Centre for Internet and Society

Bharat Majhi Writings Now Available Under a Creative Commons License

subha — 2014-11-07T15:34:38Z

Before the advent of Odia Wikisource becoming live, Centre for Internet and Society's Access to Knowledge (CIS-A2K) got in touch with notable Odia author Bharat Majhi for bringing his writings on the Internet.

Dr. Sailen Routray, Director, Kalinga Institute of Social Sciences (KISS) (also an institutional partner of CIS-A2K) played a key role in initiating a dialog with Mr. Majhi. Five of his books are now available under Creative Commons Share Alike 4.0 (CC-by-SA 4.0) license:

Agadhu Duari
Saralarekhaa
Murtikaara
Mahanagara Padya
Highwayre Kuhudi

Bharat Majhi is a known name in Odia literary circle. His writings on societal structures in rural Odisha, the people, their life, aspiration and suffering have been critically acclaimed. These books also become the first Odia modern poetry books to be available under a CC-by-SA license and Mr. Majhi takes another leap of being the first Odia poet to release his literary work under CC-by-SA 4.0 license.

Video

In this video, Odia-language poet Bharat Majhi reciting a poem from his first book Agadhu Duari. He recently released 5 of his books under CC-by-SA 4.0 license by the efforts of Centre for Internet and Society's Access To Knowledge (CIS-A2K) and Kalinga Institute of Social Sciences (KISS).He also tells Subhashish Panigrahi about his dreams of poetry becoming a performing art coming true by it becoming more open. After other Odia author and poet Dr Jagannath Mohanty, Majhi is the first Odia poet to release poem online under CC-by-SA license and his poetry earn the title of the first Odia modern poetry under the same license.

For more details visit http://editors.cis-india.org/openness/blog-old/bharat-majhi-writings-now-available-under-cc-license

Beyond the Language Tussle

teju — 2014-12-10T14:08:02Z

It might be more productive to see the ongoing Sanskrit versus German controversy as a welcome opportunity to discuss the real and persistent problems of our education system, not all of which have to do with which languages children get to learn.

The Op-ed was published in the Hindu on December 6, 2014.

The ongoing Sanskrit vs. German controversy is being seen by some as the sign of a sinister conspiracy to change educational options, and by others as a much-needed corrective to bring back “Indian culture” into the schools. It might be more productive to see it instead as a welcome opportunity to discuss the real and persistent problems of our education system, not all of which have to do with which languages children get to learn. The attempt to implement the teaching of Sanskrit in schools seems to be supported by a remarkably uninformed view about what sort of language policy we require today. And this is not to say that previous governments had any greater insight into how to handle either the medium of instruction problem or the issue of how many languages to teach and at what level.

Education budget cut

Far more disturbing than the Sanskrit-German debate was the news last week that the new Central government has decided to cut Rs.11,000 crore from the Education budget (The Hindu, “Social sector funds slashed,” Nov. 27). The favouring of physical infrastructure over “the social sector” (health, education, social security, nutrition, etc.) disregards the intangible factors that go into strengthening knowledge bases and the setting up of infrastructure in the first place. One of the implicit casualties of the massive cut in the Education budget is a proposed 12th Plan programme to revitalise Indian language resources in higher education. The rationale for this programme was that generation of knowledge in Indian languages would not only create new intellectual resources but transform the teaching-learning process in positive ways. The access-equity-quality triangle emphasised by policymakers could effectively be strengthened through a focus on Indian languages. Since the default medium of instruction at the tertiary level was actually a local language rather than the “mandatory” English, the deliberate blindness of successive governments to this fact was depriving students across disciplines of good quality resources. This linguistic divide affects the majority of tertiary students in the country. Thus, investing in Indian language materials at the basic and advanced levels is a sustainable (not to mention cost-effective) way by which Indian higher education could be strengthened.

“The long-term objective should be to make the student bilingually proficient, so that he is able to bridge effectively the conceptual worlds of the local and the global.”

We should note here that the emphasis is not on how many languages the student learns but on whether s/he is developing cognitive capabilities. This too has been a serious blind spot in modern Indian education over the decades, right up to the recent May 2014 Supreme Court judgment on the non-enforceability of mother-tongue instruction. The Court invoked the right to freedom of speech and expression in this instance to say that children and parents could choose the language in which the child wanted to be educated. With all respect to the learned judges, one wonders if they sought expert opinion in the matter or merely relied on their common sense. If they had done the former, they might have found out that worldwide research has proved that the most effective teaching and learning happens through the use of the mother tongue. If exposing a child to English at a very young age is dictated by opportunism and a skewed sense of what makes social mobility possible, this choice flies in the face of language and education research as well as the most enlightened pedagogic practices available. If mother tongue or Indian language education is not practical today, it’s because of the enormous lack of good educational resources in those languages, another need that state initiatives have failed to address adequately.

Parallel with China

Since, these days, China is the favourite country of comparison for us, we should pay attention to the fact that students in China start learning English in the fourth standard and for the most part study all their subjects in Mandarin. In my experience, the English fluency of the average Chinese undergraduate ranges from functional knowledge of English to complete proficiency, with an emphasis on reading and writing rather than speaking. Even those with functional knowledge are far more capable of dealing with the world of higher education today than most students I encounter in India. The single most important variable here would have to be that of mother tongue instruction combined with later exposure to a language that gives students access to resources not so readily available in Chinese. It’s a different matter that Internet use is so heavily policed in China. However, every person I know inside and outside the university has figured out how exactly to access the resources they want, which is much more than can be said of Indian students who don’t experience government-imposed firewalls. So, again, is the ability to navigate the digital domain related to language skills or critical skills?

Lack of clarity

The inability to create a systematic curricular exposure to language and critical skills is perhaps what prompts periodic outbursts like the Central Board of Secondary Education (CBSE) directive to replace German in Kendriya Vidyalaya schools with Sanskrit. Combined with this lack of application is what can only be seen as the extraordinarily resilient prejudices about what constitutes “Indian culture.” We routinely tend to forget that this is a modern concept, mobilised by colonialist as well as nationalist perspectives on our society. Lack of clarity about what education is for leads to muddled thinking about what should be done in the space of education. We should not confusedly believe that the primary task of education is to pass on ways of living — we do that in almost every domain of social engagement. The task of education is to foster and strengthen cognitive capacities that can equip students to produce original knowledge on their own terms, for which we are likely to need bilingual and trilingual education. Debating whether we should learn Sanskrit instead of German is a distraction from the real tasks that lie ahead. We need to reorient the language debate to focus not on learning the language (any language) but learning how to think.

Language use analysis

The CBSE circular of June 30, 2014, instructing its affiliated schools to observe ‘Sanskrit Week’, introduced the topic by stating that “Sanskrit and Indian culture are intertwined as most of the indigenous knowledge is available in this language.” It’s shocking to see that people in the business of education are unaware about the fundamental histories of language use in our country, and that mere assertion can pass for accurate information. Apart from the facile collapsing of “culture” onto “knowledge,” the circular’s statement about Sanskrit as the language of indigenous knowledge appears as a sweeping generalisation when you look at it from the point of view of medical, artisanal or performing arts knowledge forms. Even if we stay with just one example, that of indigenous medicine, and even if we stay with the venerable Council of Scientific and Industrial Research (CSIR) and its Traditional Knowledge Digital Library (TKDL), a quick overview of the books listed would show that the languages of indigenous knowledge include Persian, Arabic, Urdu and Tamil in addition to Sanskrit. The library currently lists 137 Tamil books on Siddha, for example, with 157 Sanskrit books on Ayurveda. Some of this knowledge is also available in Malayalam, like the important works on vishavaidyam.

Coming to contemporary language use in India, it would be important to note that just as modern Kannada, Marathi or Telugu for example have drawn on Sanskrit to build their vocabulary, they have equally strongly drawn on other languages. Here are some sample Kannada words that reveal the original language coiled inside the present day usage: adalat, vakila, javabu, ambari, gulabi, sipayi, taakathhu, firyadu, bunadi, najooku (Persian/Urdu). This kind of sampling could be replicated for any contemporary Indian language, and an exhaustive mapping exercise might reveal fascinating borrowings and transformations that gesture well beyond language use.

Most of our languages cannot sustain teaching and research in the context of the modern university and its disciplines. We need to create critical vocabularies across several conceptual domains. Students need to learn the ability to distinguish between levels of meaning, to contextualise/translate, and to create new concepts that capture the life of our societies and our institutions. And in doing this, they have to learn to draw on multiple linguistic resources.

Ensuring the entry of Indian language resources into the mainstream of our higher education system is a long-delayed project. By bringing these resources into a national educational structure, we will be (a) expanding the analytical abilities of these languages, and (b) making the curriculum more relevant to the society we live in. The long-term objective should be to make the student bilingually proficient, so that he is able to bridge effectively the conceptual worlds of the local and the global.

(Tejaswini Niranjana is with the Centre for Indian Languages in Higher Education at the Tata Institute of Social Sciences, Mumbai. She is also a Distinguished Fellow at the Centre for Internet and Society)

For more details visit http://editors.cis-india.org/openness/blog-old/the-hindu-december-6-2014-tejaswini-niranjana-beyond-the-language-tussle

Beyond Property Rights: Thinking About Moral Definitions of Openness

praskrishna — 2013-08-07T09:43:35Z

It is hard for Westerners to realize just how much we take for granted about intellectual property, and in particular, how much the property owner’s perspective--be it a corporation, government or creative artist--is embedded in our view of the world as the natural order of things.

This blog post by David Eaves was published in TECH President on August 6, 2013. Sunil Abraham is quoted.

While sharing and copying technologies are disrupting some of the ways we understanding “content,” when you visit a non-Western country like India, the spectrum of choices become broader. There is less timidity wrestling with questions like: should poor farmers pay inflated prices for patented genetically-engineered seeds? How long should patents be given for life-saving medicines that cost more than many make in a year? Should Indian universities spend millions on academic journals and articles? In the United States or other rich countries we may weigh both sides of these questions--the rights of the owner vs. the moral rights of the user--but there’s no question people elsewhere, such as in India, weigh them different given the questions of life and death or of poverty and development.

Consequently, conversations about open knowledge outside the supposedly settled lands of the “rich” often stretch beyond permission-based “fair use” and “creative commons” approaches. There is a desire to explore potential moral rights to use “content” in addition to just property rights that may be granted under statutes.

A couple of months ago I sat down in Bangalore with Sunil Abraham, the founder and executive director of the Center for Internet & Society (CIS) there, to talk about the center, and his views on the role of technology and openness in politics and society. One part of our conversation led to this WeGov column on “I Paid a Bribe” and the challenge of fighting corruption in India using technology. Here I want to reflect further on how Sunil and his counterparts may be radically challenging how we should think about open information more generally.

As we talked, Sunil outlined how people and organizations were using “open” methodologies to advance social movements or create counter power. To explain his view he sketched out the following “map” of IP rights and freedoms to show people use and view the different “permissions” (some legal, some illegal).

As a high-level overview this map offers a general list of the tools at the disposal of citizens interested in playing with intellectual property, particularly as they pursue social justice issues.

At the top of the chart are the various forms of “permissions” that a property owner may (or may not) grant you. Thus at the far left sits the most restrictive IP regime and, as you move right, the user gets more and more freedoms (or, if you take the perspective of property owners, property loses more and more of its formal legal protections and a different notion, of “moral rights,” arises).

The second row divides the permissions and the actors along what Sunil believes is one of the most important permissions - the requirement to attribute (or the freedom not to).

Finally, at the bottom, I’ve placed various actors along the spectrum to both show where they might be positioned in the access debate and/or how they use these tools to advance their aims. Thus someone like Lawrence Lessig, the intellectual father of Creative Commons, might support many uses of information as long as the owner gives permission; whereas groups like the Pirate Party or the Yes Men edge further out into uses that may not appear legitimate to a property owner.

Particularly interesting is Sunil’s decision to include non-legal “permissions” such as ignoring the property holders rights in his spectrum of openness. He sees this as the position of the Pirate Party, which he suggests advocates that people should have the right to do what they want with intellectual property even if they don’t have permission, with the exception, interestingly, of ignoring attribution.

He also includes two even more radical “permissions” – counterfeiting, that is claiming that you created the work – and false attribution – assigning your work to someone else! Sunil sees Anonymous as often using the former and the Yes Men as using the latter. “They (the Yes Men) are playing with the attribution layer,” he says, by conducting actions such as their fake DOW press release about the Bhopal disaster.

Pushing the identity envelope
To Sunil, the big dividing line is less about legal vs. illegal but around this issue of attribution. “This is the most exciting area because this (the non-attribution area) is where you escape surveillance,” he declares.

“All the modern day regulation over IP is trying to pin an individual against their actions and then trying to attach responsibility so as to prosecute them,” Sunil says. “All that is circumvented when you play with the attribution layer.”

This matters a great deal for individuals and organizations trying to create counter power – particularly against the state or large corporate interests. In this regard Sunil is actually linking the tools (or permissions) along the open spectrum to civil disobedience. Of course, such “permissions” are also used by states all the time, such as pretending that a covert action was the responsibility of someone else, or simply denying responsibility for some action.

This, in turn, has some interesting implications.

The first is, that it allows Sunil to weave together a number of groups that might not normally be seen as connected because he can map their strategies or tools against a common axis. Thus Lawrence Lessig, the Yes Man, companies and journalists can all be organized based on what “permissions” they believe are legitimate. For example, journalists and new publishers are often seen as fairly pro-copyright (it protects their work) but they are quite happy to ignore the proprietary rights of a government or corporate document and publish its contents, if they believe that action is in the public interest. Hence their position on the spectrum as “willing to ignore proprietary rights.” (Leave aside government arguments that publishing such documents is “stealing” when, at least in the US, they are technically already not subject to copyright.) However, a credible newspaper or journalist would never knowingly attribute a quote or document to a different person. Attribution remains sacred, even when legal proprietary rights are not.

It also tests the notions of who is actually an IP radical. As Sunil notes: “The more you move to the right the more radical you are. Because everywhere on the left you actually have to educate people about the law, which is currently unfair to the user, before you even introduce them to the alternatives. You aren’t even challenging the injustice in the law! On the right you are operating at a level that is liberated from identity and accountability. You are hacking identity.”

