIn, raised funds from Ankur Capital; Agrostar received investments from Aavishkar. Other active agri-focused funds include Omnivore Partners and Rural Agri Ventures; Germany development agency GIZ has also roped in international partners for further cooperation.

Among Indian states, Karnataka formalised an agri-startup fund in 2017 through K-BITS with a corpus of Rs 10 crore, with an additional Rs 8 crore planned for 21 agri-startups this year. A centre of excellence for agriculture is also planned, where startups will work with farmers.

Other government initiatives, according to Sahil Kini of Aspada Investment include Agricultural Debt Waiver and Debt Relief Scheme, 2008; and Money Lending (Regulation) Act, 2008.

Entrepreneur tips

A number of mentor panels and pitch jurors have offered guidance for agri-entrepreneurs. These include, for example, the importance of customer immersion. Here are some of the tips they have shared.

On-the-ground realities in emerging economies are shifting rapidly, and founders should have a finger on the pulse of effective trends and aspirations.
Disciplines like design thinking offer useful and actionable frameworks.
Metrics should be holistic and include activity, business, and social impacts. There should be one or two key success metrics for primary focus, and the rest should be supporting or complementary metrics. This helps founders monitor their progress and assists investors in assessing the long-term viability of the venture.
Founders should build a well-rounded team, with a mix of engineering, design, and social science backgrounds. Sometimes founders get too carried away with the technology; having a holistic mix in the core team will help contextualise the offerings, use and impact.
India’s social problems call for bold and ambitious innovators who can tackle challenges at scale. The social cost of failure is high for social enterprises (as compared to merely pivoting an app design); hence collaborative partnerships are important.
Social entrepreneurs should learn how to work with partners who are not social enterprises. They should be clear about their offerings, values, and philosophy. Partnerships are an art and a science. Partners should be picked carefully, and the relationship should evolve over time.
Founders will frequently need to pitch to funders, investors, partners, regulators, customers, and employees. The pitch should focus less on product features and more on problem resolution. Techniques like storytelling are effective here.
Founders should enumerate the range of risks involved, eg. regulatory and lack of ecosystem trust. Secondary impacts should also be assessed, since some risks are more indirect than others.

The road ahead

This is a great time to integrate different domains of knowledge and skills in agri-innovation. In addition to fresh farm produce, there are lucrative opportunities in processed products such as pickles, papads, chutneys, and murabbas. This calls for effective post-harvest management infrastructure such as storage, preservation, cold chain and refrigerated transportation.

New models such as the FaaS model can lead to more sustainable paths to profitability. The platform model can leverage data analytics to identify emerging business trends and opportunities and thus attract more venture capital, according to a report published by Bain and Company in partnership with Indian Institute of Management, Ahmedabad. Such models are also getting significant corporate backing, such as Trringo by Mahindra and Mahindra for tractor rentals and John Deere (with EM3 Agri Services) for harvester fleets.

Smartphones powered by affordable mobile broadband networks are helping improve workflow of farms and dairies. This opens the door to new pay-per-use business models and innovation stacks, connecting the farm to the fridge and fork. Banks and financial organisations also need to step up to the challenge and offer more creative models of financing for farmers, entrepreneurs, incubators, and accelerators.

Prime Minister Narendra Modi has announced a target for farmers’ incomes to be doubled by 2022, India’s 75th year of Independence. Schemes like the government’s Startup Agri India scheme, the Digi Gaon (Digital Village) initiative, and Bharat Net project can all work together towards making this a reality. Initiatives like agri-hackathons can also bring together aspiring entrepreneurs from diverse sectors.

However, there are certain challenges:
Pricing decisions should be made more transparent and less politically driven (particularly before elections), with sufficient market validity and testing. This includes setting the price of onions and sugar, and promising ‘free’ electricity for farmers.
Increased promotion and adoption of open data are other trends to watch for. An open data ecosystem can grow India’s GDP by $22 billion by 2020, according to report by YES Bank and the Ministry of Electronics and Information Technology (MeitY). India’s Open Government Data (OGD) platform can step up to this challenge.
The Centre for Internet and Society (CIS) is pushing for these initiatives to reach ordinary people and marginalised communities. Other sources of data include rural internet kiosks, community e-centres, and online agricultural systems.
Agri-tech entrepreneurs can go beyond incremental change to truly effect exponential change, and transform the agricultural sector while also giving back to society. Successful agri-preneurs in India can also take their innovations global.

The agricultural sector is now shedding its rustic persona to emerge as a trendy space to be in. Inclusive, sustainable, and scalable solutions are the way ahead.

For more details visit http://editors.cis-india.org/internet-governance/news/your-story-june-29-2018-tech-transformation-agriculture-redefined-digital-innovation-startups

Tech Anthropology Today: Collaborate, Rather than Fetishize from Afar

Geert Lovink and Ramesh Srinivasan — 2017-05-16T14:51:09Z

"That is why the 'offline' if you will is so critical to understanding the 'online'—because they do not exist in isolation and what we have constructed is an illusory binary between the two." In this interview, Geert Lovink discusses with Ramesh Srinivasan: “how can we embrace the realities of communities too-often relegated to the margins?”

