The Centre for Internet and Society
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<p>
For more details visit <a href='http://editors.cis-india.org/raw/histories-of-the-internet/blogs/law-video-technology/topic_images'>http://editors.cis-india.org/raw/histories-of-the-internet/blogs/law-video-technology/topic_images</a>
</p>
No publishersachia2009-04-02T06:40:01ZFolderThe Project Vidya Story: 'Study Locally, Learn Globally'
http://editors.cis-india.org/a2k/blogs/study-locally-learn-globally-the-project-vidya-story
<b>This is first of a series of blog entries by Ajay Narendran, the architect of Vidya and former Content Manager and Webmaster, Amrita University, guest blogging on the CIS website. His blog series will attempt to capture the experience of building an intranet archive at Amrita University, Coimbatore. </b>
<p>
For more details visit <a href='http://editors.cis-india.org/a2k/blogs/study-locally-learn-globally-the-project-vidya-story'>http://editors.cis-india.org/a2k/blogs/study-locally-learn-globally-the-project-vidya-story</a>
</p>
No publishersachia2011-08-04T04:41:42ZBlog EntryThe Internet and Illusions of Space and Liberty
http://editors.cis-india.org/events/the-internet-and-illusions-of-space-and-liberty
<b>Talk by Kiran Sahi</b>
<p>The Centre for Internet and Society invites you to a talk by Kiran Sahi on 'The Internet and Illusions of Space and Liberty'. Kiran will use this
talk as an opportunity to look at the parallels that can be drawn
between the spatial elements of the mind, corporal physical space, and
the virtual domains of the internet. Reflecting on
the roles of these parallel domains, we can discuss how dissident
elements within society, traditionally found in geographical
wildernesses, have found new opportunities for freedom in the realms
of the internet. The talk will also explore the idea of
the internet as a heterotopia, a safe space for displaced realities,
and the pressures which make it adopt a panoptic structure.</p>
<h3>Speaker <br /></h3>
<p>Kiran
Sahi is is a designer and educator working from his home in a village
north of Bangalore. His work involves presenting and interpreting
the changing socio-political geography of his locality for teachers
and students visiting from international academic institutions and
education authorities. He also advises on local education development
projects. Kiran works as a consultant design faculty, teaching materials
and sculptural design, and runs a ceramic studio that produces large
scale ceramic murals for public spaces. His previous work has
involved exploring cultural narratives and their visual
representations. He has been interested in exploring the
possibilities of a collaborative community based business involving
professional designers and local craftsmen. <br /></p>
<h3>Time and Date</h3>
<p>Saturday, 7 March, 2009; 5.00-6.30 pm</p>
<h3>Venue<br /></h3>
<p>Centre for Internet and Society, No. D2, 3rd Floor, Sheriff Chambers,
14, Cunningham Road, Bangalore - 560052</p>
<h3>Map <br /></h3>
<p>For a map, please click <a class="external-link" href="http://maps.google.com/maps?f=q&hl=en&geocode=&q=centre+for+internet+and+society+bangalore&jsv=128e&sll=37.0625,-95.677068&sspn=61.070016,113.203125&ie=UTF8&cd=1&latlng=12988395,77594450,9857706471034889432&ei=5QXRSKLrNYvAugPX4YSAAg">here</a>.</p>
<p> </p>
<p>
For more details visit <a href='http://editors.cis-india.org/events/the-internet-and-illusions-of-space-and-liberty'>http://editors.cis-india.org/events/the-internet-and-illusions-of-space-and-liberty</a>
</p>
No publishersachiaInternet Governance2011-04-05T04:40:05ZEventThe Dark Fibre Files: 'Steal This Film' and the Pirate Bay Trial
http://editors.cis-india.org/a2k/blogs/the-dark-fibre-files-steal-this-film-and-the-pirate-bay-trial
<b>In this posting, the fifth blog entry on the making of the film 'Dark Fibre' by Jamie King and Peter Mann, Siddharth Chadha discusses the Swedish trial of the Pirate Bay, which brought up some of the debates on intellectual property rights and piracy that were highlighted in 'Steal This Film'. </b>
<p>In August 2006, Jamie King shot Part I of 'Steal This Film' in Sweden, combining found material, propoganda-like slogans and Vox Pops, along with accounts from members of the Pirate Bay, Piratbryan and the Pirate Party. The film critiques the alleged regulatory capture attempt performed by the Hollywood film lobby in order to leverage economic sanctions by the United States government on Sweden through the WTO. The film interviews the Pirate Bay Members Fredrik Neij, Gottfrid Svartholm, and Peter Sunde and Piratbryan members Rasmus Fleischer, Johan and Sara Anderson, who recount the search and seizure raid conducted by the Swedish police, with the purpose of disrupting the Pirate Bay's BitTorrent tracker. This raid, according to the Pirate Bay members, was against the Swedish law and conducted under pressure from the Motion Pictures Association of America. The documentary was officially released on filesharing networks on 28 December 2007 and, according to the filmmakers, downloaded 150,000 times in the first three days of distribution. The Pirate Bay encouraged the downloading of 'Steal This Film II', announcing the film's release on its blog. 'Steal This Film II' was also screened by the Pirate Cinema, Copenhagen, in January 2008.</p>
<p align="center"> </p>