Sunil is thus justifying how the use of “illegal” permissions may actually be a form of civil disobedience that can be recognized as legitimate. This is something journalists confront regularly as well. Many are willing to publish “illegally” obtained leaked documents when they believe that may serve the public good. What is ethical is not always legal and so there position on this chart is more nuanced than one might initially suspect.

This is not to say that Sunil doesn’t believe in the effectiveness of legal approaches. For him this map represents a more complete range of choices an activist can choose from as they try to develop their strategy.

“So what you do, and the specific change you are trying to precipitate, you’ll have to determine what strategy you need. Sometimes working within the left hand group is sufficient. Having a non-derivative, non-commercial license to enable students to access academic works, in India, is good enough… But then, to do what the Yes Men did to DOW Chemicals? You have to be over on the right side.”

For more details visit http://editors.cis-india.org/news/tech-president-august-6-2013-david-eaves-beyond-property-rights-thinking-about-moral-definitions-openness

Beyond Editor Count: Assessing Quality on Wikipedia

teju — 2016-06-12T16:00:13Z

Since Wikipedia is considered as the go-to source for different kinds of knowledge by anyone starting off in a particular field of study, and since Indian languages (IL) are often the default languages of the classroom in India, strengthening the quality of the material available on IL Wikipedias is certain to have widespread tangible and intangible impact.

While there is a need to improve the editor count on IL Wikipedias, it cannot substitute for efforts aimed at enhancing the quality of Wikipedia contributions. Here is an account of an initiative geared towards enriching the IL digital domain and in particular Wikipedia through partnerships with universities.

In collaboration with CIS-A2K, the Centre for Indian Languages in Higher Education (CILHE) at the Tata Institute of Social Sciences (TISS), Mumbai, has been conducting workshops with post graduate and undergraduate students in humanities and social sciences on developing digital open knowledge resources using IL Wikipedias.

These workshops, which are conducted by a resource person from CILHE and anchored by faculty members in partner institutions, are aimed at (a) integrating open knowledge resources into classroom teaching, (b) involving students in developing content relevant to their research interests, and (c) developing the skills to produce well-referenced academic writing.

Besides Wikipedia editing, the workshop process involves exercises that allow students to engage closely with major social science concepts and their meanings. The workshops also include collaborative digital annotation exercises.

This effort is the only one of its kind in the country where both students and teachers participate in creating open knowledge resources that are of use to them and the larger academic and non-academic audience.

Achievements thus far

Workshops are conducted bilingually, across several geographies, with English being the common factor. The Indian languages in question are Marathi, Hindi, Telugu, Malayalam, Bangla and Kannada.

Here is a brief account of two such partnerships. The first is with Krantijyoti Savitribai Phule Women’s Studies Centre (KSPWSC) at Pune University, Pune, and the second with the Departments of Cultural Studies and Comparative Literature at English and Foreign Languages University (EFLU) in Hyderabad.

At KSPWSC, around 20 researchers since 2015 have collaboratively annotated 100 key women’s studies texts in Marathi and have written articles on these texts on the Marathi Wikipedia. This is the first part of a larger project called Sau Dhuni Teen (100 x 3), which aims to also cover 100 notable persons and 100 key concepts in women’s studies in addition to the 100 key texts.

This has been a year-long process involving, prior to the workshop,

(a) selection of 100 key texts through a survey of existing women’s studies curricula across the state of Maharashtra in the universities of all 6 major areas of the state;

(b) close reading and analysis of the texts led by faculty.

During the workshop, students learn how to

(a) annotate digitally and for an encyclopedia; how to create concept clusters and clouds of annotation;

(b) overcome translation challenges (English into Marathi, and Marathi into English) through the cultivation of linguistic attentiveness and sensitivity to the cultural contexts involved; and through the use of online and offline dictionaries and other writings on the subjects covered in the 100 key texts. The exposure to the existing literature helps students absorb the necessary vocabulary which is already in use and familiar to readers.

At EFLU, Hyderabad, 25 students speaking a number of Indian languages -Telugu, Malayalam, Tamil, and Hindi - have come together to create articles of relevance to social sciences and humanities teaching and learning. The entries include: the concept of the public sphere, movements for political autonomy, leading Indian scholars, and major contemporary academic and literary works.

Ensuring success and sustainability: Key Factors

Consistent faculty participation coupled with regular meet-ups to develop existing articles and create new ones ensures the success and sustainability of these workshops. Prior to the workshops, the faculty members engage intensively with students in identifying concepts or texts about which writing in Indian languages is limited or inadequate.

Finding a thematic focus has been crucial for retaining interest and participation of the students in different locations, for example - women’s studies in Pune University, rural development at TISS Tuljapur, literary and cultural studies at EFLU.

Measurable outputs for student assessment are important for those faculty seeking to make Wikipedia editing part of internal assessment. These outputs include articles written, information added, references used, and links made, which can be easily computed from the View History pages.

Understanding Quality Enhancement

Participatory knowledge production: The Indian language articles on notable academicians, theorists, phenomena, events, and places written as part of the workshop are accessed, used, and further developed by students as well as Wikipedians other than the original authors.

Changing the pedagogic culture through open access resources: The articles become a strong pedagogic resource in Indian languages which is publicly accessible, generated by users themselves, used to supplement classroom teaching, and open to editing and revision.

Context sensitivity: The success of these workshops may also be assessed in terms of the variety of concept descriptions generated, the relevance of articles to context, and the integration of local experience onto digital knowledge platforms.

In addition to Wikipedia’s criteria for a good article, which include clarity, coherence, focussed development of the article, comprehensive references, use of inter-links and hyperlinks, the Indian language resources developed through our initiative have the significant additional feature of being contextually and culturally sensitive. We believe this is a crucial criterion for Wikipedia to be able to take root in the Indian knowledge domain.

For more details visit http://editors.cis-india.org/a2k/blogs/beyond-editor-count-assessing-quality-on-wikipedia

Beyond Alcohol and Angel Investors: Building Business Models in an Age of Mobile Music Streaming (Conference Learnings)

maggie — 2015-02-23T12:39:36Z

This blog post is the first of a series of blogs to document, synthesize, and analyze learnings from attending various music industry trade conferences. This first post introduces the research question, and highlights learnings about the various business models which can be accessible via the mobile, and broadly how the music industry is attempting to respond to monetization challenges.

Introduction

The Pervasive Technologies: Access to Knowledge in the Marketplace project is conducting research on access to the mobile phone hardware, software, and content in the context of the intellectual property regimes in India and China. This chapter focuses on access to music content via the mobile phone in India with a particular focus on copyright law.

Following preliminary research, it was identified that the copyright organizing institutions in India lacked legitimacy amongst stakeholders within the music industry. For the purposes of this research, these institutions include the Copyright Act, the Copyright Board, and the copyright societies. Collectively, these institutions have received constitutionality petitions, corruption allegations, and critiques of overall ineffectiveness in regulating and balancing music copyright for the maximal benefit to society. This is of particular importance in light of new modes of digital music distribution technologies (such as mobile phones, and music streaming platforms) which have resulted in a tremendous increase in music consumption but simultaneous decrease in revenue. This is in part due to new business models for music streaming services, and the increasing complexity of music copyright and licensing management in the digital content industries.

1) How have evolving music distribution technologies accessible via the mobile phone impacted business models and licensing practices amongst stakeholders in the digital music industry?

2) What are the specific copyright challenges for each stakeholder in the digital music distribution chain? How can the copyright institutions provide for a more effective regulation and regulation of music in India?

The research methodology1 includes a series of expert interviews whose participants were identified by attending the following key music industry trade conferences in India, and remotely attending in the relevant conferences abroad:

1) 6th MixRadio Music Connects Conference in Mumbai ("MRMC")2

2) The Exchange UK Conference ("Exchange")

3) Indiearth Independent Music, Film, and Media Xchange Conference ("Indiearth XChange")

4) Future of Music Coalition Policy Summit (remote attendance) ("FMC")3

5) San Francisco Music Tech Summit (remote attendance) ("SFMT")4

This first post will highlight learnings from the above conferences5, primarily to respond to the question: What business models for digital music distribution exist in the market today? How is music production financed today? The question of how each industry stakeholder is responding to monetization challenges will also be explored. The main findings documented are mainly sourced from the MRMC and IndiEarth Xchange conferences due to their focus on India and its unique, context-specific challenges.

"India should stop chasing and build business models. We are already ahead... being a mobile-first market... now must lead by learning from our rich cousins - the film and television industry. " - Sridhar Subramaniam, CEO, Sony Music India⁶

Business models and monetization seemed to be the key buzz words at the 6th annual MixRadio Music Conference held in Mumbai, with industry veteran Sridhar Subramaniam, CEO Of Sony Music India giving the opening keynote speech 'How the Industry Stands Today?'. Despite Vijay Lazarus, Secretary of the Indian Music Industry preceding the keynote with a welcome speech warning of piracy as the biggest barrier to monetization. Subramaniam seemed much more optimistic, declaring 2016 as the 'year of music' despite a 10% decline in the former year due to decreased subscription in c first aller ring-back tunes 7. This was in part due to his belief that India was ahead of the game -- being a mobile-market amidst a global trend of mobile music convergence through streaming-based music consumption. Given India's increasing preference for music access in this form, Subramaniam suggested India "stop chasing and build business models" via learning from the music industry's two rich cousins -- the television and film industry.

Subramaniam outlined a strategic plan for growing the 200 million dollar music industry up to a billion in 5 years. He explained how the music industry is positioned where the TV industry was 5 years ago - giving content away for free via ad-supported revenues. This is due to the popular "freemium" business model for music streaming, which allows users to listen to music for "free" (data-consuming, supported by advertisements), with an option to upgrade to a paid tier.

Given recently overlapping ecosystems - standalone music services, device-embedded music services, and operator-supported music services - the question was whether there was enough advertising based revenue to sustain this cluttered industry. In three years, Subramaniam predicted moving from predominantly pirate-consumed music, to ad-supported to a consumer-paid revenue model.

This transition would be done via learning from the film industry through a technique called windowing. This is when the same content is released through multiple windows - for film, this is done first in a theatre, then via home video, then television, then broadcast TV. For the music industry, monetization could occur via exclusives, recommendations, personalization, quality, or regional restrictions; holding some kind of premium content behind a paid wall. This strategy according to Subramaniam's estimates could reach the billion dollar mark in 3 years with the goal of transitioning the 200 million pirated market, to 75 million ad supported, to 25 million subscribers.

" For the first time we have access [to music] from not just one, two, but three ecosystems - standalone music services, device embedded music services, and operator-supported music services." - Sridhar Subramaniam

Following the forward thinking strategy for future business models, the rest of MRMC's panels brought the conversation back to current services and ecosystems of standalone, device-embedded, and operator-supported music services. This increasingly crowded space, along with new international entrants makes the mapping of upcoming services extremely difficult. Nevertheless, the diversity of these services were attempted to be represented at MRMC, with "standalones" like streaming services Gaana, Hungama Australian-based Guvera, and RDIO (which acquired former Indian service Dhingana), along with download stores like Indian-based independent platforms OKListen, Songdew, and Insync. "Device-embedded" services were represented by Samsung with its MilkMusic service, and formerly Microsoft/Nokia owned MixRadio (which has been recently acquired by LINE messaging app8). Lastly, "operator supported" platforms was represented by Bharti Airtel who introduced their new Wynk app, only fully accessible for Airtel telecom subscribers. Multinational content aggregator Believe Digital also was present, providing insight on how the back-end aggregation of content works. A question from the audience inquiring about how to get ones' music onto the various platforms revealed content aggregators' main value -- providing smaller labels and independent artists the ability to ensure their content is distributed widely across multiple platforms.

Although the MRMC panel Streaming: Gathering Momentum hosted a variety of different streaming services, it seemed that there is increasingly less differentiation. Services like user-tracking playlist curation and recommendation, social media-inspired tagging, mood-based suggestions, friend-based recommendations, temporary offline downloads, and more were all being adopted in various forms. Business models of initial free-to-use/access with premium pricing for ad removal and full-on downloads were also becoming a standard across platforms. Some services prioritized specific stakeholders, like Guvera who described their advertiser/brand focused approach through brand play-list curation to target to certain music users.

The Global Music and Mobile panel at the San Francisco Music Tech Summit ("SFMT") highlighted challenges for music applications, with Kathleen McMahon, Vice-President at SoundHound noting the challenge of merely staying relevant in the app store, in part due to the decreasing differentiation with other services. In the streaming ecosystem, a variety of music consumption options are increasingly available through a singular platform (i.e. Hungama enabling on line streaming, download of songs, and purchase of ring-tunes). Given the principle product - the music itself - is the same, the differentiator is marked in part by the user interface, and perhaps more significantly, by price differentiation.

Panelists also spoke of interesting licensing challenges, one being the complexity of differing rates between web-streaming verses mobile streaming, wifi-data transfer, verses 3G access. This copyright challenge was also exemplified when a panelist lamented on the challenges of licensing in various geographic territories, asking "Should I be able to listen to my Spotify subscription wherever I go? Is this not possible purely because of rights and not technology? Do borders even make sense anymore?" These specific challenges will be discussed in an upcoming post highlighting copyright and licensing challenges, but it is worth mentioning here as a barrier to potential technological innovation and ultimately success and survival of these platforms.

" [MCNs are] the new age record label...except far more equitable and less exploitative." - Samir Bhanghra, Managing Director and Co-Founder, Qyuki ⁹

Despite the increasing competition and services, one particular streaming platform which need not be concerned is the audio-video streaming service YouTube, which has a reach of 1 billion consumers, averaging to a viewership of 450billion mins per month 10. Framed as the new broadcast company for user-uploaded content, this viewership directly translates into advertising revenue for the platform, with brands sponsoring specific content creators ("YouTubers") themselves. An interesting new stakeholder which is in part facilitating this phenomena are multi-channel networks ("MCNs"), who was represented in the MRMC Indian MCNs panel by MCNs Qyuki, Digital Quotient, Ping Network and YouTubers All India Bakchod. The MCNs described their business model as a relationship-service, which acts as an aggregator and optimizer of various YouTube channels. With back-end analytics and advertising strategies, MCNs aim to optimize monetization opportunities by focusing on maximizing CPM (clicks per impression) and identifying brand sponsors. Despite the seemingly disruptive service, Tammay Bhat of All India Bakchod was skeptical about the need for such service, asking "How will an MCN actually help me get more money and sustain? As a creator, brands are coming directly. They are so accessible and it's not that difficult. Perhaps it could help smaller creators but..."