Cross-posted from nettime.org.

“How can we embrace the realities of communities too-often relegated to the margins?”

In Whose Global Village? (NYUPress, 2017) UCLA scholar Ramesh Srinivasan travels the globe in order to find out much techno-autonomy there’s still left. Now that more than half of the world has moved to urban centres, the rural population is literary a minority and is kindly asked to adjust accordingly. This makes Srinivasan’s work even more urgent when he asks “what the internet, mobile phone or social media platforms may look like when considered from the perspectives of diverse cultures.”

The communities Ramesh Srinivasan visits are on the defensive, in a process of fragmentation. “There is a disconnection not just from one another,” he writes, “but also from the common threads of their history and culture. The tribes and villages experience “placelessness, fragmentation of identity, and dissolution of social bonds.” Throughout the study, which took place between 2004-2013, Srinivasan reports from the rising gap between the proposed technologies (such as videos, websites, databases) and the ‘techno-solutionism’ (as described by Morozov) that he wants to prevent. Ramesh is so honest to present this dilemma as an inner struggle of today’s anthropologist with a technology background. Computers and smart phones are an integral part of the everyday life—no matter where we go—and can no longer be presented as liberating tools. This put the ‘ICT for development’ researcher is an awkward position. Post-colonial theories have widely been read and their influence (from Fanon, Said to Spivak) is having an inevitable impact. This in turn leads to a new attitude that I would describe as ‘radical modesty’ (if not ‘vital pessimism’).

While studying the impact of the Tribal Peace system that he and others installed to connect the different Navajo tribes in San Diego County, Srinivasan realises that he has to work with rather than ignore the networks that exist. “It was neither the technology nor institutions that connected the people I had met. Instead, the very few threads of kinship I noted were related to revered individuals, regarded by most with collective respect and as a source of inspiration.” It is with and through the elders that he starts to draw up information architectures (or ‘ontologies’), listing topics, themes, and values across the native reservations. How can ‘lateral networks’ be supported in a a process of what James Carey calls ‘ritual communication’?

Needless to say this approach takes us light years away from Facebook and other social media. This is only in part a question of translating interfaces to local indigenous languages. The proposed systems require the design of its own visual metaphors, reminding us of 1990s multi-media navigation screens, meant to represent digital storytelling. This is dealt with in closed, or semi-open networks, paying respect to the different experiences of time and space. These ideas are put to the test in the last part of the book that describes the encounter with the Zuni tribe (Arizona/New Mexico), where Ramesh Srinivasan worked together with Robin Boast. It is amongst the Zuni peoples that the researchers encounter the distrust against anthropologists. “Our Zuni friends voiced feelings of misrepresentation and anger at their objectification. They explained that social scientists would visit their community, exoticize their traditions and customs, and extract what they could to benefit their own agendas rather than those of the community.”

The gained detachment aims to put the researcher “at the service of our friends and partners.” Important is no longer the one-way transfer of knowledge but the art of listening. Towards the end of his study Ramesh asks: “What would it mean to step away from top-down understandings of the internet and instead ‘splinter’ the way we think about technologies and the communities they may support?” As an activist in Egypt explained: “We do not need another NGO or a new dialogue.com to solve our problems—we just need you to listen, support our voices, an pay attention to what we we do.” Whose Global Village? adequately describes the moral and methodological crisis in the ‘ICT for Development’ field. The wide condemnation of Facebook’s neo-colonial internet.org balloon campaign to bring access (to Facebook) to hundreds of millions of rural poor in India clearly marks a paradigm shift. Access is no longer a benevolent project. It’s clear that ICT for Development as such does not contribute to a redistribution of wealth and makes global inequality only worse. So much for internet charity.

Ramesh admits: “Trained as a designer and engineer, I recognize my innate tendency to valorize my power to come up with a set of solutions for any challenge at hand. Yet every project I have described illustrates the valuable insights gained when I put aside my own agenda and bias as much as possible to open myself to experiences that could not have been predicted from afar.” This modesty sounds like a new starting point. But is it also resulting into new concepts and narratives? This might be too much to ask of a single publication (in fact, the first book publication of this author). The ‘tactical distance’, created out of respect for the communities-in-defence, results into rather sparse information about the places we visit. There are no interview fragments included in the book, and the few local leaders that we encounter do not speak to the reader in a direct manner. The chosen way to report creates a vague cloud of secrecy around the research itself. What happens when we listen but do not acknowledge the Other? Were more detailed research results published elsewhere or only accessible for donors (a common practice in NGO land)? What happens when we listen but do not acknowledge the Other? Is it too risky to give them a voice? Might their opinions and desires be too ordinary, too radical, or simply not what we want to hear? What if they do not fit our Western expectations? The Others are humans, after all, and, like us, tend not to live up to expectations. These, and more, are some of the questions we encounter once we give up on the development rhetoric.