<p>In the post-Napster era of peer to peer networks, the Pirate Bay case has been the media highlight on file sharing. After the police raided 12 different premises in May 2006, confiscating 186 servers and causing the torrent tracker to shut down for three days, the Pirate Bay re-opened to double the number of visitors, as its popularity got a shot in the arm with the extensive media coverage. While the MPAA termed the raids as extremely succesful, the Pirate Bay, which restored its servers in three days, thought otherwise. After a preliminary investigation and interrogation by the police, a four thousand page report was prepared by the prosecutor, in preperation of a trial. The Swedish prosecutors filled charges in January 2008 against four individuals they associated with The Pirate Bay for 'promoting other people's infringement of copyright laws'. <br /><br />The Swedish prosecution raised a furore in the world of Intellectual Property by suing The Pirate Bay. While the prosecutors contended that millions of people get access to copyrighted materials such as movies, songs, and software programs, which can be downloaded for free by going to The Pirate Bay site, the contentious issue lies in the fact that the Pirate Bay itself does not host any files. Just as Google is an index of links, The Pirate Bay is an index of where those files are located. The original files are located across millions of computers around the world, which may only have a small fragment of the original file, and which share these fragments using BitTorrent. According to CableLabs, an organisation of the North American cable industry, BitTorrent represents 18% of all Broadband traffic. Apart from suing The Pirate Bay, the major Hollywood studios have also tried pressure tactics to contain copyright infringement. HBO in 2005, for example, poisoned torrents of its 'Rome' TV show by providing bad chunks of data to clients. It also sent cease and desist letters to the Internet Service Providers of BitTorrent users. The increased pressure from the Hollywood lobby and persistent lawsuits have resulted in the shutdown of various BitTorrent indexing sites, such as the Supernova.org, Torrentspy, LokiTorrent, Demonoid, Oink.cd and EliteTorrents.org. <br /><br />The Pirate Bay Trial started on 16th Feburary 2009, with defense lawer Per E. Samuelson, arguing that it is legal to offer a service that can be used both legally and illegally, under the Swedish Law. He compared the Pirate Bay services to making cars that can be driven faster than the speed limit. On the second day of the trial, the prosecution dropped half of the charges against the Pirate Bay, due to shortcomings in evidence. Prosecutor Hakan Roswall dropped all charges related to 'assisting copyright infringement', leaving 'assisting making available' as the remaining charge. The next day of the trial saw an argument by the defense attorney Per Samuelson, which was latter dubbed as the King Kong defense, popularised by the blogs, file sharing news feeds and the media. The defense stated:<br /><br /><em>EU directive 2000/31/EC says that he who provides an information service is not responsible for the information that is being transferred. In order to be responsible, the service provider must initiate the transfer. But the admins of the Pirate Bay don’t initiate transfers. It’s the users that do and they are physically identifiable people. They call themselves names like King Kong... According to legal procedure, the accusations must be against an individual and there must be a close tie between the perpetrators of a crime and those who are assisting. This tie has not been shown. The prosecutor must show that Carl Lundström personally has interacted with the user King Kong, who may very well be found in the jungles of Cambodia...</em><br /><br />The remaining six days of the trial saw questioning of the accused, witness depositions by plaintiffs and conflicting academic research by experts, as the prosecution tried to show that the Pirate Bay was an immensely profitable business that made money by helping others infringe copyright laws. The four operators of the site, Fredrik Neij, Gottfrid Svartholm, Peter Sunde and Carl Lundstrom, were convicted by Stockholm district court on 17 April 2009 and sentenced to one year in jail each and a total of 30 million SEK (approximately 3.5 million USD, 2.7 million EUR) in fines and damages. In its verdict the court stated that 'responsibility for assistance can strike someone who has only insignificantly assisted in the principal crime'. <br /><br />Even while filming of 'Dark Fibre' was on here in Bangalore, Jamie and his crew were filming outside the courtroom in Stockholm, as the the subjects of 'Steal This Film' went on trial and were convicted. The convicted are now preparing to appeal against the sentence and the fine in the higher Swedish court. </p>
<p><img class="image-inline image-inline" src="uploads/copy_of_piratebay.gif/image_preview" alt="piratebay" height="400" width="363" /> <img class="image-inline image-inline" src="uploads/copy_of_prtbay.jpg/image_preview" alt="prtbay" height="315" width="284" /></p>
<p>
For more details visit <a href='http://editors.cis-india.org/a2k/blogs/the-dark-fibre-files-steal-this-film-and-the-pirate-bay-trial'>http://editors.cis-india.org/a2k/blogs/the-dark-fibre-files-steal-this-film-and-the-pirate-bay-trial</a>
</p>
No publishersachiaPiracyIntellectual Property RightsCable TV2011-08-04T04:41:57ZBlog EntryThe 'Dark Fibre' Files: The Grey Market Deficit
http://editors.cis-india.org/a2k/blogs/the-dark-fibre-files-the-grey-market-deficit
<b>In this, the third entry in his series discussing the making of 'Dark Fibre' by Jamie King and Peter Mann, Siddharth Chadha gives an overview of piracy in the pay TV industry. </b>
<p> </p>