Smaller creators and independent artists was definitely one of the target clientele for Qyuki. Samir Bhangra, co-founder of MCN Qyuki's held workshop They Say You Can Monetize Content Digitally - Really? at the IndiEarth Xchange ("the Xchange") independent music film, and media trade conference. He appealed to the independent artists by illustrating the potential reach of the one billion YouTube viewers, and explained some useful back-end analytics which can allow for more strategic and effective monetization. According to Bhangra, the CPM in India is about 1Rs per view, with the possibility of doubling or tripling this if viewed in the United States. Qyuki in particular sought to optimize monetization through ad-funded support (via CPM and brand sponsorship), payment via the MCN themselves for content creation, and 'forward integration' through increasing demand for live and digital gigs through increasing regular viewers. Bhangra even went as far as hailing Qyuki and MCNs as the "new age record label" which would allow content creators full creative control.

"Well, I support piracy so..." - Sohail Arora, Founder, KRUNK¹¹

For independent artists, social media tools like YouTube, Facebook, and other direct-to-fan digital services are of even greater importance considering the relative lack of accessibility to mass-media marketing power. In the XChange workshop Driving Your Career with Social Media, Sohail Arora, founder of booking agency and general artist management company KRUNK focused on search-engine optimization strategies for various social media platforms This included tips such as tagging influencers via social media, strategic timings of content posting, unique release and distribution of music, diversity in content posts, suggestions for increased fan engagement, and more.

The rise of new technologies seem to have brought an increased role and importance to not just social media tools, but also artists managers as well to utilize these services effectively as one of their duties. This new role and its various responsibilities was highlighted by the The Exchange Music Trade Conference ("the Exchange") in the panel The Role of Artist Management Agencies. Considering the diversity of distribution options available, and the difficulty of controlling content usage once released, I asked artist manager Arora for his thoughts on some musicians' strategies of giving away free music downloads. He responded by stressing that freely giving away music was an essential marketing tool for his artists. The ability to download and share would in turn translate to an increased number of fans, quantifiable, measurable social media support (via "likes" and "follows"), and subsequently increased ticket sales, attendance for live shows, and brand sponsorship. This perspective resulted in an interesting conversation/debate with the audience, one member of whom was Marti Bharath, producer/composer of electronic act Sapta who believed that giving away music for free led to piracy, and a devaluation of music. In response, Arora unashamedly stated that he supported piracy, which temporarily halted that conversation during the time-crunched presentation.

" Independent Music is... anything that is not Bollywood" - Nikhil Udupa - MTV Indies. "If you liked it, good. If you didn't, not my problem" - Verhnon Ibrahim, Consultant¹²

Despite the numerous social media tools and online opportunities available for self-promotion, the reach of mass media and its role as a marketing tool was not forgotten amongst the independent music scene.

In the Making Space for Culture panel, an interesting conversation arose on what it meant to be an "independent" artist. It seems that it boiled down to those who were mostly unconnected to the larger institutional support of the music industry like major labels and traditional media -- radio, newspapers, magazines, and television. On the one hand, there was a sense of ambivalence as to whether or not their work would ever appeal to the tastes of the masses. One panelist had asked - would popularization of a certain artist or music remove the label of being "independent"? Nikhil Udupa of MTV Music defined independent music in India as anything that was not Bollywood, due to its dominance in the Indian music market and overall appeal to the masses. Music industry veteran Verhnon Ibrahim conveyed the notion of an independent artist by expressing the somewhat indifference to likeability when reflecting on his days while in a heavy metal band: "If you liked it, good. If you didn't, not my problem". He seemed to imply that appeal to the masses was essentially irrelevant, and almost more revered due to a sense of being able to maintain artistic integrity and authenticity.

The title of the panel itself - Making Space for Culture - was interesting, seemingly alluding to the opinion that mass-consumed, popular music was perhaps not as "cultured" . The main grievance and topic of conversation was that independent music, film, and media did not receive adequate airtime space on traditional media - television, radio, and even print. This premise was probably the only agreement during the panel, as conversation soon evolved to heated debates on whether media created trends or merely picked up on them; and whether there was lack of quality independent content for full-time curation of independent channels, a sentiment expressed by Nikhil Udupa from MTV Indies. This panel's conversation also touched upon a sense of entitlement which independent artists held, in which audience member Guru Somayji of Bangalore-venue CounterCulture expressed his agreement. This echoed the comment from an audience member earlier in the day who stated "musicians do not deserve to be paid... venue spaces do not deserve to make money. There is no entitlement. You only make money when people are breaking down the door to listen to you."

Amidst a crowd of independent musicians and artists hoping to devote their lives to creating their art in a financially feasible way, there was an understandably ill response from the audience. The main criticism was the lack of broadcasters' efforts in finding quality content, and allowing independents a chance to perform in large venues and mass media channels. Verhnon Ibrahim, consultant and industry expert on the Making Space for Culture Panel attempted to explain that radio, television, and other traditional forms of media and communication was a mass-market game, whose purpose was to ultimately to sell ads. He cited radio's high cost of royalty payments to explain the need to curate for the majority so advertisers will get the most reach. Ibrahim stressed the need to demonstrate quantifiable forms of "deserving" - number of Facebook likes, YouTube views etc. to demonstrate virality and fan following, so the media would have to pick up on ones' popularity.

"It's public knowledge that vast sums of money in royalties have not been collected... [due to a] situation of buying out rights, but even labels and rights holders say hundreds of thousands of pounds are not making their way back." - Terry Mardi, Managing Director, Asian Music Publishing¹³

Although several independent musicians raised grievances about the lack of avenues to perform in, and the reoccurring problem of being paid on time, there seemed to be a hesitancy when discussing business strategies and the challenges of copyright due to technological innovation. In the independent space, this was anecdotally demonstrated by one panelists' response when asked about the impact of technology on the distribution strategies for their art, and on financial returns for their livelihood. He responded: "Those are two separate things... one is about making money and making a living. The other is about making an art form. These are two separate things." Within the larger industry conference MRMC, there seemed to be a lack of representation by musicians and content creators. Yet, one particularly vocal audience member, and later panel member of the UK Exchange was Terry Mardi, Managing Director of Asian Music Publishing. Numerous times throughout both conferences, he raised the controversial issue of missing royalty payments in India, and the absence of royalty collection and distribution by unregistered copyright societies IPRS and PPL. In MRMC, this issue was ever so briefly touched upon in a panel when Bollywood playback singer Natalie Di Luccio who's worked closely with A.R. Rahman mentioned that she had never received a contract outlining her rights and her royalty dues. Although there was very little curated conversation about this issue, coffee breaks demonstrated a clear gravitation towards those vocal and concerned about the issue, while many stakeholders, particularly the few musicians in the room seemed to find this a significant gap in voices not heard and expressed in MRMC. At IndiEarth, Vivek Ragpolan, representative of the Music Composers Association of India briefly commented as an audience member about the need to take collective action regarding composers and overall musicians' rights, stressing the importance of independent artists also being included within the new provisions of the Copyright Amendment Act. Though this issue of royalty licensing will be reviewed in a future post, this brief mention demonstrates the challenge of monetization and livelihood at multiple levels -- significantly for content creators, but also for the music platforms themselves.

"It seems like the pricing model is wrong... it's the only way to explain the drop in revenue" - Tarun Malik, Apps & Content Strategy, Samsung ¹⁴

Across different platforms, panels, conferences, and countries, one particular question seemingly common to all was that of price points band business model viability. Tarun Malik, Apps & Content Strategy of Samsung in Biggies Give Their View commented on the growth of the industry. Despite an increase in overall consumption, he noted - "It seems like the pricing model is wrong...it is the only way to explain the drop in revenue". Atul Charumani, formerly Head of Content with OnMobile and currently Managing Director of Turnkey Music stated that "in no other industry where the content is produced at such a high cost, is the product given away for free." In the Global Mobile and Music Panel at the San Francisco Music Tech Summit, the moderator asked a panel of music distribution service providers - "What is the value of music? Does music have intrinsic value at this point? Or is it just how it is presented?" In response, Dean Bolte, Managing Director of Omniphone expressed that the value of music was different for every person, and that some people were willing to pay more for access than others. The priority is to ensure that those who value music more have the opportunity to express through payment, since anything was better than zero. Beyond competition between music service apps, Bolte noted that the competition for funds also occurred across app categories, noting a generation of youth conditioned to acquire music for free through Napster, yet pay for additional levels in games. He closed the panel with the insight that "the product needs to be better than the sword".

The targeting of youth and young adults was also conveyed by the somewhat surprising pervasiveness of brands, who had a larger than anticipated presence for a music industry conference. The UK Exchange demonstrated the potential of partnerships in its Brands & Music - When They Combine Forces panel. MRMC panel The Brand Sponsor also invited the Taj hotel (who seem like an unlikely sponsor) an opportunity to express its interest in supporting the discovery of new talent. Aditya Swami from MTV & MTV Indies said that brands can communicate through music, and create conversations with their consumers. Subramaniam, CEO of Sony Music mentioned the importance of funding through brands and advertising in the MRMC keynote How the Industry Stands Today, while IndiEarth's Taking it Live panel opened the day with a conversation about live venues seeking sponsorship from alcohol, clothing and other 'lifestyle' companies. Even the MCNs in the MRMC Indian MCNs panel discussed one of its main services as the securing of brand sponsorship.

"Independent music in India would not exist if it weren't for alcohol sponsorships" - Tej Brar, Artist Manager, Only Much Louder ¹⁵

Music platform MixRadio, the title sponsor of MRMC was an understandably suitable partner, since it closely correlated to the main music product. Yet, particularly in India, it soon became apparent that alcohol brands have a very significant role in financing the music industry. This was highlighted when liquor-brand Bacardi received an award during MRMC for 'excellent brand association'. It was later learned in an interview that liquor and cigarette brands are not legally able to advertise in India, hence the popularity of alcohol sponsorships for live music festivals, venues, and club nights. Tej Brar, EDM Artist Manager for Only Much Louder believed that independent music would not exist in India if it weren't for alcohol brands. This is an interesting phenomenon considering just a decade ago, the idea of synchronizing ones' music with a corporate brand would be akin to "selling out". However, in today's increasingly digital world, especially in India where non-film musicians don't have much of a presence, brand sponsorship is one of the main 'monetization strategies' for music production. The last important significant financier to mention are investors, showcased in the MRMC panel Of All Things Finance. These "angel investors" play an instrumental role in backing many of the technology start-ups and other streaming services while experimenting with various business models. Yet whether these investment decisions are one that would reap sustainable returns is still a question to be answered.

Conclusion

It seems in this mobile first market, India has the opportunity to lead the way in developing business models that grow the industry through multi-tiered windowing of music streaming. Strategically, in an ecosystem still rampant with piracy, moving consumers towards legal access to music can facilitate new sources of revenue. This opportunity has also given rise to new intermediaries like YouTube and multi-channel networks. time will tell whether their contribution will legitimately grow the industry or simply take away more pieces of what seems to be a shrinking profit pie. Independent artists are able to use new direct-to-fan distribution platforms such as YouTube, amongst others to share their works. Yet, it is clear that the sustenance of a livelihood off of digital sales and distribution is extremely difficult. It is interesting to note that the bulk of financing for music seems to be trending towards live shows and brand sponsorship. However, despite increase in digital music consumption, the distribution of the revenue needs to be further studied and understood. Given the ease of replication, this will require a further in-depth understanding of licensing and copyright management in India today.

1 See the research methodology here: http://cis-india.org/a2k/blogs/copyright-management-in-age-of-mobile-music last accessed Jan 22, 2015

2 All of the panels from this conference can be found online here: http://musicconnects.indiantelevision.com/y2k14/videos.php last accessed Jan 20^th 2015

3 See here for the IndiEarth website: http://www.xchange14.indiearth.com/ last accessed Jan 20 ^th 2015

4 Watch and/or listen to the Future of Music Coalition panels here:https://futureofmusic.org/events/future-music-summit-2014 last acccesed Jan 19 ^th 2014

5 All data in this solely from public conference panels; including quotes, etc. Does not include any individual interview data.

6 As quoted from the MixRadio Music Connects Keynote panel:

7 Though it was not mentioned in the speech, it is useful to understand the initail demand for CRBTs was not necessarily genuine, for the fall in revenue was due to the crackdown by the Telecom Regulatory Authority of India to prevent false billing by telecom and value-added-service providers.

8 See http://blogs.wsj.com/digits/2014/12/19/messaging-app-lines-first-acquisition-music-streaming-service-mixradio/

9 As heard in the MixMusic Radio Connects panel Indian MCNs on Nov 5^th 2014

10 According to Samir Bhangra in MixRadio Music Connects' Indian MCNs panel on Nov 5^th 2014

11 As heard at the IndiEarth Xchange conference in the Driving Your Career with Social Media panel on Dec 5^th 2014

12 Stated at IndiEarth Xchange Conference in the Making Space for Culture panel on Dec 4^th 2014

13 As heard at UK The Exchange Submerge conference on Nov 7^th 2014

14 As stated on the MixRadio Music Connects panel Crystal Ball Gazing: Bigges Give Their View on Nov 5^th 2014

15 In a conversation at the IndiEarth Music Xchange Conference on Dec 5^th, 2014

For more details visit http://editors.cis-india.org/a2k/blogs/beyond-alcohol-and-angel-investors

Better intellectual property values luring Indian startups abroad

praskrishna — 2015-04-16T01:49:02Z

Prime Minister Narendra Modi says Make in India. But anyone who wants to, finds that their intellectual property is valued much more if the patent is filed in the US, or anywhere else, but India.

The article by Evelyn Fok and Varun Aggarwal was published in the Economic Times on April 10, 2015. Sunil Abraham is quoted.

Take the case of BITS Pilani graduate Sriram Kanuni, for instance, who decided to come back to India after spending 12 years with SAP in Germany. His family thought he was out of his mind, but he wanted to work for India and primarily serve Indian clients.