Geert Lovink: You’ve been in a lucky, privileged position to travel so often and witness events and encounter communities in diverse places such as Cairo during the 2011 uprising, with the Zapatistas Chiapas, doing research in the land of your ancestors, South India and on reservations in the South-West of the United States. The offline encounter in-real-life seems to be constitutional for your theory. In the past scholars travelled through the library and many these days do not leave their screens while processing their ‘big data’. Digital ethnography, on the other hand, seems to require direct exchanges with the Other. This assumption pops in all chapters. Is travelling the new luxury? Or should we say that it is rather dedicated time? Once you arrive elsewhere there is suddenly another time regime.

Ramesh Srinivasan: Indeed, I think all of us as researchers and teachers are nothing if not 'lucky' or 'privileged'. And you're certainly on point to recognize that the root of my scholarship and activism locates technologies within an assemblage of other factors - peoples, places, infrastructures, and environments. Yet it is essential that I do not collaborate with (rather than ‘study of’) any community unless I am invited to do so and where our efforts are focused on initiatives that live and are owned by that group itself.

That is why the 'offline' if you will is so critical to understanding the 'online'—because they do not exist in isolation and what we have constructed is an illusory binary between the two. If we want to be of service and understand the complex relationships between technologies, politics, and cultures—as I attempt to do via the multiple case studies discussed in the book, we need to put our bodies and hearts in places rather than our distant gaze. It's critical for me to not step foot anywhere where I am not invited first, and to critically think about my role and power as I enter different environments. Indeed, the book is full of ethnographies of attempting to listen more than make, and how I eschew the 'study of' any community and instead write about what we create and work on together. My goal is to collaborate rather than study, rather than fetishize from afar.

GL: Whose Global Village? has an unusual time span of 10-14 years. First research goes back to 2003-2004. Some case study closed in 2005 while most literature dates from 2012-2013. In between, the 2008 global financial crisis occurred, the smart phone was launched and apps became mainstream. How did you deal with these constant changes? Are you proposing a ‘longue durée’ in media studies and internet criticism’? What are the benefits of this approach? How do you see ‘grassroots storytelling’ dealing with the relentless changes of platforms, interfaces and protocols? Do remote communities have a different approach to the latest fashion and the famous ‘fear of missing out’?

RS: There are some dynamics that don't change no matter what app, gadget or platform has captured the popular imagination. That is—the realities of power over how technologies are designed, owned, and politically or economically appropriated. The book starts with the simple but surprisingly ignored sociotechnical truism - People and societies shape and are shaped by technologies. Yet such a small percentage of Internet users have any power over the design process let alone any sovereignty over what occurs with their data and identities as they are refracted onto digital networks. Those issues are timeless and all the more urgent today. I focus on the political and cultural flashpoints where by users and communities can reign in their blind trust of new digital platforms and instead take power over these in relation to their local concerns and agendas.

GL: As a media activist you have a background in engineering. However, at UCLA you work inside library science (called ‘information studies’). However, you seem to relate most to the role of anthropologist, in that you deeply desire not make past mistakes in encounters with ‘the Other’. In this context you work with Mary Louise Pratt’s theory of the contact zones and apply this to the design of ‘multiple ontologies’. I never hear IT engineers talking about contact zones. How do you want to carry your insights into the tech world? After all, you live in California. Who else is going to do this? What could be a good strategy? How do you look at the Bay Area and the global geek class they still dominate in terms of its global imaginary?

RS: I see myself as a scholar who can contribute to fields that tend to remain mostly distinct in the academy—design, engineering, cultural studies, media studies are but a few. If I was ever an IT ‘geek’ that was decades ago!

To engage in the charge of the book, of locating our understandings of digital networks and systems in relation to diverse cultures and users worldwide, all of these fields are useful to invoke and bring into dialogue with one another. I'm fortunate to be in a department that supports this interdisciplinarity and indeed as you stated, coming from California and trained in engineering here, I believe it is all the more important to question the black boxes not just of Silicon Valley hardware and software platform design but to push these incredibly powerful technologies to open up to an engaged, conversational social contract with diverse publics.

GL: Over the past 10-15 years we’ve seen the closing down of the possibility space of the Web and the rise of the ‘easy to use’ template culture of social media. The technologies that you’ve proposed and built seem to move away from the consumer culture. In South India you’re spread video cameras, elsewhere you’ve developed a dedicated Tribal Peace system interface (as part of a stand-alone website) while for the Zuni communities you’ve utilized the FileMaker Pro Advanced database software. Not Facebook, Twitter, Instagram or YouTube (and no wikis either). Can you elaborate on this?

RS: It's important to not assume that naively putting content online is somehow empowering. Indeed, that which we ‘share’ (eg; sharing economy) asymmetrically builds power and value for the platform holder and all those that can monetize it. As a result, we increasingly know that corporate proprietary platforms such as Facebook or Google are hardly designed to directly support a user's sovereignty or agency. The interest, across each of the book's chapters, is to instead think about how the communities with which I collaborate can have their interests served via technologies either that we design together or appropriate/subvert in various ways. Far too often we see examples where such 'participation' actually does little to shape any cultural or political cause from the grassroots. So we think agnostically and critically about the systems, networks and infrastructures we use in relation to our collaborations.