<p>Television emerged as one of the biggest gainers in a post-liberalisation India during the '90s. From 41 television sets and one channel in 1962, the country has come a long way, with over 130 million homes with televison. Cable TV has spurred an unprecedented revolution for the entertainment and advertising industry. As a country where more than half the population lives on a daily income of less than USD 1 but swears by its Indian Premier League, India has also emerged as the Asian giant in pay TV piracy. The Cable and Satellite Broadcasting Association of Asia, in a pan-Asia survey, pegged the net loss of revenue to the television industry due to pay TV piracy at USD 1.1 Billion in 2008. In its annual report published last year, it estimates that over 21.64 million cable TV homes went unreported, either on account of theft or leakage by local cable operators. This is almost one-fouth of the 8.5 million existing cable TV connections across the country. The report also suggests that 65 percent of the total loss of USD 1.76 Billion due to cable TV piracy in Asia comes from India alone, followed by Thailand at USD 180 Million.</p>
<p> </p>
<p>According to Shashi Kumar, the General Manager of Hathway Cable TV Private Limited, a Multi Service Operator, 'All cable operators report only 10-15 percent of their total subscriber base. Obviously, the piracy figures in this industry will be very high.' A cable operator in Bangalore, on the condition of being anonymous, discloses, 'We are providing cable TV connections to over 800 homes. But we declare only 250, because that is the minimum number of connections that the MSO wants. There are not enough margins in the business to sustain accurate reporting.' The average cost of setting up a cable operation now runs into crores of rupees and the business is not lucrative if it is entirely clean. The average price for a digital cable connection charged by an MSO to the local cablewallah is between Rs. 180-200, the charge to the end consumer is Rs. 250 per connection per month. This does not seem to spell profit for the cable operators. 'An amplifier alone costs Rs. 3500 per unit and serves about 20 homes. The cost of the RJ6 cable is Rs. 4300 a bundle. How can we be expected to do business on a profit margin of Rs. 50 per month? If the margins were higher, perhaps operators would not leak connections,' adds the cable operator.</p>
<p> </p>
<p>While Multi Service Operators seem to be fed up of the situation, there is not much they can do about it. 'There are already 5-6 national level MSOs. And then there are new entrants into the market every month. Despite knowing that the cable operators are under-reporting connections, we continue to work on minimum level subscriptions because the market is extremely competitive. If we take action against a cable operator, we would lose out on whatever business we have to a new player,' adds Shashi, while describing the operations of their company.</p>
<p> </p>
<p>The industry is now looking at growth in the number of Direct To Home subscribers as a deterrent to piracy. Estimates suggest that by 2015, over 40 percent of subscribers in the pay TV universe is likely to comprise DTH owners, up from the current five percent. Frightened of repeated instances of signal piracy on their networks, broadcasters are now investing in signal encryption technology, to ward of the pirates. However, till DTH television becomes the norm rather than the exception, one can expect more tussles between the broadcasters, Multi Service Operators, regulators and cablewallahs, in the world of pay TV piracy.</p>
<p> </p>
<p align="center"><img class="image-inline image-inline" src="uploads/thefutureishere.jpg/image_preview" alt="the future is here" height="260" width="400" /></p>
<p align="center"><img class="image-inline image-inline" src="uploads/TVServantLogo.png/image_preview" alt="tv servant logo" height="400" width="250" /></p>
<p> </p>
<p> </p>
<p>
For more details visit <a href='http://editors.cis-india.org/a2k/blogs/the-dark-fibre-files-the-grey-market-deficit'>http://editors.cis-india.org/a2k/blogs/the-dark-fibre-files-the-grey-market-deficit</a>
</p>
No publishersachiaPiracyIntellectual Property RightsCable TV2011-08-04T04:41:47ZBlog EntryThe 'Dark Fibre' Files: Interview with a Cable Operator
http://editors.cis-india.org/a2k/blogs/the-dark-fibre-files-interview-with-a-cable-operator
<b>This is the second in a series of posts documenting the making of the film 'Dark Fibre' by Jamie King and Peter Mann, in Bangalore. In this post, Siddharth Chadha shares an interview he had with Thyagraj, a cable operator in Austin Town, to throw some light on the world of the cable operator, the subject of the film. </b>
<p>Seated in his small cabin office in Austin Town, you would never be able to tell that Thyagraj, the owner of Sri Devi Cable in Austin Town, Bangalore, cannot walk on his own. He was a national level fencing player before an unfortunate accident 18 years ago that immobilised him. But that has not deterred his spirit in running his cable network or canvassing for the local Lok Sabha candidate of the area.</p>
<p><strong>Siddharth Chadha: When did you enter the Cable Television business? Was there trouble setting up shop? </strong></p>
<p><strong>Thyagaraj:</strong> I entered the Cable Television business way back in 1992. I purchased an existing network, here in Austin Town, which was showing six channels – Zee TV, Raj TV, Sun TV, a sports channel and Doordarshan. We had 168 connections back then and we used to charge Rs. 50 to Rs. 75 per connection. Most cable networks around that time were trying to poach each others connections but I was not greedy. I have never disturbed my neighboring operators and have only maintained as many connections as I can give good quality and service to.</p>
<p><strong>SC: How did the business evolve over the years? How did you cope with the changing times? </strong></p>