His core vision hasn't wavered five years down the line, but he has been forced to move a large part of his company's intellectual property (IP) to the US, just to get a better valuation for his next round of funding. And his is not an isolated case. "Global investors seem to value companies with patents in the US much higher. Therefore, it makes more sense to shift patents out of India, in case you're looking to raise money or exit the company," Kanuni, who is the CEO and co-founder of Arteria Technologies, said. Major Indian startups such as Flipkart, Myntra and ZipDial, which have either raised over a billion dollars or exited, already have their IPs outside the country. Experts say that is one of the reasons that attracted investors.

"If a company with its IP in India is acquired by an international firm, and post acquisition the buyer wishes to transfer the IP to a different jurisdiction, such transfer would need to be at a fair value decided by the government and the company is taxed at the rate of 34% on that," one of the bankers who was part of a large exit told ET.

"For tech-centric companies where the value of IP would comprise over 70-80% of their value, such high taxes can possibly make them unattractive for potential investors," they added. With better valuation and exits in mind, startups are moving out their innovation to countries such as Singapore and the US, leaving behind very little intellectual property that the country can proudly call its own.

"You would want to incorporate somewhere with a respected reputation for maintaining legal protection when it comes to copyright and trademarks, especially with global licensees or partners," said Sharad Devarajan, co-founder and CEO of character entertainment company Graphic India, which is incorporated in Singapore. "Incorporation in a country like the US where potential for M&A is higher, especially for core technology startups, will generally make it more attractive to potential buyers as it avoids a lot of legal and financial paperwork," said Brij Bhasin, India investment lead of Japanese venture capital firm Rebright Partners.

Investor concerns over IP are well founded. "Indian courts aren't uniform when it comes to developing jurisprudence around copyright and patent infringement," explained Sunil Abraham, executive director of Bengaluru based research organization Centre for Internet and Society.

"There is a high chance that a judge who doesn't understand the details would give an injunction. Then the loss of six months, etc., can be quite expensive, because in six months' time your competitor might eat into all of your market," he said.

For more details visit http://editors.cis-india.org/a2k/news/economic-times-april-10-2015-evelyn-fok-varun-aggarwal-better-intellectual-property-values-luring-indian-startups-abroad

Bengaluru: A Hub for Kannada and Sanskrit Wikipedia and other Wikimedia projects!

Subhashish Panigrahi — 2012-11-04T14:03:49Z

Kannada Wikipedia is one of those Indic language wikipedias which has seen many readers coming up every month. Subhashish Panigrahi summarizes the experiences of some of the very active Kannada wikipedians from the recent Kannada Wikipedia meetup held in Bengaluru on October 7, 2012.

Seven Kannada wikipedians (a couple of them also contribute to Sanskrit Wikipedia) participated in this event. Nitika Tandon and Subhashish Panigrahi from the Access to Knowledge team of the Centre for Internet & Society and Jessie Wild from the Wikimedia Foundation also participated in the event.

After a brief introduction about the theme of the meetup, Omshivaprakash, one of the active contributors for community building who also solves technical issues besides contributing articles explained the history and happenings of Kannada Wikipedia said “the only reason all of us joined together to contribute for Kannada Wikipedia is because we love our mother language, Kannada.” He explained how he reached out to a renowned Kannada writer asking him to document his own writings and books to become active on Kannada Wikipedia and start contributing. In the recent past Kannada community has organized many outreach events. The presentation for each outreach has been translated and customized for effective presentation. In the past they struggled for the six username creation barrier. Om also spoke about the scope of government partnership for including Kannada Wikipedia in the school syllabus (which worked out really well in Kerala) for which he is willing to meet the government officials. Additionally, he also shared the idea of recording an outreach session and presenting it to the government.

Another active wikipedian, Tejas emphasized the importance of having Kannada Wikipedia as part of the syllabus where lecturers and teachers will be learning to teach about Wikipedia in the classroom. As this will be mandatory, both students and teachers will take it seriously and it would be a sustainable practice. To show the results about 4-5 schools could be shortlisted for a pilot program. Tejas also proposed the idea of including Kannada typing in schools because that is something most people are not taught.

The above picture shows some participants working on their laptops during the meetup.

The wikipedians further discussed about Kannada Wiktionary and how collaborations will work to bridge the gap of wikipedians who contribute separately for Kannada Wikipedia and Wiktionary. Frequently Used Entries for Localization (FUEL) is a great project for creating content on Wiktionary, which will involve bringing new people to the community. In Bengaluru, CIS and Sanchaya co-hosted a two-day workshop for discussion regarding the same. Involving more wikimedians for such workshops would be helpful for both the projects, Wikipedia and Wiktionary. “I was always keen to do something for Kannada language on the web, being a software professional nothing leaves me a better chance to work for such a project like Wikipedia in my own language,” expresses Pavithra, another active Kannada Wikipedian who has supported many outreach events and translation projects.

Wikipedians, those who were a few weeks older, spoke about the problems they are facing when searching databases. Even the experienced wikipedians face the same problem. Options, such as having a central place, like a list of templates with little description and templates which could be standardized so that anyone could contribute to the translation and other things which need contribution, were discussed.

Tejas, a long-term Kannada Wikipedian discussed about the non-standard nature of the South Asian language wiktionaries. If Wiktionary could be standardized it could be easier to ask other communities to collaborate and contribute in their respective languages.

Discussion on Sanskrit Wiki projects:
Abhiram, another wikipedian who initially began with editing Sanskrit WikiSource and then started contributing to Kannada Wikipedia explained the hurdles they faced while spreading the word about Sanskrit WikiSource in Karnataka. Being closely associated to Samskrita Bharati and contributing largely to the Kannada WikiSource project, Abhiram feels not many people can write in Sanskrit though they can speak because of their fluency in the Devanagari script. People who study Sanskrit lose their grip of it after they pass 10^th or 12^th grades. “As Sanskrit is rarely found as a spoken language a lot of ground work and motivation for the contributors are needed to cultivate a community. We could plan for 10 spoken Sanskrit sessions in a month to kick-start before we teach how to edit Sanskrit Wikipedia”, Abhiram added.

For more details visit http://editors.cis-india.org/openness/blog-old/bengaluru-a-hub-for-kannada-and-sanskrit-wikipedia

Bargarh Manuscript Digitisation Project

Sailesh Patnaik — 2017-04-16T20:08:04Z

The digitisation of temple manuscripts at the Dadhivamana Temple, Bargarh in Western Odisha followed by a workshop for the students of Imperial College took place between 11- 12 February, 2017.

Shri Dadhivamana Temple, also known as the Srikshetra(Puri) of Western Odisha is a 400-year-old temple in Bargarh, Odisha. The temple is among the most important religious sites in Western Odisha. The temple has a record room with 250 ancient palm leaf manuscripts in the Odia language, dating back to the 16th century. These palm leaf manuscripts tell the stories of the Mahabharata, Ramayana, Skanda Purana and the history of the temple itself.

Given the historical value of the temple, the temple administration and the Temple Trust have preserved the pothi(palm leaf manuscripts) with the help of various chemicals, including the indigenous usage of turmeric and camphor. The process of preservation of the manuscripts began a few years ago years with student volunteers from different colleges in Bhatli helping the temple administration by identifying and storing the manuscripts.

Minati Sahoo, a well known social activist in Bargarh and a few other journalists explained the importance of manuscript digitisation to the temple administration and took permission for digitising the manuscripts in the month of March. One of the pandas (temple priests), Pandit Shri Goura Chandra Ratha, released his book, Jay Shree Dadhibamana, under the Creative Commons 4.0 license. A three-day long digitisation camp will be organised in Bhatli for introducing the students to Wikipedia and the process of digitisation. The manuscripts will be digitised simultaneously during the workshop.

An orientation program was organised at Imperial College, Bargarh for introducing the students of the college to the digitisation process as well as to introduce the pothi digitisation which they would be partaking in. With over 60 participants, the workshop not only explained the idea of the global Wikimedia movement to them, but also taught them how they could use the digitisation skill for the preservation of language. This digitisation project will bring different manuscripts into Odia Wikipedia, while also helping to raise awareness about digitisation of language in western Odisha. After scanning the manuscripts, the Odia Wikipedia community will take help of the students for uploading, digitising and proofreading the same.

For more details visit http://editors.cis-india.org/a2k/blogs/bargarh-manuscript-digitisation-project

Barcamp Bangalore

praskrishna — 2014-10-13T04:43:45Z

The Centre for Internet and Society's Access to Knowledge team participated in a Barcamp at SAP Labs, Bangalore on October 12, 2014. Dr. U.B.Pavanaja and Rahmanuddin Shaik participated in the event.

Dissecting Wikipedia

Wikipedia is the world’s most famous free and open encyclopaedia which anyone can edit. In this session we will explore various technical aspects of Wikipedia with demonstrations. Wikipedia has its own set of APIs using which we can retrieve information by using various queris and parameters. The output can be generated in various formats. These output can be used for processing by programming languages as input. These will be demonstrated.

Click to read the details on the Barcamp website.

For more details visit http://editors.cis-india.org/openness/news/barcamp-bangalore

Bangla Wiki turns 10

praskrishna — 2015-04-04T16:10:12Z

The 10th anniversary of Bengali Wikipedia was marked with a a gathering of Wikipedians of vernacular languages from across the country and beyond at Jadavpur University. Bengali is one of 20 Indian languages to have a Wikipedia presence. The event also celebrated 14 years of the mother edition in English of the open-access, crowd-sourced online encyclopaedia.

Contributed by Sudeshna Banerjee, Showli Chakraborty and Abhinanda Datta the story published in the Telegraph on March 29, 2015 quotes T. Vishnu Vardhan.

"We hear of digital divide all the time. Here it is about digital inclusiveness. The University Grants Commission talks of four factors to make a good university - access, equity, quality and employability. What a teacher cannot give in class, he can offer on the world wide web. The question of quality in Wikipedia can be addressed through workshops like this," said Calcutta University registrar Basab Chaudhuri.

Wikimedia Foundation trustee Bishakha Datta spoke of the uneasy relationship between Wikipedia and academia, especially over authenticity.

"Yes, we do not use original research. So our articles are not admissible as primary sources. At the same time, every piece of information in a Wikipedia article has to be cited and annotated. It is great that an institution like JU has come forward to host us," said Datta, thanking the university's School of Languages and Linguistics.

Joint registrar Sanjay Gopal Sarkar argued in favour of the existence of Wikipedia articles in the vernacular. "It is a part of the empowerment of my mother tongue."

Quantity was a problem, he said. "It is not enough to have 33,000 articles (the English version has 4.7 million). Workshops need to be held in Bengal and Assam on how to write articles. If Wikipedia and the universities join hands, a battalion of writers and editors can be created."

The Bangladeshi delegates revealed how Wikipedia's mission of making knowledge free was getting a technological boost back home. "Grameenphone and Bangla Link, two of our biggest mobile service providers, have made Facebook and Wikipedia free. Subscribers just have to log on to specific domains (0.facebook.com and zero.wikipedia.org) to see picture-less texts," said Ankan Ghosh Dastidar, a Class XI student from Dhaka.

Vishnu Vardhan from the Centre for Internet and Society, Bangalore, urged for more institutional tie-ups so that instead of stopping students from going to Wikipedia, teachers would integrate their contributions to Wikipedia in the course. "Andhra Loyola College is the largest contributor to Telegu Wikipedia," he said. Hindi, he added, has the maximum articles among Indian languages, followed by Tamil and Telugu. "But Malayalam has the most active Wikipedians - around 100."

A workshop was held to teach how to type in Bengali and edit the Bengali Wikipedia. Techno India student Ayan Chaudhury addressed queries on downloading the Avro font and typing tricky conjoined letters in Bengali, as also how to create cross references and highlight terms. "Ask yourself two questions when you want to add any information: Is it relevant? Can it be verified? Also do not blindly turn on Google Translate. The quality of its translation is such that a word like 'swipe' becomes ' dhum dhadakka'."

A group editing session took place on the second day with 15 volunteers translating articles from the English Wikipedia and adding new articles in Bengali. Some also worked on Wiktionary, an online dictionary, and others on Wikisource, typing out pages of seminal texts outside copyright.

Crafts for a cause

Artisans from Bengal and Bangladesh joined hands to participate in a handcrafted jewellery and handloom exhibition organised by WIIN (Women and Infants in Need) at Shree Art Gallery in Ballygunge on March 25 and 26.

"The proceeds will be donated to Paripurnata, a home for women with mental disabilities (off EM Bypass). We emphasise on mental health awareness programmes and try and create job opportunities for the residents at Paripurnata. This helps in building their confidence and creates a sense of social acceptance," said Nilanjana Mukherjee, the general secretary of WIIN and Paripurnata.

The exhibition was inaugurated by actress Sonali Gupta, who plays Satyabati to Dhritiman Chaterji's Byomkesh Bakshi in Sajarur Kanta. "This cause is close to my heart. We must come together to help women and infants in need," said Gupta.

The exhibition showcased a collection of saris and jewellery from the Rajshahi district in Bangladesh, quirky handbags, hand-painted mugs, kurtas and dupattas.

Trilingual road trip

An independent film - or indie - by two graduates of the Satyajit Ray Film and Television Institute (SRFTI) has hit theatres this Friday. Titled Yahan Sabki Lagi Hai (Everybody Gets Screwed Here), the 100-minute trilingual (English, Hindi and Bengali) black comedy is directed by Calcutta girl Tina A. Bose and Mumbai boy Cyrus R. Khambata.

Produced by Vibrant Works, the film revolves around Kesang and Bharat, who are on their way to a birthday party but their road trip soon turns into a disaster as they find themselves in the middle of a jungle, robbed of all their belongings.

Road trip gone wrong has been done before, but according to the young film-makers, "while most of them have been horror or slasher films, ours travels the philosophical path and focuses on the issues we face in life."

The lead actress is a Tibetan girl, Eden Shyodhi. "We wanted to cast a girl from a minority community. We needed someone who was weird and interesting as the character of Kesang is very unusual. And when we met Eden, she had flaming red hair, just like how we had envisioned Kesang!" said Tina, who has studied in Lady Brabourne College and Jadavpur University. The cast also includes stand-up comedian Varun Thakur and Bengali actor Heerok Das, previously seen in Egaro.