GL: Can you tell us what you’ve been doing over the past few years? Did you continue to work in the same direction? The book indicates that your collaboration with Robin Boast and the work with the Zuni Native American Reservation seems to continue.

RS: My interests lie in that important space between understanding how technologies may aid and support grassroots political movements and diverse user communities. The Zuni collaboration, described in chapter 4, is interested in that cause in relation to the political and cultural sovereignty of a tribe that was not just historically colonized but still faces the objectification and misrepresentation of new forms of coloniality online.

The cases in the book look at both political movements as well as diverse cultures and communities. Currently, I am collaborating with activists and indigenous Zapotec and Mixtec communities in the Oaxaca Mexico region, one of the most biodiverse and culturally/linguistically diverse parts of our world. In this work, I am writing about the Rhizomatica project (invoking Deleuze/Guarttari's rhizome) where these communities are designing their own collectively-owned cell phone networks in cloud forests all around the region. This has massive political and economic effects. What we see here is a rhizome in the making, a set of networks, systems, and infrastructures shaped and produced from the grassroots, by communities and for communities, and not for the major corporations of our world that tend to on the surface exploit and monitor the activities of these people. More on this amazing project, including some videos at www.rhizomatica.org . I believe that as we start to think about this new effort, that Lisa Parks and I describe as 'network sovereignty', we can start to embark on a path I describe in detail in chapter 5 of the book, of getting back the social contract and communitarian potential of technology to serve democratic agendas located in people's politics and cultures.

I am hopeful we can start that conversation now. I attempt to continue it via my soon to be released second book, After the Internet (with Adam Fish, Polity, end 2017) which looks at examples ranging from Iceland’s Pirate Party, hacktivism, the Silk Road, the Arab Spring, and other activist movements that re-imagine new technologies in relation to grassroots power and voice.

Reference

Ramesh Srinivasan, Whose Global Village? Rethinking How Technology Shapes Our World, New York University Press, New York, 2017.

Profiles

Ramesh Srinivasan is Associate Professor of Information Studies with a courtesy appointment in Design|Media Arts. Srinivasan, who holds M.S and Doctoral degrees, from the MIT Media Laboratory and Harvard's Design School respectively, has focused his research globally on the development of information systems within the context of culturally-differentiated communities. He is interested in how an information system can function as a cultural artifact, as a repository of knowledge that is commensurable with the ontologies of a community. As a complement, he is also interested in how an information system can engage and re-question the notion of diaspora and how ethnicity and culture function across distance. This research allows one to uncover mechanisms by which indigenously-articulated forms of development can begin to occur, as relating to his current work in pastoral and tribal communities in Southern India. His research therefore involves engaging communities to serve as the designers, authors, and librarians/archivists of their own information systems. His research has spanned such bounds as Native Americans, Somali refugees, Indian villages, Aboriginal Australia, and Maori New Zealand.

Geert Lovink is a media theorist, internet critic and author of Dark Fiber (2002), Zero Comments (2007), Networks Without a Cause (2012) and Social Media Abyss (2016). Since 2004 he is researcher in the Faculty of Digital Media and Creative Industries at the Amsterdam University of Applied Sciences (HvA) where he is the founder of the Institute of Network Cultures. His centre recently organized conferences, publications and research networks such as Video Vortex (the politics and aesthetics of online video), Unlike Us (alternatives in social media), Critical Point of View (Wikipedia), Society of the Query (the culture of search), MoneyLab (internet-based revenue models in the arts) and a project on the future of art criticism. From 2004-2013 he was also associate prof. at Mediastudies (new media), University of Amsterdam. Since 2009 he is professor at the European Graduate School (Saas-Fee/Malta) where he supervises PhD students.

For more details visit http://editors.cis-india.org/raw/tech-anthropology-today-collaborate-rather-than-fetishize-from-afar

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

sneha-pp — 2016-09-16T13:21:58Z

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

Abstract

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

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

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

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

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

Speaker

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

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

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

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

Storytelling and Technology - Sartaj Anand

denisse — 2014-03-12T11:43:19Z

This post outlines the general characteristics of storytelling. The second section is an interview with Sartaj Anand, the founder of EgoMonk and BIllion Strong, who talks about storytelling as a strategy to build trust at the intersections of business and technology. This is the first of a series of installments exploring the potential of storytelling for social change.

CHANGE-MAKER: Sartaj Anand

ORGANIZATION: EgoMonk & Billion Strong

STRATEGY OF CHANGE: Leverage technology by focusing on the relationship between people and technology, and build trust by localizing and personalizing communication

METHOD OF CHANGE: Storytelling

“We all have something to say. Question is: will anyone listen?”

Understanding Comics
Scott McCloud, 1994

Today, everybody seems to be talking about ‘storytelling’. From activists to corporates; they are all jumping on this nostalgic bandwagon and embracing once again an enthralling habit of yesteryear: the ability to tell good stories. The practice has taken an identity of its own. It's distancing itself from its roots in oral tradition, and morphing into a state-of-the-art communication strategy. This is no selfless trend, though. Behind the hype, lies their thirst for (your) attention, and the belief that they do not only have a story to tell, but that it is a story that matters. In the context of “making change” particularly, when political and social crises emerge, the public space is flooded by a series of narratives and discourses as told by different actors. This explosion of stories culminates in an overload of information that could end up saturating its intended audience. This is not only undesirable, but dangerous when underneath the noise lies a message important for human dignity and survival. So, what is it about a story that will make it worthy of your attention? And how can this seemingly simple, yet complex tactic culminate in further engagement?