<p><strong>T:</strong> The major change in the services occurred when the concept of Multi Service Operators came in about in 1997. Until then, I was providing 42 channels, including Pay Channels, to whom I would give money out of my own pocket. But after the entry of MSO's, we were forced to get connected to them as our costs of operation were rising. I first associated with BI TV, which was subsequently bought over by Hathway. Citi Cable and Hinduja were the other two MSO companies that came into the fray at the same time. This was also the time when the monthly subscriptions shot up to Rs. 150.</p>
<p><img class="image-inline image-inline" src="uploads/CoaxialCable.jpg/image_preview" alt="co-axial cable" height="261" width="385" /> <img class="image-inline image-inline" src="uploads/TVTunerDevice.jpg/image_preview" alt="tv tuner device" height="316" width="400" /></p>
<p><strong>SC: Does DTH threaten to take over your business? </strong></p>
<p><strong>T:</strong> Now that the Direct to Home services have come in, we are faced with a new challenge. But I personally have not lost any customers to these new DTH operators. They are very expensive and our quality standards are at par with any other service. We charge Rs. 200 per month for our services as compared to Tata Sky and BIG TV which cost at least Rs. 300. Also, I feel that if you give customers quality, they will stick by you.</p>
<p><img class="image-inline image-inline" src="uploads/TataSkyDTH.JPG/image_preview" alt="tata sky" height="299" width="400" /> <img class="image-inline image-inline" src="uploads/copy_of_BigLOGO.png/image_preview" alt="BIG logo" height="400" width="250" /></p>
<p><strong>SC: What are the main challenges to your business now? </strong></p>
<p><strong>T:</strong> The costs of running the business have risen considerably. When we started in the '90s, most operations were set up with a budget of under Rs. 5 Lakhs. Now, the cost of setting up a network runs into crores of rupees. The operations require setting up a dish, LNBs to receive signals, modulators and recievers, amplifiers to send output to residences using branch cables. The costs of maintenance, along with the salaries, are pretty high. This is what causes many operators to under-report customers. Otherwise, we would not be able to survive in the market.</p>
<p><strong>SC: Do you participate in the local Karnataka State Cable Operators Association and its negotiations with TRAI? </strong></p>
<p><strong>T:</strong> I appreciate the regulations that TRAI has come up with. This prevents the MSO's from overcharging the customers and also keeps in mind our interests. However, I myself do not participate in the meetings called by Karnataka Cable Operators Association. I think that their organization is all about politics and greed. We should not be looking at increasing prices for the customers, just for our own benefit. There have been major interuptions in the past, such as in 2005 when the Tamil Channels were blocked out after the Cauvery dispute or when the TRAI and the Association could not come up with a mutually feasible tariff plan. Such blackouts hurt us as we don't earn any money during those days. There is no point trying to defy these associations as our office will then be ransacked. They follow the policy of not doing anything themselves, and not letting others do their work either. The need of the times is for people to do creative things--do new things differently.</p>
<p>
For more details visit <a href='http://editors.cis-india.org/a2k/blogs/the-dark-fibre-files-interview-with-a-cable-operator'>http://editors.cis-india.org/a2k/blogs/the-dark-fibre-files-interview-with-a-cable-operator</a>
</p>
No publishersachia2011-08-04T04:41:36ZBlog EntryThe 'Dark Fibre' Files: Cable TV Technology for Dummies
http://editors.cis-india.org/a2k/blogs/the-dark-fibre-files-cable-tv-technology-for-dummies
<b>In the fourth entry documenting the making of 'Dark Fibre', a film by Jamie King and Peter Mann, Siddharth Chadha simplifies cable TV technology for the uninitiated. </b>
<p> </p>
<p>Confused about the difference between an MSO and a COAX? Well, this will simplify cable TV for you.</p>
<p>The system of providing television to consumers using radio frequency signals transmitted to televisions using fixed optical fibers or co-axial cables is called cable television. This is different from the over-the-air method used in traditional television broadcasting (via radio waves) for which a television antenna is required. FM radio programming, high-speed internet, telephony, and similar non-television services may also be provided.</p>
<p>Still confused? It's simple.</p>
<p>Your local cablewallah is a Private Cable Operator, a private small cable company dealing/competing with the Multi System Operators (MSO), who is an operator of multiple cable systems. For example, Hathway, Siti Cable, In TV are MSOs who operate either directly or via small cablewallahs. When cable TV was first introduced in India, small entrepreneurs set up their private cable companies, providing anywhere between seven to twenty channels to their local neighborhoods. They put up their own cable dish to down-link the broadcast signals from the satellite. Up until 1997, this was the only way one could access cable television; but this changed with the entry of the Multi Service Operators, who used better technology to provide clearer pictures, better sound and up to a 100 channels.</p>
<p>The broadcaster up-links the signal to their channel via satellite. The MSO down-links this signal, using a control room or a rear end. Inside the control room would be a set of RF signal modulators. Scientific Atalanta is an industry standard in India that provides control room equipment to various MSOs. The MSOs, which started off with analog technology to transmit their signals, are now moving to digital cable, delivering cable television as digital data instead of an analog frequency.</p>