For more details visit http://editors.cis-india.org/openness/news/the-telegraph-march-29-2015-bangla-wiki-turns-ten

୧୧ ବର୍ଷରେ ଓଡ଼ିଆ ଉଇକିଅଭିଧାନ, ଯୋଡ଼ିହୋଇଛି ଲକ୍ଷେରୁ ଅଧିକ ଶବ୍ଦ

praskrishna — 2016-07-09T07:38:46Z

Odia Wikisource turned 11 on June 16. A news article was published about the project and the contributor community in Odia-language daily Prameya on June 17.

For more details visit http://editors.cis-india.org/a2k/news/prameya-june-17-2016-article-on-odia-wikipedia

୧୦ ବର୍ଷରେ ଓଡ଼ିଆ ୱିକିପିଡିଆ

praskrishna — 2014-03-06T05:38:58Z

This is a feature about Odia Wikipedia's 10th anniversary and the story of a dead volunteer community reviving after 8 years. This has been published in Rabibara Sambad (Sunday supplement of Odia newspaper The Sambad) on February 9, 2014.

Click to read the original published in Odiya here.

For more details visit http://editors.cis-india.org/news/rabibara-sambad-february-9-2014-feature-on-odia-wikipedia-tenth-anniversary

ସଫ୍ଟଓଏର ସ୍ୱାଧୀନତା ଦିବସ: ଆମ ହାତେ ଆମ କୋଡ଼ ଲେଖିବା

subha — 2016-09-18T03:33:00Z

Software Freedom Day (SFD), which celebrates the use of free and open software, was celebrated in many cities today. The piece sheds light on the philosophy of software freedom, and how free and open source software is making a significant social change. I have also shared how anyone can contribute to the FOSS movement in different ways and celebrate SFD.

The blog post was mirrored in Your Story, Odisha Story and Aajira Odisha on September 17, 2016. The originally published piece can be accessed here.

ଫ୍ରି ଓ ଓପନ ସୋର୍ସ ସଫ୍ଟଓଏର ପଛରେ ଥିବା ସାମାଜିକ ଆବଶ୍ୟକତା ଓ ପ୍ରତିଟି ବ୍ୟବହାରୀଙ୍କୁ ସଫ୍ଟଓଏର ବ୍ୟବହାର, ବଦଳ ଓ ବାଣ୍ଟିବାର ସୁଯୋଗ ଦେବା ଉଦ୍ଦେଶ୍ୟରେ ପାଳିତ ସଫ୍ଟଓଏର ସ୍ୱାଧୀନତା ଦିବସ ।

ସଫ୍ଟଓଏର ଶବ୍ଦଟି ବୋଧେ ଆଉ କାହାରି ପାଇଁ ଅଜଣା ଅଶୁଣା ନୁହେଁ । ଆପଣଙ୍କ ମୋବାଇଲ ଫୋନରୁ କମ୍ପୁଟରଯାଏ ଓ ଏବେ ଏକ ସ୍ଥାନରେ ନ ଥାଇ ସେଠାରେ ଥିବା ଭଳି ଅନୁଭବିବା ପାଇଁ ବ୍ୟବହୃତ ଭର୍ଚୁଆଲ ରିଆଲିଟି ଓ ଅଗମେଣ୍ଟେଡ଼ ରିଆଲିଟି ହେଡ଼ସେଟରେ ହାର୍ଡ଼ଓଏର ବା ଯାନ୍ତ୍ରିକ ଉପକରଣକୁ ସଠିକ ଭାବେ ପରିଚଳାନା କରିବା ହେଉଛି ସଫ୍ଟଓଏରର କାମ । ଆଉ ସଫ୍ଟଓଏରରେ ଟିକେ ଗୋଳମାଳ ହେଲେ କେବେ କମ୍ପୁଟରର ସ୍କ୍ରିନ ନେଳି ପଡ଼ିଯାଏ ତ ପୁଣି କେବେ କେବେ ମୋବାଇଲରେ ଠିକଣା ଜାଗାରେ ଯେତେ ଦବେଇଲେ ବି କାମକରେନା । ତେବେ ଉଣାଅଧିକ ସାଧାରଣ ଲୋକେ ସଫ୍ଟଓଏରରେ ସ୍ୱାଧୀନତା ଆଉ ତାଙ୍କ ଜୀବନ ପାଇଁ ତା’ର ଭୂମିକା ବାବଦରେ କେବେ ଶୁଣିନଥିବେ । ଆଉ ଏଇଟି ସତରେ ଏକ ଅନାଲୋଚିତ ବିଷୟ । ତେବେ ଏ ବିଷୟକୁ ବୁଝିବା ଆଗରୁ ଆମ ଚଳନ୍ତି ସମାଜର କିଛି ଉଦାହରଣ ଆଡ଼େ ଆସନ୍ତୁ ଆଖିପକେଇବା । ଦିନ ଥିଲା ଆପଣ ରେଡ଼ିଓରୁ ଆକାଶବାଣୀ ଲଗେଇ ଗୀତ, ଖବର, ନାଟକ ଆଦି ଶୁଣୁଥିଲେ । ହେଲେ କେବେ ଆକାଶବାଣୀ ଆପଣଙ୍କ ପାହୁଲାଟିଏ ମାଗିଥିଲା କି ନାଁ ଆପଣ ଭଲ ଭଲ ପ୍ରୋଗ୍ରାମ ଆସୁଛି ବୋଲି ଖୁସିରେ କେବେ କିଛି ଦେଇଥିଲେ? କିନ୍ତୁ ଆପଣଙ୍କ ଅଜାଣତରେ ଆପଣ ସତରେ କିଛି ଦେଇଛନ୍ତି । ତା’ ହେଉଛି ଟିକସ । ଆପଣ ଛୋଟରୁ ବଡ଼ ଯାଏ ଯାହା କିଣୁଛନ୍ତି ପ୍ରାୟ ସବୁ ଜିନିଷରେ ଟିକସ ଦିଅନ୍ତି ଆଉ ଚାକିରି କି ଅନ୍ୟ ଉପାୟରେ ପଇସା ଅରଜୁଥିଲେ ବର୍ଷ ଶେଷକୁ ଇନକମ ଟିକସ ବି ଦିଅନ୍ତି । ଏସବୁ ସରକାରଙ୍କ କାମରେ ଲାଗେ । ତେଣୁ ଆକାଶବାଣୀର ରେଡ଼ିଓ ପ୍ରୋଗ୍ରାମ ହେଉ କି ମୋଦିଙ୍କ ବିଦେଶ ବୁଲା ହେଉ ସବୁ ଆପଣଙ୍କ ପଇସାରେ ହିଁ ହେଉଛି । ସରକାରୀ ଓ ବେସରକାରୀ ଉଭୟ ସ୍ଥାନରେ ଏଇ ଏକା ଜିନିଷ । ତେବେ ସଫ୍ଟଓଏର କ୍ଷେତ୍ରରେ ବି ଏଇ ଏକା ଅବସ୍ଥା । ସାଧାରଣରେ ଜଣାଶୁଣା ମାଇକ୍ରୋସଫ୍ଟର ଉଇଣ୍ଡୋଜ ଅପରେଟିଂ ସିଷ୍ଟମ ପାଇଁ କେତେ ପଇସା ନିଜ ଅଜାଣତରେ ଦେଉଛନ୍ତି ତାହା ନୂଆ ଲାପଟପ କିଣିଲାବେଳକୁ କେବେ ଗଣିନଥିବେ । କିନ୍ତୁ ସେଇଟି ଜମାରୁ ମାଗଣା ଆସିନଥାଏ । ସଫ୍ଟଓଏରଟିଏ ଏକ ବା ଅନେକ ଉଚ୍ଚସ୍ତରର ନିର୍ଦ୍ଦିଷ୍ଟ କାମ କରୁଥିବା ବେଳେ ଏକ କମ୍ପୁଟର କି ମୋବାଇଲର ସାମଗ୍ରୀକ ହାର୍ଡ଼ଓଏର ବା ଯନ୍ତ୍ରପାତି ଓ ସଫ୍ଟଓଏର ସବୁକୁ ପରିଚାଳନା ପାଇଁ ଅପରେଟିଂ ସିଷ୍ଟମ ବ୍ୟବହାର କରାଯାଏ । ବିଭିନ୍ନ ଅପରେଟିଂ ସିଷ୍ଟମ ଓ ସଫ୍ଟଓଏର ଭିନ୍ନଭିନ୍ନ ଉପାୟରେ ତିଆରି ହୁଏ । କେବେ ଏସବୁ ମାଇକ୍ରୋସଫ୍ଟ କି ଆପଲ ଭଳି ବଡ଼ ବଡ଼ କମ୍ପାନି ତିଆରି କରି ବିକନ୍ତି ତ କେବେ କେବେ ବ୍ୟକ୍ତିବିଶେଷ ବା ଛୋଟ ବଡ଼ ସଂଗଠନ ମଧ୍ୟ ବିକନ୍ତି । କିନ୍ତୁ ଏସବୁ ବାଦେ ଆଉ ଏକ ଧରଣର ସଫ୍ଟଓଏର ଗଢ଼ାଳି ବ୍ୟକ୍ତିବିଶେଷ-ସଂଗଠନ-କମ୍ପାନି ମଧ୍ୟ ଅଛନ୍ତି । ସେମାନେ ସଫ୍ଟଓଏର ତିଆରି କରି ଖାଲି ବଜାରରେ ଛାଡ଼ନ୍ତି ନାହିଁ ବରଂ ସେ ସଫ୍ଟଓଏରର ସୋର୍ସ କୋଡ଼ ମଧ୍ୟ ଛାଡ଼ନ୍ତି । ଅର୍ଥାତ ଗଣିତ କଷି ଫଳାଫଳ ସଙ୍ଗେ କିପରି କଷିଲେ ସୋପାନ ତଳକୁ ସୋପାନ ଲେଖି ବୁଝାଇଦିଅନ୍ତି । ଫଳରେ ଆଉ କେହି ସେହି ସଫ୍ଟଓଏରରେ କିଛି ବଦଳ କରିବାକୁ ଚାହିଁଲେ କିମ୍ବା ପୁରୁଣା ସଫ୍ଟଓଏରରେ କିଛି ନୂଆ ଯୋଡ଼ି ଉନ୍ନତ କରିବାକୁ ଚାହିଁଲେ ତାଙ୍କୁ ସେଥିରେ କେହି ବାଧା ଦେବେନାହିଁ । କିନ୍ତୁ ନୂଆ ଫଳାଫଳ ବା ସଫ୍ଟଓଏରଟି ବଜାରରେ ଛାଡ଼ିଲା ବେଳେ ତାଙ୍କୁ ମୂଳ ଗଢ଼ାଳିଙ୍କୁ ଉପଯୁକ୍ତ ଶ୍ରେୟ ଦେବାକୁ ପଡ଼ିବ । ଧରନ୍ତୁ ଆପଣ ଚନ୍ଦକାରୁ କଲରାପତରିଆ ବାଘର ଖୋଳ ଆଣି ତାକୁ ଧଳା ରଙ୍ଗ ମାରି ଧଳା ବାଘ କଲେ । ଆପଣଙ୍କୁ ସେ ଧଳା ବାଘକୁ ଶିମିଳିପାଳରେ ଛାଡ଼ିଲା ବେଳେ ଚନ୍ଦକାରୁ ମୂଳ କଲରାପତରିଆ ବାଘ ଆଣିଥିଲେ ବୋଲି ଉଲ୍ଲେଖ କରିବାକୁ ପଡ଼ିବ । ମଜା କଥା ହେଉଛି ଏଭଳି ନିଆରା ଧାରା ଆମ ସମାଜରେ ଜମାରୁ ନୂଆ ନୁହେଁ । ଅକ୍ଷୟ ମହାନ୍ତି ସାଲବେଗଙ୍କ ଲିଖିତ ପୁରୁଣା ଗୀତକୁ ଆଉଥରେ ବୋଲିବା ପରେ ସେ ହଜିଲା ଗୀତସବୁ ଲୋକତୁଣ୍ଡରେ ଆହୁରି ଜଣାଶୁଣା ହେଲା । ହେଲେ ଅକ୍ଷୟ ମହାନ୍ତି ଗୀତର ଗାୟକ ଓ ସଙ୍ଗୀତ ନିର୍ଦ୍ଦେଶକ ଭାବେ ନାଁ ନେଲା ବେଳେ ସାଲବେଗଙ୍କ ରଚନାରୁ ବୋଲି ଲେଖିବାରେ ଉଣା କରିନାହାନ୍ତି ।