To explain storytelling as a method to create change, I will focus on how this practice can be utilized to enhance visibility and effectiveness of advocacy practices, as outlined in the research overview. I will start by unpacking ‘storytelling’: focusing on its purpose and functions. I will also look at the the relationship between the storyteller and the audience, and also at how storytelling redefines ‘the public space’. Although I will be putting my best effort to explain the workings behind his method, I will rely on the storytellers themselves to learn about the power of well-crafted and well-delivered stories to make change. This opportunity’s change-actors: Sartaj Anand, The Ugly Indian, Blank Noise, come from different fields and will show very different perspectives of how the narratives of change utilized in their stories, re-articulates how users/citizens/customers interact and experience content.

Telling Stories

So, what is storytelling? And what makes it so different from other forms of narration? I consulted the work of German philosophers Walter Benjamin and Hannah Arendt to unpack the nature of this practice and its ability to transmit knowledge.

“the storyteller takes what he tells from the experience and he in turn makes it the experience of those who are listening”

W. Benjamin, 1977

In Benjamin’s essay “The Storyteller” (1955) he laments the demise of storytelling: “less and less frequently do we encounter people with the ability to tell a tale properly [as if] the ability to exchange experiences [had been taken away from us]”. Having its origins in oral tradition, storytelling for the most part consists of taking experiences worth sharing and disseminating them in the community with a specific, and according to Benjamin, a useful purpose in mind. It could be a moral, a maxim or a practical advice (1977), but at the end of the day, the audience takes away a new piece of information it did not have at the beginning of the story. This lesson may be related to the past of the storyteller or one of his characters, but its value lies in how it can now be extrapolated to the audience’s future.

Ann Rippin's rendition to The Storyteller by Walter Benjamin. Visit her wordpress here.

Hannah Arendt, German-American philosopher from the early 20th century also had a lot to say about storytelling and ‘narratives’. She understood it as a framework, backed up by a strong tradition of its own, and a structure that embodies how our mind works: “the mind doesn’t simply re-create sequences of events as they occur, but it creates new sequences and integrates events into appropriate existing sequences; the mind is constantly forming narratives” (Kieslich, 2013.). This understanding of the practice goes beyond Benjamin’s proposition that we become part of the narration as it occurs. Arendt posits that our mind is already manufactured to construct sequences and connections in the same way in which we build stories -as opposed to the way we structure our essays, novels or tweets- before we tell them. Being such an embedded cognitive process, it feels familiar, comfortable and natural, which derives into a “critical appreciation” for the events of the story, and leads you to make deeper connections on how they relate to your life (Oni, 2012).

(Read more on Arendt and storytelling here: The Story of Reconciliation – Hannah Arendt Center)

However, both Benjamin and Arendt’s analysis is still very focused on the oral vs. prose question. Entering the 21st century we face the question of the role of digital technology and our highly visual culture in facilitating, amplifying or limiting the process of storytelling. On this point, I jumped to the end of the 20th century and looked at one of the many forms of storytelling: the comic. Scott McCloud’s “Understanding the Comic” (1994) takes you through the whole process of creating a coherent interplay of words and pictures that “convey information” and/or produce an “aesthetic response in the viewer”. Why are aesthetics important? , Because, according to McCloud, the inclusion of art is both the rejection and affirmation of our human condition. On one hand, art (or how we respond to it) is a rejection to our basic instincts, allowing us to express needs beyond survival and reproduction. On the other hand, it is a vehicle through which we assert our identities as individuals and pursue a “higher purpose and truth” (1994). Digital storytelling is imbued with visual stimuli: pictures, videos, graphics, that enhance the sensory experience, and as we explored in the Information Design posts (Find Part 1:Information Activism, and Part 2: Information Design) create new (and deeper) channels to approach and understand the message delivered by these stories.

Excerpts of Understanding Comics by Scott McCloud

From these three perspectives we understand the following about storytelling. It is:

A practice rooted in the tradition of sharing experiences

Participatory and interactive: the experience of the storyteller becomes the experience of the audience.

The purpose of storytelling is to pass on a message, moral guidance or practical advice to the audience, through its content.

The form or structure of narratives is determined by sequences of facts and events, which is the same way we build stories in our minds.

The experiential and familiar nature of storytelling makes it easier to engage with and relate to.

The inclusion of images, art and media produces an aesthetic response in the viewer, providing the audience an opportunity for self-expression and freedom.