<p>Because many MSOs continue to use analog transmission for low-numbered channels, and digital transmission for higher channels, a typical digital cable box is also able to convert traditional analog cable signals. Despite the advance of cable-ready television sets, most users need a cable box to receive digital channels. However, customers who do not subscribe to any digital channels can go without; MSOs provide "basic cable" service within the analog range, avoiding the need for distributing a box. However, advanced carrier services such as pay per view and video on demand will require a box.</p>
<p>Digital television allows for a higher quality and quantity of cable TV signals. Digital transmission is compressed and allows a much greater capacity than analog signals it almost completely eliminates interference. Digital converters have the same purpose as analog ones but are able to receive digital cable signals. With more data than analog in the same bandwidth, the system delivers superior picture and sound quality.</p>
<p>The MSO further re-transmits the RF signal from to the cablewallah, via coaxial optical cables or simply known as COAX that in turn boosts this signal using amplifiers and provide it to various homes using a common type of optical cable called RG6. The term RG was initially used by the US Military as an abbreviation for Radio Guide, but the term is now obsolete. RG6, in common practice, refers to coaxial cables with an 18 AWG center conductor and 75 ohm characteristic impedance. It typically has a copper-coated steel center conductor and a combination aluminum foil/aluminum braid shield. They are usually fitted with F connector style, in each end.</p>
<p align="center"><img class="image-inline image-inline" src="uploads/submarineumbilicalcable259620.jpg/image_preview" alt="Submariine Umblical Cable" height="386" width="400" /></p>
<p>Once the signal reaches a cablewallah, the responsibility of the MSO ends, and it is up to the Cable Operator to maintain and distribute cable television from there onwards. Once the signal reaches the consumer's home, it is processed by a television converter box, popularly known as a set top box. A set top box is an electronic tunning device that transposes or converts any of the available channels from a cable television service to an analog RF signal on a single channel. The device enables televisions which are not cable ready to receive cable channels.</p>
<p align="center"><img class="image-inline image-inline" src="uploads/SetTopBox.jpg/image_preview" alt="Set Top Box" height="125" width="400" /></p>
<p>Modern set top boxes have a descrambling ability. The past three years have seen the entry of Direct to Home Pay TV operators, such as Tata Sky or Dish TV in the market, taking the technology to a new levels of sophistication, where the customers use a small cable dish to down-link the broadcasters signals which are processed with a set top box. In case of premium television, or paid channels, the broadcaster up-links an encrypted or a scrambled signal. When the signal reaches the home of the end user, it is reprocessed using a set top box, thus descrambling it and making it available for viewing on Television. A descrambler must be used with a cable converter box to be able to unencrypt all the premium and pay-per-view channels of a cable television system.</p>
<p align="center"><img class="image-inline image-inline" src="uploads/DTHDish.jpg/image_preview" alt="DTH DISH" height="388" width="400" /></p>
<p>Now, put on that television, forget the tech and get back to the latest IPL match!<em><br /></em></p>
<p><em>With inputs from MSOs, Local Cable Operators and Wikipedia for definitions of terms.</em></p>
<p> </p>
<p> </p>
<p> </p>
<p>
For more details visit <a href='http://editors.cis-india.org/a2k/blogs/the-dark-fibre-files-cable-tv-technology-for-dummies'>http://editors.cis-india.org/a2k/blogs/the-dark-fibre-files-cable-tv-technology-for-dummies</a>
</p>
No publishersachiaPiracyIntellectual Property RightsCable TV2011-08-04T04:41:52ZBlog EntryTechnology and the Mediation of Place
http://editors.cis-india.org/events/technology-and-the-mediation-of-place
<b>Talk by Emma Ota</b>
<p>When mediated space surrounds us and our sense of place is increasingly
constructed through technology, how do we locate ourselves? Challenging
notions of location and locality, Emma Ota will present an overview of
two years of research into the mediation of place through technology
and the developments of media art in Asia.</p>
<p>We carry many
locations with us, virtual, physical, psychological and cultural
locations which have a complex relation to each other; this
presentation will consider the impact of new media upon the
construction of these locations and how they interact with each other,
as these technologies increasingly become part of the reality of our
located experience, no longer separate apparatus, not merely a portal
to elsewhere but part of our encounter of place.</p>
<p>When identity,
community and culture are formulated upon mediated experiences we are
led back to Benjamin’s discussion of the loss of aura, debating what
meaning can still lie in the original; yet, arguably, such an original
state has never existed, all phenomena encountered and assimilated
through one form of mediation or another. But to be mediated is to
transform and, as Heidegger has demonstrated, technology presents an
enframing of its content, which may lead to new revealings but also a
loss of that which lies beyond the frame. We have perhaps reached a
stage where we can no longer comment upon mediated localities, but must
turn to the localities of mediation.</p>
<p>These are just some of
the critical debates which Ota has been investigating in her research.