ଏହି ଧାରା ଆମ ସମାଜରେ ସବୁକାଳେ ସବୁସ୍ଥଳେ ରହିଛି । ହେଲେ ଆଧୁନିକ ସମାଜରେ ଅନେକ ଲାଭଖୋର କମ୍ପାନି ନିଜ ଲାଭ ଲାଗି ଏ ସାମାଜିକ ଚଳଣିଟିକୁ ପାଶୋରି ପକାଇଛନ୍ତି । ମାଇକ୍ରୋସଫ୍ଟରୁ ଆରମ୍ଭ କରି ଆକୃତି, ଅପ୍ରାନ୍ତ ଯାଏ ପ୍ରାୟ ଅଧିକାଂଶ ସାଧାରଣରେ ବ୍ୟବହାର ହେଉଥିବା ସଫ୍ଟଓଏର ହେଉଛି ପ୍ରୋପ୍ରାଇଟରି ବା ପୂରା ନିବୁଜ । ମାନେ ଆପଣ କେବଳ କିଣି ବ୍ୟବହାର କରିପାରିବେ କିନ୍ତୁ ବାଣ୍ଟିପାରିବେ ନାହିଁ କି କୌଣସି ବଦଳ କରିପାରିବେ ନାହିଁ । କଲେ ଆପଣଙ୍କ ବିରୋଧରେ କୋର୍ଟରେ ଉକ୍ତ କମ୍ପାନିମାନେ କେସ କରି ତଳିତଳାନ୍ତ ମଧ୍ୟ କରିପାରିବେ । ଏ କପିରାଇଟର ଫାନ୍ଦ ଏଡ଼େ କୁଟିଳ ଯେ ସଫ୍ଟଓଏର ତିଆରି କରିଥିବା କମ୍ପାନିମାନେ ସବୁକାଳେ ତାଙ୍କର ମନୋମୁଖୀ ପତିଆରା ରଖିପାରିବେ । ଏଣୁ ଥୋକେ ଭାବିଲେ ବଡ଼ ବଡ଼ ଧନୀ କମ୍ପାନିମାନଙ୍କର ଏ ଗୁମାନ ସେମିତି ଥାଉ । ଆମେ ଚାଲ ବିକଳ୍ପ ଓ ଉଚ୍ଚମାନର କିଛି ସଫ୍ଟଓଏର ତିଆରିବା । ଲୋକ ସ୍ୱାଧୀନ । ଯାହାକୁ ଯାହା ରସିବ ତାକୁ ସେ କିଆଫୁଲ ପରି ବାସୁ । ଆଉ ଏ ଥିଲା ଏକ ସାମାଜିକ ଆବଶ୍ୟକତା । ବିକଳ୍ପ ବାଟଟି ହେଲା ସଫ୍ଟଓଏରର ସ୍ୱାଧୀନତା । ଏଥିରେ କୌଣସି ସଫ୍ଟଓଏର ଗଢ଼ିଥିବା ମୂଳ ଗଢ଼ାଳି ଓ ତା’ ପରେ ସେଥିରେ ଯୋଗଦାନ କରିଥିବା ସଭିଙ୍କୁ ସମାନ ଭାବେ ସମ୍ମାନ ଦେଇ ଯୋଗଦାନକାରୀ ଭାବେ ସେମାନଙ୍କ ନାମ ଉଲ୍ଲେଖ କରାଯାଇଥାଏ । ଖାଲି ନାଁ ନୁହେଁ ଅନେକ ସମୟରେ ଖୋଲା ସଫ୍ଟଓଏର ସଙ୍ଗେ ଜଡ଼ିତ ବ୍ୟକ୍ତିବିଶେଷ ଓ ସଂଗଠନସବୁ ଏମିତି ଆଖିଖୋସିଲା ଭଳି କାମ କରନ୍ତି ଯେ କିଣା ଆଉ ବୁଜା ସଫ୍ଟଓଏର କିଣିବାରୁ କି ବ୍ୟବହାର କରିବାରୁ ମନ ମରିଯିବ । ତିନି ବର୍ଷ ତଳେ Firefox ବ୍ରାଉଜର ତିଆରିରେ ଭାଗନେଇଥିବା Mozillaର ସ୍ୱେଚ୍ଛାସେବୀ ଯୋଗଦାନକାରୀମାନଙ୍କୁ ସମ୍ମାନ ଜଣାଇ ଆମେରିକାର ସାନ ଫ୍ରାନସିସ୍କୋ ସହରରେ ଏକ ବିଶାଳ ସ୍ମାରକୀ ଗଢ଼ି ସେଥିରେ ସମସ୍ତଙ୍କ ନାମ ଲେଖାଯାଇଥିଲା । ଭାବନ୍ତୁ ଏ ପ୍ରକଳ୍ପରେ ସାମାନ୍ୟତମ ଯୋଗଦାନ କରିଥିବା ଲୋକଟିର ନାଁ ବି ଇତିହାସରେ ଲେଖାହୋଇ ରହିଗଲା । ୨୦୦୧ ମସିହାରେ ଇଂରାଜୀ ଓ ତା’ ପରେ ଓଡ଼ିଆ ସମେତ ବାକି ବିଶ୍ୱଭାଷାରେ ଇଣ୍ଟରନେଟରେ ତିଆରି ଖୋଲା ଜ୍ଞାନକୋଷ ଉଇକିପିଡ଼ିଆର ଇତିହାସ ବି ଏମିତି । ଏହି ଉଇକିପିଡ଼ିଆ ୱେବସାଇଟଗୁଡ଼ିକ ମିଡ଼ିଆଉଇକି ନାମକ ଖୋଲା ସଫ୍ଟଓଏରରେ ତିଆରି । ଆଉ ସେଇ ଏକା ସଫ୍ଟଓଏରକୁ ନିଜ ଆବଶ୍ୟକତା ଅନୁସାରେ ବଦଳାଇ ଉଇକିଲିକ୍ସ ଓ ଉଇକିଟ୍ରାଭେଲ ଭଳି ଅଲଗା ଅଲଗା ୱେବସାଇଟ ଆଜି ଚାଳିତ ।

ତେବେ ଅନେକେ ଭାବୁଥିବେ ଯେ ଏ ଫ୍ରି ସଫ୍ଟଓଏର କଣ ସବୁବେଳେ ମାଗଣା? ସଫ୍ଟଓଏର ସ୍ୱାଧୀନତା କ୍ଷେତ୍ରରେ ଗତ କେଇ ଦଶନ୍ଧି ଧରି କାମ କରି ଏ ଆନ୍ଦୋଳନକୁ ବହୁ ଆଗକୁ ନେଇଥିବା ରିଚାର୍ଡ଼ ଷ୍ଟଲମ୍ୟାନ ଖୁବ ସହଜ ଓ ସରଳ ଢଙ୍ଗରେ ଏ ବିଷୟଟି ବୁଝାଇଦିଅନ୍ତି ।

ଫ୍ରି ସଫ୍ଟଓଏର ମାଗଣାରେ ବଣ୍ଟାଯାଇପାରେ ବା କିଛି ଦରରେ ବିକାଯାଇପାରେ । କିନ୍ତୁ ଏଥିରେ ଥିବା “ଫ୍ରି” ମାଗଣା ନୁହେଁ ବରଂ ଖୋଲା ଜ୍ଞାନ ଭଳି “ଫ୍ରିଡ଼ମ” ବା ସ୍ୱାଧୀନତାକୁ ସୂଚାଏ ।

ତେଣୁ କୌଣସି ସଫ୍ଟଓଏର ବ୍ୟବହାର କରିବା ଆଗରୁ ତା’ର କପିରାଇଟ ବାବଦରେ ସେଥିରେ ଥିବା ନିୟମାବଳୀ ପଢ଼ିଲେ ବୁଝାପଡ଼ିବ ଯେ ତାହା ଏକ ପ୍ରୋପ୍ରାଇଟରି କି ଫ୍ରି ସଫ୍ଟଓଏର । ସ୍ୱାଧୀନତା ମଣିଷର ଜନ୍ମଗତ ଅଧିକାର । ଆଉ ଜ୍ଞାନ ବାଣ୍ଟିବା ଲାଗି । ବାନ୍ଧି ରଖିବା ଲାଗି ନୁହେଁ । କାରଣ କେହି ଜ୍ଞାନ ତିଆରି ନାହିଁ ବରଂ ସଭିଏଁ ଜ୍ଞାନର ନାନାଦି ଭଣ୍ଡାରକୁ ବ୍ୟବହାର କରିବା ପାଇଁ ବାଟ ତିଆରି କରିଥାନ୍ତି । ତେଣୁ ସେ ବାଟରେ ବାଡ଼ କିଆଁ? ନିକଟରେ ସମାଜର ଏହି ପୁରାତନ ଧାରାକୁ ବାହୁଡ଼ି ଯିବା ପାଇଁ ଅନେକ ବ୍ୟକ୍ତିବିଶେଷ, ସଂଗଠନ ଓ ବଡ଼ ବଡ଼ କମ୍ପାନି ଧୀରେ ଧୀରେ ସେମାନେ ତିଆରୁଥିବା ସଫ୍ଟଓଏରର ସୋର୍ସ କୋଡ଼ ଖୋଲାରେ ଦେଲେଣି । ଫଳରେ ସାଧାରଣ ବ୍ୟବହାରକାରୀ ଓ ସଫ୍ଟଓଏର ଗଢ଼ାଳିଙ୍କ ହାତରେ ସ୍ୱାଧୀନ ଭାବେ ସେମାନେ ବ୍ୟବହାର କରୁଥିବା ସଫ୍ଟଓଏରକୁ ନିଜ ଆବଶ୍ୟକ ଅନୁସାରେ ବ୍ୟବହାର କରିପାରିବେ । ଆଉ ସମାଜର ମୌଳିକ ଆବଶ୍ୟକତା ବିଭିନ୍ନତାର ବହୁରଙ୍ଗ ଏଥିରେ ସମୁଜ୍ଜଳେ ଫୁଟିଉଠିବ ।

ଆମ ସମାଜର ଏହି ବାଣ୍ଟିବାର ଧାରାକୁ ନୂଆ ଟେକନୋଲୋଜି ଯୁଗରେ ଉଜ୍ଜୀବିତ କରିବା ଲକ୍ଷରେ ଜଗତ ସାରା ୨୦୦୪ ମସିହାରୁ ସେପ୍ଟେମ୍ବର ମାସର ତୃତୀୟ ସପ୍ତାହରେ “ସଫ୍ଟଓଏର ଫ୍ରିଡ଼ମ ଡେ” ବା “ସଫ୍ଟଓଏର ସ୍ୱାଧୀନତା ଦିବସ” ପାଳିତ ହୋଇଆସୁଛି । ଏଥିରେ କୌଣସି ନିର୍ଦ୍ଦିଷ୍ଟ ସଫ୍ଟଓଏର ନୁହେଁ ବରଂ ଖୋଲା ସଫ୍ଟଓଏର ପଛରେ ଥିବା ଦାର୍ଶନିକ ଓ ସାମାଜିକ ଦୃଷ୍ଟିକୋଣଟି ସଭିଙ୍କୁ ବୁଝାଇବା ହେଉଛି ମୂଳ ଲକ୍ଷ । ଆଉ ଯେଯାଏ ବଡ଼ କମ୍ପାନି ସାଧାରଣ ଲୋକଙ୍କୁ ସମ୍ପୂର୍ଣ୍ଣ ତଥ୍ୟ ନ ଜଣାଇ କପିରାଇଟ ବଳରେ ବାନ୍ଧି ରଖିଥିବେ ସେଯାଏ ବ୍ୟବହାରୀ ବାପୁଡ଼ା ବା ଜାଣିବ କେମିତି ଏ ଭିତର ଗୁମର? ନିଜ ହାତରେ ନିଜ ଶାସନର ଡୋର ଧରିବା ଯେମିତି ସ୍ୱାଧୀନତା ନିଜ ବ୍ୟବହାରରେ ଲାଗୁଥିବା ସଫ୍ଟଓଏରର ସ୍ୱାଧୀନତା ବି ଏକାଭଳି ପ୍ରତିଟି ବ୍ୟବହାରକାରୀର ଅଧିକାର । ତେଣୁ ଏ ସ୍ୱାଧୀନତା ଦିବସକୁ ସଭିଏଁ ନିଆରା ଢଙ୍ଗରେ ପାଳନ୍ତି । ଆଫ୍ରିକାରେ କିଛି ବର୍ଷ ଆଗରୁ ଫ୍ରି ସଫ୍ଟଓଏର ଚାଳିତ ଏକ ଡ୍ରୋନ ବା ଚାଳକବିହୀନ ପବନଯାନଟିଏ ଛାଡ଼ିଥିଲେ । ଅନେକ ସ୍ଥାନରେ ଲୋକେ ଏକାଠି ହୋଇ ଏ ବାବଦରେ ସଫ୍ଟଓଏର ସ୍ୱାଧୀନତା ବାବଦରେ ଆଲୋଚନା କରନ୍ତି । ଆଉ ପୁଣି କେଉଁଠି ସାଧାରଣ ଲୋକଙ୍କୁ ତାଙ୍କ କମ୍ପୁଟରରେ ଫ୍ରି ସଫ୍ଟଓଏର ଇନଷ୍ଟଲ କରିବା ପାଇଁ କ୍ୟାମ୍ପ କରନ୍ତି । ଫଳରେ ଲୋକେ ନିଜ କମ୍ପୁଟରରେ ମାଇକ୍ରୋସଫ୍ଟର ବିକଳ୍ପ ଓ ଉବଣ୍ଟୁ ଭଳି ଖୋଲା ଲିନକ୍ସ ଅପରେଟିଂ ସିଷ୍ଟମ କିମ୍ବା Mozilla Firefox ଭଳି ବ୍ରାଉଜର ଇନଷ୍ଟଲ କରିପାରିବେ । ସଫ୍ଟଓଏର ସ୍ୱାଧୀନତା ଦିବସର ଚିହ୍ନ ସ୍ୱରୂପର ଲେଖକର ଏ ଲେଖାଟି ମଧ୍ୟ ଏକ ଖୋଲା ଲାଇସେନ୍ସରେ ଆଉ ଶ୍ରେୟ ଦେଇ କେହି ଚାହିଁଲେ ତାହାକୁ ପ୍ରକାଶ କରିପାରିବେ ।

For more details visit http://editors.cis-india.org/openness/software-freedom-day

କେତେ ମାଗଣା ଫେସବୁକର ଫ୍ରି ବେସିକ୍ସ?

subha — 2016-01-28T07:23:37Z

This opinion piece in Odia on Facebook's Free Basics App was published in Odisha.com. The post highlights several user security and privacy that Free Basics is violating apart from violating net neutrality. It also brings the parallel of Airtel Zero and Free Basics with the Grameenphone project by Mozilla in Bangladesh and the worldwide Wikipedia Zero projects.

Read the original article published in Odisha.com here.