Translating these characteristics to the theme of the Methods for Social Change project (how to build a sense of citizenship and civicness through technology-mediated practices. More here): storytelling (re)emerges as a promising vehicle for political change, especially when in par with the “technological possibilities” of our times (Benjamin, 1977). If we choose to entertain this thought, we find how its roots in community traditions make stories an excellent meeting point to form solidarity networks and stronger offline communities to sustain activism. The logical and sequential format of stories are interesting mediums, not only to transmit new ideas on citizenship and engagement; but make them relevant and appealing. Finally, 'the moral of the stories' are seeds for introspection and reflection, that may shape how we understand our role in society as a whole. At the end of the day though, it is storytellers who will lead this journey and meeting them is the first step to gauge how the theory of storytelling unfolds in the practice.

In the next section, we will meet some of the actors utilizing this method in different fields - and there are plenty of storytellers out there, gifted in skill and practice conveying an array of messages to an equally diverse public- but before moving on I will close with an excerpt from Lisa Disch’s essay that brings all these points together:

“[Storytelling] is more adequate than arguments to depict ambiguities of a multidimensional social reality”

In other words, it is a practice that strips narratives from all ornaments, displaying the complexities of humanity in its most intuitive and experiential form.

(Story)Tellers

Great storytellers: creators who devote their resources in controlling

this medium to convey their messages effectively”

Understanding Comics
Scott McCloud (1993)

Our first storyteller is Sartaj Anand; an India-based entrepreneur, founder of the innovation and strategy consulting firm: EgoMonk and active member of TED, Ashoka, Sandbox, Kairos Society and the Pearson Foundation networks (More about his work in his Social Good profile). His self-described “unreasonable dream” is to impact one billion people with his work and create “life-changing experiences”. He strives to do this by a) leveraging the relationship between people and technology and b) through his recently launched non-profit Billion Strong. Also, as opposed to other change-makers we’ve interviewed in the project, he comes from an engineering and business background; bringing a for-profit perspective into our melange of multi-stakeholder approaches to change.

The following interview touches on digital storytelling as one of the ways Anand is using to leverage technology. His vision highlights how you cannot disconnect people from the processes you are utilizing to impact their lives. Incorporating a more humane focus in the way we use technology, and in how we construct stories, is according to his experience, the best way to have practices resonate to and be appropriate for the public.

Sartaj Anand,

Founder of EgoMonk and Billion Strong

Tell us about your background and the intersections of your work with technology.

I started with an engineering background and my thesis was on language processing; figuring out how people talk and how that needs construction data. Fundamentally at some point, I figured out that technology is not the problem, people are; so that’s how I moved into my current focus in business: which is innovation strategic consulting. I frequently rely on technology to enable or actualize change but I don’t necessarily create it. The challenge is how we leverage the technology we have [...] and that’s where I can add the most value.

How do you leverage technology in the context of making change then?

I leverage technology in terms of using it but focusing on the ‘people’ side of it”: the relationship between people and technology. That’s the main intersection point. [...] This is what I mean when I talk about technology, innovation, social structures and change.

Ideas for Change from Sartaj Anand

Economically, business models have to replicate and service society. If businesses serve their people, they capture maximum value and gain efficiency over ten, twenty years (and this is appealing to all the capitalists in industrial businesses). However, towards the course of these years a lot of things can change and you progressively become more and more outdated. When you have this premonition, that's the point when you need to step in and cannibalize your own business model.

For example, for seven years, music labels sold cds only. Then Apple came in with iPods and digital music downloads. After milking this for 10 years, what it should have done is fortify it and start streaming music to capture maximum value, like Spotify did. [...] This is a model EgoMonk works with and we try to communicate these things to our clients. They have the power to execute it, but they have to internally feel confident with all their stakeholders, whether it is for-profits with their board; or non-profits with donors and program partners. This is a choice we need to commit to. A lot of the problem in the change process (technology enabled or otherwise) is trust building. At the end of the day you are working with people, and this is a challenge.

In order to build this trust you must be aiming for a deeper and personal communication with your clients. How are you including this in your business model?

We focus a lot on communication and that’s something we rely on increasingly; and I found it has to have a Why-What-How model -borrowing from Simon Sinek's gold circles. In that order.

Storytelling 101 from Sartaj Anand

People don’t buy the 'what' of it, without the 'why' you do it. For example, Apple is great because it works to improve your life, to inspire you, amuse you: make your life better. What they do comes second: Apple is an electronics company, an application company. Last is the how: It makes the iPhone. We apply a similar model and this is something I apply in my storytelling also. I’m a believer that every story has to have an end or a moral: something that is more hopeful and optimistic. Rely on that but decide that also, I’m not the only one around: stories are increasingly personal and local.

Given the personal and experiential nature of storytelling, I assume it is a challenge to mainstream it in your services. Tell us more about the practices you are using to implement it and how they break from more traditional communication practices in the past.

EgoMonk

EgoMonk is an Innovation and Strategic Management Consultancy (More about EgoMonk here). Particularly this means that:

a) We start with the hypothesis that we don't know everything. With that in mind, we borrow amazing frameworks from amazing institutions. For example, Holacracy; (a “purposeful organization” technology that changes how the organization is structured, how decisions are made and how power is distributed); 'How will you win' philosophy from traditional large companies,, where they equate every decision to a couple of questions like what's your winning aspiration?, where will you plan?, how will you win?, what capability systems/processes need to exist to make this a sustainable practice that outlives you? This approach gets us halfway there, [especially] working with people who haven't had access to this before.