While pursuing theoretical research into this topic, Ota has also
followed studies in Japan, Korea, China, Vietnam, Thailand, Singapore
and Indonesia in an examination of new media art provision and
development in East/South East Asia. Interviewing artists, curators,
theorists etc. over the course of a year, a large body of documentation
has been accumulated which will be presented as a small glimpse into
the new media condition of the region.</p>
<h3>Speaker</h3>
<p>Emma Ota
is a curator and researcher based in Tokyo, the Director of Dislocate,
Project for Art, Technology and Locality, and a Researcher at Musashino
Art University, Department of Visual Imaging and Sciences. Her
practices focus upon media arts and international exchange. She has
worked for the media arts organization Trampoline, based in Germany and
the UK and co-curated the Radiator Festival for Art and Technology in
2005. She initiated the project Traversing Territories, fostering
collaboration between students and young artists in Japan and the UK
(which has since continued annually). In 2006 she established the
project Dislocate for art, technology and locality which brings
together international artists and experts in the discussion and debate
of the role of new media in relation to our surrounding environment.</p>
<p>Ota
is guest curator at Ginza Art Lab, an independent artist run space and
was also co-curator of Space Rabi Adesso, Koenji in 2008. Ota is highly
concerned with promoting international cross-cultural communication
between children and is co-founder of Inter-play, an organization which
runs collaborative workshops and projects between children in Japan and
other countries around the world.</p>
<p>Other projects have included
‘The Moon’, a groundbreaking contemporary art exhibition of Japanese
and UK artists held in the historic gardens of Kodaiji Temple, Kyoto,
and ‘A Gift to Those who Contemplate the Wonders of Cities and the
Marvels of Travelling’, an artist in residency exchange project with
participant artists Erika Tan (UK) and Mio Shirai (Japan).</p>
<p>As a
researcher Ota is investigating the development of media arts in Asia
and its relation to specific social and cultural contexts, in
particular ideas of place, these investigations have led her to China,
Korea, India, Vietnam, Singapore, Thailand and Indonesia. For more
information please see <a class="external-link" href="http://www.dis-locate.net">www.dis-locate.net</a> and <a class="external-link" href="http://www.eonsbetween.net">www.eonsbetween.net</a>.</p>
<p>
For more details visit <a href='http://editors.cis-india.org/events/technology-and-the-mediation-of-place'>http://editors.cis-india.org/events/technology-and-the-mediation-of-place</a>
</p>
No publishersachiaInternet Governance2011-04-05T04:37:18ZEventTalk on Justice and Difference
http://editors.cis-india.org/events/talk-on-justice-and-difference
<b></b>
<p align="center" class="callout"><strong><em>Centre
for Internet & Society<br /></em></strong></p>
<p align="center" class="callout"><strong><em><br /></em></strong></p>
<p align="center" class="callout"><strong><em>&
monster album OF feminist stories </em></strong></p>
<p align="center">invite
you to</p>
<p align="center">a
public talk by</p>
<p align="center"><strong>Dr.
Shefali Moitra</strong></p>
<h1 align="center" class="western"><em>Justice
and Difference</em></h1>
<p align="justify"> </p>
<h3 align="center" style="text-align: justify;">Traditionally
justice and impartiality are thought to be inseparable. In a
pluralistic context there is a demand for making justice
difference-sensitive. This may appear an attempt at squaring the
circle. Many feminists think difference can be accommodated without
compromising justice. The speaker will critically examine this
thesis.</h3>
<p align="center"> </p>
<p align="center"><strong>Day,
Date & Time: Friday, 14<sup>th</sup> November, 2008, 4:00
pm<br />Venue: Centre for Internet and Society <br /><br /></strong></p>
<p align="center">No. D2, 3rd Floor, Sheriff
Chambers<br />14, Cunningham Road, Bangalore, <br />Karnataka
560052,<br />Phone: (+91)-080-4092-6283<br /><br /></p>
<strong>About
the Speaker: </strong>Dr. Shefali
Moitra received her Ph.D. in Philosophy from Visva-Bharati,
Santiniketan, and joined the Department of Philosophy at Jadavpur
University in 1979. She has occupied various positions in the
university during her time there, as Director of the School of
Women's Studies, as Co-ordinator of the Centre for Psychological
Counselling and Studies in Self-Development, and as involved teacher
to many generations of students. Her research interests lie in the
areas of Feminist Philosophy, Ethics and the Philosophy of Language.
Her key publications have included <em>Feminist Thought:
Androcentrism, Communication and Objectivity </em>(2002), <em>Women,
Heritage and Violence</em>, (Ed.1996), and <em>Communication, Identity
and Self-Expression</em>, (Ed. 1984).