ଗତ ଦୁଇ ସପ୍ତାହ ସାରା ଇଣ୍ଟରନେଟରେ ନିଆଁ ଲାଗିଛି । ସାରା ଦେଶରୁ ଲୋକେ ନିଆଁରେ ପତଙ୍ଗ ଝାସ ଦେଲା ଭଳି ଫେସବୁକର ନୂଆ ପ୍ରକଳ୍ପ ଫ୍ରି ବେସିକ (Free Basics) ବିରୋଧରେ ଭିନ୍ନ ଭିନ୍ନ ଧରଣର ମତ ଦେଇଚାଲିଛନ୍ତି।

ପ୍ରଧାନମନ୍ତ୍ରୀ ମୋଦିଙ୍କ ଆମେରିକା ଗସ୍ତ କାଳରେ ସେଠାରେ ଜୁକରବର୍ଗଙ୍କ ସାଙ୍ଗେ ଭେଟି ଫେସବୁକର ମିଳିତ ସହଯୋଗରେ ଭାରତରେ ସାଧାରଣ ଲୋକଙ୍କ ପାଇଁ ଜ୍ଞାନ ବିତରଣ ଓ ସୂଚନା ପହଞ୍ଚାଇବା ବାବଦରେ ଆଲୋଚନ କରିଥିଲେ।

ଫେସବୁକ ଏହାକୁ ଭାରତରେ ନିଜର ଚେର ମୋଟା କରିବାର ଏକ ସୁଯୋଗ ଭାବେ ବ୍ୟବହାର କରିବାକୁ ଉଦ୍ୟମ କଲା । ଫେସବୁକର ପ୍ରତିଷ୍ଠାତା ମାର୍କ ଜୁକରବର୍ଗ ଏହି ଫ୍ରି ବେସିକ୍ସ ସମ୍ପର୍କରେ ଘୋଷଣା କରିବାର ଦୁଇ ସପ୍ତାହ ନ ପୁରୁଣୁ ଟେଲିକମ ରେଗୁଲେଟରି ଅଥରିଟି ଅଫ ଇଣ୍ଡିଆ (ଟ୍ରାଇ) ପାଖରେ ସାଢ଼େ ଚାରି ଲକ୍ଷ ପାଖାପାଖି ଇମେଲ ଏହାକୁ ରୋକିବା ଲାଗି ପହଞ୍ଚି ସାରିଲାଣି ।

ଜନନେତା ଓ ଇନଫୋସିସର ସହ ପ୍ରତିଷ୍ଠାତା ନନ୍ଦନ ନୀଳକେଣିଙ୍କ ଠାରୁ ଆରମ୍ଭ କରି ମିଡ଼ିଆନାମାର ପ୍ରତିଷ୍ଠାତା ନିଖିଳ ପାଉଆ, ଭେଞ୍ଚର କ୍ୟାପିଟାଲିଷ୍ଟ ମହେଶ ମୂର୍ତ୍ତି, ଇଣ୍ଟରନେଟ ଆକ୍ଟିଭିଷ୍ଟ ସୁନୀଳ ଆବ୍ରାହାମ, ପ୍ରଣେଶ ପ୍ରକାଶଙ୍କ ଯାଏ ସଭିଏଁ ଏହା ପଛରେ ଫେସବୁକ ଲାଭକାରୀ ମନୋଭାବ ନିହିତ ଅଛି ବୋଲି ଦର୍ଶାଇ ଏହି ଉଦ୍ୟମକୁ କଡ଼ା ନିନ୍ଦା କରିଛନ୍ତି।

ତେବେ କଣ ଏ ଫ୍ରି ବେସିକ୍ସ? କାହିଁକି ଏତେ ବିବାଦ ?

ଫେସବୁକ ବ୍ୟବହାର କରୁଥିବା ଉଣାଅଧିକେ ସଭିଏଁ ଜାଣୁଥିବେ ସେ କେଡ଼େ ଅଠାକାଠି! ଫେସବୁକର ପ୍ରାୟ ବ୍ୟବହାକାରୀ ହେଲେ ଯୁବବର୍ଗର । ତେବେ ଅନ୍ୟ ବଯସର ଲୋକେ ମଧ୍ୟ ଫେସବୁକ ବ୍ୟବହାର କରିଥାନ୍ତି । ଖୁବ କମ ସମୟରେ ଅଧିକ ଲୋକଙ୍କ ସଙ୍ଗେ ମିଶିବା, ଗପିବା ଆଦି ସୁବିଧା ପାଇବା ଯୋଗୁଁ ଅନେକେ ଫେସବୁକ ପ୍ରେମରେ ପଡ଼ିଯାଆନ୍ତି ।

ସରଳ ଭାଷାରେ କହିଲେ ଫେସବୁକ ଇଣ୍ଟରନେଟରେ ଉପଲବ୍ଧ ଏକ ହାଟ ବଜାର । ଲୋକେ ସେଠି କିଛି ସମୟ କାଟିବା ପାଇଁ, ଚିହ୍ନା-ଅଚିହ୍ନା ଲୋକଙ୍କ ସହ ମିଶିବା ପାଇଁ, ଆଳାପ-ଆଲୋଚନା ପାଇଁ ଏକାଠି ହୁଅନ୍ତି । ଅଧିକାଂଶ ଆଲୋଚନା କେବଳ ମଜା ମଉଜ ପାଇଁ ହେଲା ବେଳେ କିଛି ଉପଯୋଗୀ ଆଲୋଚନା ମଧ୍ୟ ହୋଇଥାଏ ।

ଫେସବୁକ ଏକ ବିଶାଳ ଲାଭକାରୀ କମ୍ପାନି । ଏହାର ଆଉ ଏକ ସହ ପ୍ରକଳ୍ପ ହେଲା ହୁଆଟ୍ସ ଅପ । ଏହା ଅନଲାଇନ ଚାଟିଂ ପାଇଁ ବ୍ୟବହାର କରାଯାଏ । ଫଟୋ ଭିଡ଼ିଓରୁ ଆରମ୍ଭ କରି ସାଧାରଣ ଚାଟିଂ ନିମନ୍ତେ ଏହା ଖୁବ ଜଣା । ନିକଟରେ ଫେସବୁକ internet.org ନାମକ ଏକ ସହ-ସଙ୍ଗଠନ ଆରମ୍ଭ କରିଛି ।

ଫ୍ରି ବେସିକ୍ସ ହେଲା ଏ ଇଣ୍ଟରନେଟ ଡଟ ଅର୍ଗ ଅଧୀନରେ ଏକ ଯୋଜନା । ତେବେ ଫେସବୁକ ଓ ଫେସବୁକର ସହ-ପ୍ରକଳ୍ପସବୁକୁ ଅଭାବୀ ଦେଶମାନଙ୍କରେ ଅଧିକ ଲୋକପ୍ରିୟ କରିବା ଲାଗି ସେସବୁକୁ ବିନାମୂଲ୍ୟରେ ପହଞ୍ଚାଇବା ପାଇଁ ଏ ଫ୍ରି ବେସିକ୍ସ । ଭାରତ ସମେତ ଜଗତର ୩୦ଟି ଦେଶରେ ଫ୍ରି ବେସିକ୍ସ ଜରିଆରେ ମାଗଣା ସୀମିତ ଫେସବୁକ ସୁବିଧା ଦେବା ଏହାର ଉଦ୍ଦେଶ୍ୟ ।

ଫ୍ରି ବେସିକ୍ସ ଜରିଆରେ ଆଉ କିଛି ମାଗଣା ୱେବସାଇଟ ମଧ୍ୟ ଉପଲବ୍ଧ ହେବ । ତେବେ ଏଠାରେ ଅନେକ ପ୍ରଶ୍ନ ମନରେ ଉଙ୍କିମାରେ? ଏ ମାଗଣା ୱେବସାଇଟସବୁ ବ୍ୟବହାର ପାଇଁ ଲୋଡ଼ା କି ନାଁ ତା’ର ସିଦ୍ଧାନ୍ତ କିଏ ନେବ, ଫେସବୁକ ନାଁ ବ୍ୟବହାରକାରୀ ?

ଫ୍ରି ବେସିକ୍ସ ଅଧୁନା କିଛି ଦେଶରେ ଉପଲବ୍ଧ ହୋଇଥିବା ବେଳେ ଫିଲିପାଇନ୍ସରେ ରହୁଥିବା ଜଣେ ଭାରତୀୟ ଜିତେଶ ଗୋସ୍ୱାମୀ ନିକଟରେ ନିଜେ ନିଜ ମୋବାଇଲରେ ସେଠାର ଫ୍ରି ବେସିକ୍ସ ଇନଷ୍ଟଲ କରି ଯାହା ମତ ଦେଇଛନ୍ତି ତା’ ଭାରୀ ଚିନ୍ତାର ବିଷୟ । ସାଧାରଣ ଫେସବୁକର ଅଧାରୁ ଅଧିକ ସୁବିଧା ଫ୍ରି ବେସିକ୍ସରେ ନାହିଁ ।

ଏଥିରେ ଫେସବୁକ ବାହାରେ ଥିବା ଭିଡ଼ିଓ ମାଗଣାରେ ଦେଖିହେବନି କି ଖବର ଆଦି ସମ୍ପୂର୍ଣ୍ଣ ପଢ଼ିହେବନି । ପୁଣି ମାଗଣାରେ ମିଳିବାକୁ ଥିବା ବାକି ୱେବସାଇଟସବୁ ବାଛିବାରେ ଫେସବୁକର ଏକଚାଟିଆ ଅଧିକାର ରହିବ । ବ୍ୟବହାରକାରୀ କଣ ଚାହାନ୍ତି ନ ଚାହାନ୍ତି ତାହା ଫେସବୁକ ନିର୍ଣ୍ଣୟ କରିବ ।

ଆଉ ଗରୀବ ମାଇପ ସବୁରି ଶାଳୀ ନ୍ୟାୟରେ ଗରୀବଙ୍କୁ ମାଗଣା ତିଅଣର ସୁଆଦ ଚଖାଇ ଫେସବୁକ ସେମାନଙ୍କୁ ଇଣ୍ଟରନେଟ ଯୋଗାଇବା ଆଳରେ କେବଳ ଫେସବୁକର ପରିଧି ଭିତରେ ବାନ୍ଧି ରଖିବ ।

ଫେସବୁକ ଉଇକିପିଡ଼ିଆ Mozilla ଭଳି ଖୋଲା ସଫ୍ଟଓଏର ବ୍ୟବହାର କରେନାହିଁ କି ଲୋକଙ୍କ ଉଦ୍ୟମରେ ତିଆରି ନୁହେଁ । ଏହା ସମ୍ପୂର୍ଣ୍ଣ ଭାବେ ଏକ ଲାଭକାରୀ କମ୍ପାନି । ତେଣୁ ଫେସବୁକର ସବୁ କାମ ଲୋକଙ୍କ ସ୍ୱାର୍ଥ ନୁହେଁ ବରଂ ନିଜ ସ୍ୱାର୍ଥ ହାସଲ ପାଇଁ ।

ଅଭାବୀ ଦେଶର ଲୋକଙ୍କ ମନ ଜିଣିବା ପାଇଁ ଓ ନିଜର ବ୍ୟବହାର କାରୀଙ୍କ ସଂଖ୍ୟା ବଢ଼ାଇବା ପାଇଁ ଏହା ଫେସବୁକର ଏକ ମସୁଧା ବୋଲି ଅନେକ ଚିନ୍ତାଶୀଳ ଲୋକେ ମତ ଦେଇଛନ୍ତି । ଫେସବୁକର ଏହି ଏକ ଚାଟିଆ କାମ ନେଟ ନିଉଟ୍ରାଲିଟି ବା ନେଟ ସମାନତାର ପକ୍ଷପାତୀ ।

ପକ୍ଷପାତ ନ କରି ସବୁ ୱେବସାଇଟକୁ ସମାନ ଭାବେ ଗଣିବା ନେଟ ସମାନତା ନାମରେ ଜଣା । ଫ୍ରି ବେସିକ୍ସରେ ଥିବା ନାନାଦି ଭୁଲ ବିଷୟକୁ ଭଲ ଭାବେ ତନଖି କରିବା ପାଇଁ ନିକଟରେ ଟେଲିକମ ରେଗୁଲେଟରି ଅଥରିଟି ଅଫ ଇଣ୍ଡିଆ (ଟ୍ରାଇ) ଫ୍ରି ବେସିକ୍ସକୁ କିଛି ସମୟ ପାଇଁ ବାସନ୍ଦ କରିଛି ।

ଚତୁର ଫେସବୁକ କେବେ ଚାଷୀମାନଙ୍କୁ ପାଣିପାଗ ଜାଣିବାରେ ଫ୍ରି ବେସିକ୍ସ ସାହାଯ୍ୟ କରିବ ତ କେବେ ଅଭାବୀ ଭାରତୀୟଙ୍କୁ ପରସ୍ପର ସହ ଯୋଡ଼ିବାରେ ସାହାଯ୍ୟ କରିବ ବୋଲି ଦେଶସାରା ସହର ବଜାର ସବୁଠି ଜୋରଦାର ପ୍ରଚାର ଚଳାଇଥିଲା ।

ସବୁ ଖବରକାଗଜରେ ପୂରା ଫର୍ଦ ବିଜ୍ଞାପନ ଆଉ ସବୁ ବସ ରହିବା ସ୍ଥାନରେ ବଡ଼ ବଡ଼ ହୋର୍ଡ଼ିଂ । ଆଉ ଏଥିରେ ସଭିଙ୍କୁ ଅନୁରୋଧ ଥିଲା ଏକ ନମ୍ବରକୁ ମିସ କଲ ଦେଇ ଫ୍ରି ବେସିକ୍ସକୁ ସମର୍ଥନ କରିବା ପାଇଁ । ଏ ପ୍ରଚାର ପ୍ରସାରରେ ୧୦୦ କୋଟିରୁ ଅଧିକ ବୋଧେ ଖର୍ଚ୍ଚ ହୋଇଥିବ! କେଉଁଠୁ ଆଦାୟ ହେବ ଏ ପଇସା? ଫ୍ରି ବେସିକ୍ସର ମାଗଣା ଫେସବୁକ ଓ ବାକି ୱେବସାଇଟକୁ ସୁବିଧା ଦେବାର ଏ ଆଳ ବିରୋଧରେ ଝଡ଼ ଉଠିଛି ।

Savetheinternet.in ନାମରେ ଏକ ୱେବସାଇଟ ତିଆରି କରି ଇଣ୍ଟରନେଟରେ ସମାନତା ପାଇଁ ଲଢ଼ୁଥିବା କର୍ମୀଏ ଏକରକମ ଆନ୍ଦୋଳନ ଆରମ୍ଭ କରିଛନ୍ତି ।