EgoMonk's services

b) We localize it. We work with high impact entrepreneurs and turn their life goals into a four week plan. We frame it: What happens if after four weeks, you die. If these are four weeks you have to live: what really matters to you? What do you want to accomplish professionally and personally? Once you go through that exercise we say: What can continue sustainable during your life? What can you take away? We focus on timing and what you have to do. Once you put that concept of mortality into every day's existence, you start behaving differently.

c) We work with gamification. For example, we worked in a factory and completely changed the incentivization for their workers into something that is more fun. The challenge was: how do you improve the process of well-being in an industrial environment. How do we make working enjoyable for them? This model consists of short-term rewards: if you work really hard over this much time, you get 10 points and this gets you a (reward) with your family. This has never happened before.

Billion Strong

Billion Strong is a platform. We want to impact a billion people and mobilize a billion dollars every year. The concept behind it is that the future is completely decoupled from our reality. It is highly utopian and right now we are not there and my hypothesis is that we'll never get there because our perspectives and assumptions keep evolving. This non-profit aims to accelerate the future in our lifetime so we can at least enjoy some of its benefits. It focuses on six things: culture, mobility, technology, art, nutrition and divinity. Each of these will be used as levers to impact a billion people. In the case of Billion Strong, user adoption is the most frequent challenge you face in the non-profit space. I will explain this using our first two projects:

a) Project 1 - Divinity:
We want to take religion, God and spirituality as a lever to impact people. A manifestation of this is the release of an open source tool kit to convert religious institutions into co-working spaces.

Centers of religion are:

Everywhere and permanent

Well known by the community

Community centers

Safe

Non-profit and non-taxable

Underutilized 99% of the time

Disconnected from youth

Centers of religion have always been centers of education and community oriented, but within the last generation they've become prayer halls, and I think this is the wrong way of using this infrastructure. There are a couple of narratives being negotiated here (See box to the left).

In this case [the open source tool-kit] has a framework, and it is dynamic to the point where your choices in real time will influence the policies of this place and their physical manifestation. So you ask questions in a flow chart: Do you want men and women to work together or not?; Do you have the ability to buy new furniture or you want to use the existing furniture?; when you ask these questions you navigate a flow chart, depending on your choices. They will lead to a different output and when they see that, it is immediately empowering. This is storytelling, and this what will help us navigate the adoption issues. It's essentially us saying you own it; you know exactly what is good for your own community. In terms of the narrative, each copy will be different and adapted to its language. It has to be made for this community and everything has to be localized for that story you are telling. The religious and cultural narrative needs to be blended into it.

b) Project 2 - Nutrition:
Meat consumption is a huge challenge and highly unsustainable. We will use kick-start mechanics in a mobile app to trigger and enable change in food habits. We are obviously very digitally inclined right now. It's easy to capitalize on that, but instead of giving them money, we will ask them to skip a meal, go vegetarian for today or for the week and we are going to support that.

Adoption is a huge challenge, so we'll ask them: Where do you stay? They'll say: Amsterdam [for example], and it will provide them with a template. If you are vegetarian for today, for the week, or the month, this is your meal plan and all you need. Users will find meals close to them and won't have to worry about it anymore. And we will map their impact in real time through info-graphics and data visualization. They will be constructing and visualizing their own story in real time and we’ll present it through different narratives.

We are also looking at multi-stakeholderism in this project. Both EgoMonk and Billion Strong seem to be a combination of business, technology and communication strategies. Why multi-stakeholderism?

Three reasons:

a) The future is multi-domain. You will never understand the whole picture if you say: I’m only going to solve water, but what about the pipes, the roads, the environment, infrastructure, cultural issue. One domain is no longer good enough. You will never be a complete expert of the complete ecosystem.

b) Adoption models will always be a challenge and right now it’s a compromised formula. Now it's a zero-sum game. We literally need to escape that and make it future-oriented; make it 1+1 through partnerships.

c) Storytelling is also getting more mainstreamed into change management and multi-stakeholderism. At the end of it, if you tell a good enough story, you can sell and get people to believe in your projects. This inherently builds partnership models. There is something that is permission marketing: all sales in the future are relationship based and indirect sales.(E.g. Red Bull is all about the experience) That’s how we have to be when we talk about multi-stakeholderism. Everything needs to be built in.

_____________________________________________________________________________________________________________________________________

** Next installment will look at how storytelling enhances visibility and accessibility, and how it is being used by Urban Governance groups in Bangalore.**

Sources:

Arendt, Hannah (1994) Essays in Understanding Edited with an Introduction by Jerome Kohn. The literary Trust of Hannah Arendt Bluecher.p.308
Benjamin, Walter. (1977): "The storyteller."89.
Disch,Lisa Jane (1994) Hannah Arendt and the limits of Philosophy. Cornell University Press. p.172-173
Kieslich, Ingo. (2013) "Walter Benjamin, Hannah Arendt: Storytelling in and as theoretical writing." PhD diss., Vanderbilt University,
McCloud, Scott. (1994)."Understanding comics: The invisible art." Northampton, Mass
Oni, Peter (2012). "The Cognitive Power of Storytelling: Re-reading Hannah Arendt in a Postmodernist/Africanist Context."