<p><strong><br /></strong></p>
<p><strong>Map:</strong><a class="external-link" href="http://maps.google.com/maps?f=q&hl=en&geocode=&q=centre+for+internet+and+society+bangalore&jsv=128e&sll=37.0625,-95.677068&sspn=61.070016,113.203125&ie=UTF8&cd=1&latlng=12988395,77594450,9857706471034889432&ei=5QXRSKLrNYvAugPX4YSAAg"> Google Maps</a></p>
<p>
For more details visit <a href='http://editors.cis-india.org/events/talk-on-justice-and-difference'>http://editors.cis-india.org/events/talk-on-justice-and-difference</a>
</p>
No publishersachiaMiscellaneous2011-04-05T04:44:07ZEventTalk on 'Inheritance of Alphanumeric Characters'
http://editors.cis-india.org/events/talk-on-inheritance-of-alphanumeric-characters
<b></b>
<p>CIS and Abhishek Hazra welcome you to a talk on 'Inheritance of Alphanumeric Characters', Abhishek's recent body of work currently on display at Gallery SKE, Bangalore. These works attempt to engage with the social history of science and the way the practice of science is deeply contextualised within the larger discourse of power and knowledge systems. It is also about negotiating with the 'inheritance' of discourses like Orientalism or Stalinism and finding ways of engaging critically with that legacy.</p>
<p>At one level, the title, 'Inheritance of Alphanumeric Characters' can be parsed as an allusion to the centrality of language in this entire process. It is also a reference to the phrase 'Inheritance of Acquired Characters', a popular one-liner on Lamarkism, an influential early 19th century theory of evolution that was discredited by the Darwinian-Mendelian paradigm. Abhishek uses multiple modalities - video and spoken word performance to artist's books and large-scale digital prints – to articulate his ongoing explorations.</p>
<p>Artist Profile:</p>
<p>Abhishek Hazra is a visual artist based in Bangalore. His work explores the intersections between technology and culture through the narrative device of a 'visual fable'. He is also interested in the social history of scientific practices, and his current, ongoing project attempts to explore the history of science research in colonial India. Abhishek works with animated shorts and digital slideshows that often integrate textual fragments drawn from fictional scenarios. He is also interested in the way in which the languages of science journalism and information visualisation participate in the complex dynamics of 'knowledge dissemination' and 'translation'. Recent shows include First Left, Second Right, a 3 person show at Thomas Erben Gallery, New York with Yamini Nayar and Kiran Subbaiah; Horn Please. Narratives in Contemporary Indian Art (Curated by Bernhard Fibicher and Suman Gopinath), Kunstmuseum Bern and Ghosts in the Machine and other Fables: an exhibition of video, sound and interactive works at Apeejay Media Gallery, New Delhi (Curated by Pooja Sood). A brief overview of some of his works can be found here: <a class="moz-txt-link-freetext" href="http://abhishekhazra.blogspot.com/">http://abhishekhazra.blogspot.com/</a></p>
<p> </p>
<pre></pre>
<p>
For more details visit <a href='http://editors.cis-india.org/events/talk-on-inheritance-of-alphanumeric-characters'>http://editors.cis-india.org/events/talk-on-inheritance-of-alphanumeric-characters</a>
</p>
No publishersachiaMiscellaneous2011-04-05T04:40:53ZEventTactical Media 3.0--FOSS: The Dynamics of Freedom
http://editors.cis-india.org/news/tactical-media-3.0-foss-the-dynamics-of-freedom
<b>CIS Executive Director Sunil Abraham will speak at 'Tactical Media 3.0--Foss: The Dynamics of Freedom', a workshop on techniques and philosophy of Free and Open Source Software, 27 July to 1 August, Jadavpur University, Kolkata. </b>
<p> <img class="image-inline image-inline" src="../advocacy/openness/Tactical_Media3.jpg/image_preview" alt="tactical" height="421" width="635" /></p>
<p>The Media Lab, Jadavpur University presents Tactical Media 3.0--FOSS: The Dynamics of Freedom, a workshop on techniques and philosophy of Free and Open Source Software<br /> July 27 – Aug 1, 2009, 3-30 to 7-30 pm, Vivekananda Hall</p>
<p><br />Free and Open Source software is one of the greatest tools in the hands of those who wish to challenge the notions of intellectual property (IP) and market-driven logics of human exchange. The Internet has opened up the space for a world-wide collective that believes in enriching each other’s lives through art and knowledge free from narrow conceptions of ownership and privilege. It has given rise to a new creativity on a global scale, from globally shared alternatives to profit-driven initiatives, towards a hope of re-inventing the commons in the 21st century.</p>
<p><br />Tactical Media 3.0 is the third chapter in the workshop series on Tactical Media. It will be dedicated to training in Linux-based tools and discussion on the philosophy, economics and politics of FOSS. The resource persons will be Prof. Nandinee Mukherjee and her colleagues from the (JU-FOSS Resource Centre), Jadavpur University, Sunil Abraham, (Director-Policy), Centre for Internet and Society, Bangalore, and Sri Dipankar Das, (Senior Lecturer, Jaipuria College), University of Calcutta.</p>
<p><br />For participation please send a CV and covering letter by July 23 to:</p>
<p><br />The Media Lab office (ph: 033-2414-6222), Subarna Jayanti Bhavan,</p>
<p>Jadavpur University (main campus)</p>
<p>or email <a class="moz-txt-link-abbreviated" href="mailto:medialabju@gmail.com">medialabju@gmail.com</a></p>
<p><br />Seats are limited. Selected candidates shall be charged a nominal fee of Rs. 300.</p>
<p>
For more details visit <a href='http://editors.cis-india.org/news/tactical-media-3.0-foss-the-dynamics-of-freedom'>http://editors.cis-india.org/news/tactical-media-3.0-foss-the-dynamics-of-freedom</a>
</p>
No publishersachiaOpenness2011-04-02T15:42:29ZNews Itemtactical
http://editors.cis-india.org/home-images/Tactical_Media3.jpg
<b></b>
<p>
For more details visit <a href='http://editors.cis-india.org/home-images/Tactical_Media3.jpg'>http://editors.cis-india.org/home-images/Tactical_Media3.jpg</a>