ଫେସବୁକର ମିସ କଲ ଅଭିଯାନର କଡ଼ା ଜବାବ ଦେବାପାଇଁ Savetheinternet.in ଓ fsmi.in ନାମକ ଦୁଇଟି ୱେବସାଇଟ ପକ୍ଷରୁ ଜନସାଧାରଣଙ୍କୁ ସଚେତନ କରାଯାଇ ଟ୍ରାଇ ପାଖକୁ ଇମେଲ ପଠାଇବା ଅନୁରୋଧ କରାଯାଇଥିଲା । ଫେସବୁକର କୋଟି କୋଟି ଟଙ୍କା ଖର୍ଚର ମିସ କଲ ଅଭିଯାନରୁ ୧୦ ଲକ୍ଷ ସମର୍ଥନ ମିଳିଥିବା ବେଳେ ବିନା ପଇସାରେ ସାଢ଼େ ଚାରି ଲକ୍ଷରୁ ଅଧିକ ଲୋକ ଇମେଲ ଜରିଆରେ ଫ୍ରି ବେସିକ୍ସକୁ ବିରୋଧ କରି ଟ୍ରାଇକୁ ଇମେଲ କରିଛନ୍ତି ।

ତେବେ ଫେସବୁକର ଏହି ସମର୍ଥନ ସଂଗ୍ରହକୁ ଟ୍ରାଇର ସଭାପତି ଆରଏସ ଶର୍ମା ଘୋର ନିନ୍ଦା କରି କହିଛନ୍ତି ଏଯାବତ ଫେସବୁକ ଯେଉଁ ୧୪ ଲକ୍ଷ ଲୋକଙ୍କୁ ପ୍ରଭାବିତ କରି ସେମାନଙ୍କୁ ମିସ କଲ ଜରିଆରେ ସମର୍ଥନ ଆଣିଛି ତା’ ମୂଲ୍ୟହୀନ ।

୧୦୦ କୋଟି ଟଙ୍କାର କି ଅପଚୟ! ସେତିକି ପଇସାରେ ଶହେ ହଜାର ଲୋକଙ୍କ ମାଗଣାରେ କିଛି ଉପଯୋଗୀ ସାଇଟ ଦେଖିବା ସୁଯୋଗ ଦେଇଥିଲେ ଆହୁରି ଭଲ ହୋଇଥାନ୍ତା ।

ଫ୍ରି ବେସିକ୍ସରେ ଲୁଚି ରହିଥିବା ସବୁଠୁ ବଡ଼ ବିପଦଟି ହେଲା ଫେସବୁକର ତଥ୍ୟ ସଂଗ୍ରହ କାରସାଦି । ବ୍ୟବହାର୍ରକାରୀ କି କି ସାଇଟ ଦେଖିଲେ, କାହା ସଙ୍ଗେ ଗପିଲେ ସେସବୁ ଏହା ତାଙ୍କ ଅଗୋଚରେ ଟିକିନିଖି କରି ହିସାବ ରଖିଥାଏ । ସଳଖେ କହିଲେ ଫେସବୁକରେ ବ୍ୟବହାର କାରୀ ବାପୁଡ଼ାର ବ୍ୟକ୍ତିଗତ ବୋଲି କିଛି ରହିବ ନାହିଁ ।

ଫେସବୁକ ଆରମ୍ଭରୁ ଶବ୍ଦସମ୍ଭାରରେ ଭରା ଏକ ଲମ୍ବା ବିବରଣୀରେ ତଥ୍ୟ ସଂଗ୍ରହରେ ବ୍ୟବହାରକାରୀଙ୍କ କୌଣସି ଅଭିଯୋଗ ନାହିଁ ବୋଲି ଖୁବ ଚତୁର ଭାବେ ତାଙ୍କଠୁ ଅନୁମତି ନେଇଯାଏ । ଅନଭିଜ୍ଞ ବ୍ୟବହାରକାରୀ ପାଠ ଘର ଯାହା ସେଥିରେ ସେ ଏ ଫିକର ବୁଝିବ ବା କିପରି?

ଇଣ୍ଟରନେଟ ଓକିଲ ଇବେନ ମଗଲେନ ଓ ମିସି ଚୌଧୁରୀ ଏକ ଲେଖାରେ ଦୁହେଁ ତନ୍ନ ତନ୍ନ କରି ବିଶ୍ଳେଷଣ କରିଛନ୍ତି ଏ କଥା । ପ୍ରଶ୍ନ ଉଠେ ଯେ ଫେସବୁକ ଧନୀ ଦେଶରେ ଏଭଳି ବେପରୁଆ ଅପସାହସ କରିବକି?

ଏହି ଭଳି ଆଉ ଏକ କୁଟିଳ ବିଷୟ ଥିଲା ଏଆରଟେଲ ଜିରୋ । ଏଆରଟେଲ ଜିରୋ ଆଉ ଫ୍ରି ବେସିକ ଭିତରେ ବଡ଼ ସମାନତା ହେଉଛି ଉଭୟ କମ୍ପାନି କିଛି ୱେବସାଇଟଙ୍କଠାରୁ ବିପୁଳ ପରିମାଣରେ ପଇସା ନେଇ ସେ ୱେବସାଇଟସବୁକୁ ବ୍ୟବହାର କାରୀଙ୍କ ପାଇଁ ମାଗଣାରେ ଯୋଗାଇଥାନ୍ତି ।

ଏଥିରେ ସେବା ଯୋଗାଣକାରୀ ଓ ମାଗଣାରେ ବ୍ୟବହାର କାରୀଙ୍କ ପାଖେ ପହଞ୍ଚୁଥିବା ୱେବସାଇଟସବୁଙ୍କ ସିଧାସଳଖ ସ୍ୱାର୍ଥ ନିହିତ ଥାଏ । ପାଠକଙ୍କୁ ଜ୍ଞାନ ବିତରଣ କରିବାର ତୁଚ୍ଛା ବିଜ୍ଞାପନ ତଳେ ଯେ ଏତେ ଫନ୍ଦି ରହିଛି ତାହା ପାଠକ ବାପୁଡ଼ା ବା ଜାଣିବ କେମନ୍ତେ? ଆଉ ଧନୀ ଦେଶରେ ଏଭଳି ଫିକର ସହଜେ ଧରାପଡ଼ିବ ବୋଲି ଫେସବୁକ ଭଳି କମ୍ପାନି ୩୦ଟି ଅଭାବୀ ଦେଶକୁ ଥୋପ କରିଛି ।

ତେବେ ମାଗଣାରେ କିଛି ୱେବସାଇଟ ଉପଲବ୍ଧ କରାଇବା କିଛି ନୂଆ ନୁହେଁ । ଅତୀତରେ ବଙ୍ଗଳାଦେଶରେ Mozilla (ଫାୟାରଫକ୍ସ ଭଳି ନାନାଦି ଖୋଲା ସଫ୍ଟଓଏର ପରିଚାଳନା କରୁଥିବା ସଙ୍ଗଠନ) ଗ୍ରାମୀଣଫୋନ ନାମକ ଯୋଜନା ଜରିଆରେ ୫ ଲକ୍ଷରୁ ଅଧିକ ଲୋକଙ୍କୁ ଦିନକୁ ୨୦ MBର ଡାଟା ଦେବା ସାରା ଜଗତରେ ଆଲୋଚନା ବିଷୟ ହୋଇଥିଲା ।

ମୋଜିଲା ଓ ମୋବାଇଲ ସେବା ଯୋଗାଣକାରୀ ଟେଲିନର ଏଥି ପାଇଁ ପ୍ରଶଂସାର ପାତ୍ର ହୋଇଥିଲେ । ଅନେକ ଦେଶରେ ସାଧାରଣ ଲୋକେ ବିଭିନ୍ନ ବିଷୟରେ ଜାଣିବାକୁ ପାଉନଥିବାରୁ ଏସଏସମେସ ଓ ଇଣ୍ଟରନେଟ ଯୋଗେ ସାଧାରଣ ଲୋକଙ୍କ ଦ୍ୱାରା ସମ୍ପାଦିତ ଅନଲାଇନ ଜ୍ଞାନକୋଷ ଉଇକିପିଡ଼ିଆ, ଉଇକିପିଡ଼ିଆ ଜିରୋ ପ୍ରକଳ୍ପ ଜରିଆରେ ମାଗଣାରେ ଯୋଗାଇଦିଆଯାଉଛି ।

ଭାରତରେ ମଧ୍ୟ ପରୀକ୍ଷାମୂଳକ ଭାବେ କିଛି ସ୍ଥାନରେ ଏହି ସୁବିଧା ଦିଆଯାଇଛି । ତେବେ ଜ୍ଞାନ ବିତରଣ ପାଇଁ ଏହି ଭଳି ଉଦ୍ୟମ ସବୁରି ଆଦର ପାଆନ୍ତି । କିନ୍ତୁ ନିଜ ସ୍ୱାର୍ଥ ହାସଲ ନିମନ୍ତେ ଜଗତର ହିତ ନାମରେ ଗରୀବଙ୍କ ଗରିବୀକୁ ଥୋପ କରି ଫେସବୁକର ଫ୍ରି ବେସିକ୍ସ କେବଳ ନିନ୍ଦା ପାଇଛି । ଲୋକଙ୍କ ସମର୍ଥନ ପାଇବାକୁ ହେଲେ କିଛି ପରିମାଣରେ ସଚ୍ଚା ହେବାକୁ ଯେ ପଡ଼ିବ ଏ କଥାଟି ଫେସବୁକ ଏବେଠୁ ହେଜିଲେ ଆଗକୁ ମଙ୍ଗଳ ହେବ ।

ଲେଖକ ପରିଚୟ:

ଶୁଭାଶିଷ ପାଣିଗ୍ରାହୀ ବେଙ୍ଗାଳୁରର ସେଣ୍ଟର ଫର ଇଣ୍ଟରନେଟ ଆଣ୍ଡ ସୋସାଇଟିରେ ଭାରତୀୟ ଭାଷାରେ ଉଇକିପିଡ଼ିଆ ଓ ଉଇକିମିଡ଼ିଆ ପ୍ରକଳ୍ପ ତଥା ସ୍ୱେଚ୍ଛାସେବୀ ସମୂହର ବିକାଶ ନିମନ୍ତେ ବିଗତ କିଛି ବର୍ଷ ଧରି କାମ କରୁଛନ୍ତି ।

ଆଗରୁ ଇଂରାଜୀ ସମେତ ବିଭିନ୍ନ ଦକ୍ଷିଣ ଏସୀୟ ଭାଷାରେ ଉଇକିପିଡ଼ିଆର ବିକାଶ ପାଇଁ ସେ ଉଇକିମିଡ଼ିଆ ଫାଉଣ୍ଡେସନରେ ସକ୍ରିୟ ଥିଲେ । ଉଇକିମାନିଆ ହଂକଂ, ଲଣ୍ଡନ ଓ ମେକ୍ସିକୋ ସିଟି, ଓପନ ନଲେଜ ଡେ ବର୍ଲିନ, ଗ୍ଲୋବାଲ ଭଏସେସ ସମିଟ ଫିଲିପାଇନ୍ସ ଆଦି ଦେଶବିଦେଶରେ ଭାଷାର କମ୍ପ୍ୟୁଟରୀକରଣ ଓ ଭାଷା ପାଇଁ ଟେକନୋଲୋଜି ବିକାଶ ସମ୍ବନ୍ଧରେ ସେ ବିଭିନ୍ନ ସମ୍ମିଳନୀରେ ନିଜର ବକ୍ତବ୍ୟ ପ୍ରଦାନ କରିଛନ୍ତି ।

ଦୀର୍ଘ ଦିନ ଧରି ଓଡ଼ିଆ ଉଇକିପିଡ଼ିଆ ସହିତ ମୋଜିଲା, ଓପନ ଗ୍ଲାମ, ଗ୍ଲୋବାଲ ଭଏସେସ, ଓପନସୋର୍ସ ଡଟ କମ ଆଦି ବିଶ୍ୱସ୍ତରୀୟ ପ୍ରକଳ୍ପ ସହ ସକ୍ରିୟ ଭାବେ ଜଡ଼ିତ । ଜଣେ ନିୟମିତ ସ୍ତମ୍ଭକାର ଭାବେ ସେ ବିଭିନ୍ନ ଓଡ଼ିଆ ଓ ଇଂରାଜୀ ଖବରକାଗଜ, ବ୍ଲଗ ଆଦିରେ ଓ ନିଜ ବ୍ଲଗ http://psubhashish.comରେ ନିଜର ନିବନ୍ଧ ଲେଖନ୍ତି ।ଟୁଇଟରରେ ଶୁଭାଶିଷଙ୍କ ସହ @subhapa ରେ ଯୋଗାଯୋଗ କରିହେବ ।

ସେଣ୍ଟର ଫର ଇଣ୍ଟରନେଟ ଆଣ୍ଡ ସୋସାଇଟି, ବେଙ୍ଗାଳୁର
psubhashish@gmail.com

For more details visit http://editors.cis-india.org/a2k/blogs/b15b47b24b47-b2eb3eb17b23b3e-b2bb47b38b2cb41b15b30-b2bb4db30b3f-b2cb47b38b3fb15b4db38

କେତେ ମାଗଣା "ଫ୍ରି ବେସିକ୍ସ

subha — 2016-01-30T11:05:02Z

This op-ed was published in Odia newspaper "The Samaja" on January 4, 2016. Sunil Abraham and Pranesh Prakash were quoted.

Facebook has set its foot in 30 developing countries with its app Free Basics to provide free access to Facebook, Facebook’s products like WhatsApp and a few websites Facebook has partnered with. This has raised eyebrows all over India as Free Basics compromises with user security and privacy and it violates Net Neutrality. This piece quotes from Eben Moglen and Mishi Choudhury’s post where they detail about the security concerns with the app. This piece also tells why projects like Mozilla’s GrameenPhone project in Bangladesh and Wikipedia Zero across many nations got wider acceptance and support for their noble humanitarian effort where Facebook is getting severe heat across all the 30 nations. Could Facebook dare to launch such a project in rich nations or it is easy to make poor nations easy targets with poor services?

Read the original here.

A scanned version of the original article is below:

For more details visit http://editors.cis-india.org/a2k/blogs/b15b47b24b47-b2eb3eb17b23b3e-b2bb4db30b3f-b2cb47b38b3fb15b4db38