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

Resisting Revolutions

praskrishna — 2012-05-29T10:28:17Z

Nishant Shah's peer reviewed journal article was published in Democracy, Volume 55, Issue 2.

For more details visit http://editors.cis-india.org/digital-natives/resisting-revolutions.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

Programme Associate (Communications)

gurshabad — 2020-08-09T13:51:27Z

The Centre for Internet & Society (CIS) is seeking applications for the position of Programme Associate (Communications), to support its Access to Knowledge (CIS-A2K) Programme. In keeping with efforts within the larger Wikimedia movement in encouraging an inclusive workplace and addressing issues of gender disparity This position is presently open only to applicants who identify as women.

Context of the CIS-A2K programme

As an affiliate of the Wikimedia Foundation, the nonprofit behind Wikipedia and it’s sister projects, we design and implement different initiatives with an aim to create high-quality content and bring new contributors to Wikimedia projects in Indian languages. The initiatives are premised on various themes and seek to create a multilingual repository of knowledge using Wikimedia projects as a platform. You are encouraged to carefully read through the CIS-A2K work plan before making the application. You will work cohesively with the Wikimedia community and the Wikimedia India communities to meet the specific goals of each language community in India. You will be a part of a small team of 5 to 10 members doing high visibility and high impact work. Please learn more about CIS-A2K here.

Position Summary

As Programme Associate, your job will be to support the Team’s larger goals -- growth of Indian language Wikipedias, other Wikimedia projects and the contributor communities. Your primary responsibility will be to support the Programme Associates -- that spearhead our on-ground programmatic activities -- with regular communication with the community and the outside world.

Responsibilities

Storytelling and all other forms of of communication-related responsibilities are two major focus areas of this job. You will explore conventional to new media to share the stories of the many of volunteers that make Wikipedia and Wikimedia projects such great knowledge repositories
Creating original stories of challenges and success of the Indian language Wikimedia communities, including the ones that we closely work with Being the interface between A2K team and the community and lead different kinds of communications activities
Sharing the work of the community and A2k team in a regular manner through print media, newsletters, social media, mailing list updates, blog posts etc., including timely announcement of programme activities on these platforms
Providing training on effective communications to the communities on a need basis and enabling them to independently tell their own stories in their own languages
Support with writing, review and editing of the annual work plan and reports of the programme
Interviewing Wikimedians under the ambit of the WikipediansSpeak project and beyond, and share the story of the Wikimedia community widely in the media

Required skills

Good communication skill in writing and speaking, which will be required for correspondence, blog, report etc writing
Experience of blog post, report etc writing
Prior experience of working in a collaborative community, preferably online.
Strong understanding of the internet and work of the Wikimedia movement.
Active participation as a Wikimedia volunteer would be an asset, though not a prerequisite. Demonstrated experience working in a global, multi-cultural team environment.
Must be fluent in English and at least one Indian language.
A good understanding of the cultural and knowledge universe of one Indian language will be an added advantage.
Ability to integrate with and understand the complexity of the Indian Wikimedia community.
Prior experience/ knowledge in working with social media for professional communication would be an added advantage.
Prior experience/knowledge in liasioning with conventional print/broadcast media would be an added advantage.

Characteristics of the Programme Associate

High level of commitment: The Programme Associate should believe in the values of CIS and Wikimedia projects, exude enthusiasm for the mission and can powerfully embody and communicate the mission.
Intellectual curiosity and flexibility: Must enjoy tackling difficult, ambiguous problems and able to incorporate new knowledge into how one approaches situations and generates solutions, loves learning from others while expanding intellectual horizons.
Open and transparent: Have a high level of integrity and be comfortable working in a highly transparent fashion, open to input and feedback, a proactive and candid communicator who isn't afraid to bring others in when things are off-track or when they need help and should be able to handle criticism in a mature fashion.
Community builder: It is essential that the Programme Associate sees themself as a partner to and supporter of the Wikimedians who have and will continue to be the leaders in building the Wikimedia projects. The Programme Associate must be willing and able to work with a diverse array of people, many of whom come from non-traditional backgrounds and have a fervent commitment to Wikimedia movement’s community-led nature.
Strong cultural competency: Able to navigate in a global movement and on a global team in addition to navigating the complexity of India.

Location: Candidate willing to work from CIS’s Bangalore office will be preferred. Remote working option may be considered for experienced Wikimedians

Remuneration: Compensation structure will be determined by the level of expertise, experience and current remuneration.

Do not send anymore application now. the last date is over
To apply, please send your resume to Tito Dutta (tito+comm@cis-india.org) and cover letter by 21 May 2020 (applications must be submitted with cover later before 21 May 11:59:00 IST, please ensure to apply through email only).

For more details visit http://editors.cis-india.org/jobs/programme-associate-communications

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