</p>
No publishersachia2011-09-07T12:04:47ZImagesoftware patent draft pranesh
http://editors.cis-india.org/openness/publications/software-patents/pranesh-software-patents-draft.ppt
<b></b>
<p>
For more details visit <a href='http://editors.cis-india.org/openness/publications/software-patents/pranesh-software-patents-draft.ppt'>http://editors.cis-india.org/openness/publications/software-patents/pranesh-software-patents-draft.ppt</a>
</p>
No publishersachia2009-03-30T10:22:25ZFilesessions
http://editors.cis-india.org/accessibility/publications/uploads/Sessions%20for%20the%20workshopv2.doc
<b></b>
<p>
For more details visit <a href='http://editors.cis-india.org/accessibility/publications/uploads/Sessions%20for%20the%20workshopv2.doc'>http://editors.cis-india.org/accessibility/publications/uploads/Sessions%20for%20the%20workshopv2.doc</a>
</p>
No publishersachia2009-02-04T14:25:23ZFileSeminar on Exceptions and Limitations in Copyright
http://editors.cis-india.org/accessibility/blog/seminar-on-exceptions-and-limitations-in-copyright
<b>This is a report on a seminar organised by the Department of Higher Education, Ministry of Human Resource Development, and Government of India on 14 and 15 May 2009, in Kochi, Kerala, to look at exceptions and limitations in copyright. Programme Manager Nirmita Narsimhan, of the Centre for Internet and Society, attended the seminar. </b>
<p></p>
<p>CIS Programme Manager Nirmita Narsimhan attended a seminar on exceptions and limitations in copyright, organised by the
Department of Higher Education, Ministry of Human Resource Development, and
Government of India on 14 and 15 May 2009, in Kochi, Kerala. The seminar was intended to bring up key issues affecting access to knowledge, which are to be taken up by the
Standing Committee on Copyright and Related Rights (SCCR) at the World Intellectual Property Organisation (WIPO) later this
month. Resource persons identified for different topics were eminent
scholars, academicians and practitioners across India. The seminar covered eight
topics. On each topic, a paper was presented by a resource person with commentary by
an expert in the field, after which there was an open discussion.</p>
<p>The first day
featured, amongst others, a paper presented by Lawrence Liang, Distinguished Fellow,
CIS. He spoke at length on the exceptions and limitations for education.</p>
<p>The
second day featured a paper by Mr. Madhukar Sinha, former Registrar of Copyright.
Mr. Sinha presented on the topic<a name="OLE_LINK7"></a> 'Use of works by visually impaired and other
miscellaneous exceptions of use of works under Indian Copyright
Act: Section 52(1) (q), (r), (s), (t), (u), (v), and (x), (y), (z)'. His paper went into great length on
definitions of visual disability and tried to evolve an economic model to
support conversion of books into accessible formats for the visually
challenged. The paper drew parallels with existing laws and best practices in
different countries, made a detailed analysis of exceptions for the blind in
the light of the Berne three-step test and the TRIPS agreement, and concluded by
recommending that the Copyright Act should be amended to include exceptions and
limitations which would permit conversion of books into formats in certain
special cases. Mr. Sinha also recommended that India should look at solutions
which go beyond the limits of the Copyright Act to solve such problems.</p>
<p>The
response to this was prepared by Mr. Rahul Cherian of Indo Juris Law offices.
The response paper drew
attention to the fact that half of the total blind population of the world is
in India
and that amounts to a population of more than a crore. In the light of the economic and
logistic considerations of our country, the Copyright Act should</p>
<ol type="1" start="1"><li>Expressly
include a limitation to permit conversion of books into accessible formats
for visually challenged persons;</li><li>Permit
conversion by stakeholder organizations as well as interested family
members and friends of beneficiaries;</li><li>Adopt a
functional definition of disability and not a medical one as is currently
the case in the Persons with Disabilities Act 1995, and extend the benefit
of the exception to all persons, who by reason of any disability are
unable to access the work in its original format;and</li><li>Not restrict
conversion only to those formats which are exclusively for the use of
blind persons. Visually challenged persons should be able to make use of
available mainstream formats like PDFs or Word as well.</li></ol>
<p>The paper also dealt extensively with the
Treaty for Improved access for the Blind, Visually Impaired and Other Reading Disabled, which was proposed by the World Blind Union in WIPO last year and is
coming up again for discussion later this month.</p>
<p>Please <a href="http://editors.cis-india.org/accessibility/blog/uploads/Draft%20Comments.doc/at_download/file" class="external-link">click here</a> to see the complete
text of the paper.</p>
<p>The seminar was extremely productive because there was a strong recommendation and support for the inclusion
of a limitation for conversion into accessible formats for persons with
disabilities in the Indian Copyright Act. All the members present came to a
consensus that the Indian Government should take a supportive stand towards the
Treaty for the Blind proposed by the WBU at the SCCR this month. A
representative of a leading publishing house committed himself to working
towards providing books to certain organizations for the blind, if they could
assure him that those books would be circulated only to blind persons and not
to others.</p>
<p> </p>
<p>
For more details visit <a href='http://editors.cis-india.org/accessibility/blog/seminar-on-exceptions-and-limitations-in-copyright'>http://editors.cis-india.org/accessibility/blog/seminar-on-exceptions-and-limitations-in-copyright</a>
</p>
No publishersachiaIntellectual Property Rights2011-08-17T08:50:52ZBlog Entry