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Design!Public II in Bangalore ― Event Report
http://editors.cis-india.org/internet-governance/blog/design-public
<b>Design Public, a high-level conclave on innovation, took place in Bangalore at the National Gallery for Modern Art on October 14, 2011. The event was organized by the Centre for Knowledge Societies in collaboration with the Centre for Internet and Society, the Centre for Law and Policy Research, Mint, and others. The conclave brought together industry experts, scholars, and activists to create a dialogue about design and innovation in the public interest. This blog post captures the developments as it happened on this day. </b>
<p>The day consisted of discussions on several related topics, as well as engaging the participants in interactive challenge sessions.</p>
<p>Aditya Dev Sood, from the Centre for Knowledge Societies, kick-started the event with some words about the value of innovative thinking. Reflecting upon lessons learned from the previous Design Public conclave, Dr. Sood explained that while the previous event focused on governance innovation, the second Design Public conclave will reflect on the importance of citizen participation in innovation. After brief introductions of the conclave participants and speakers, the first session on Innovation and the Indian Corporation began.</p>
<p>Mr. Krishnan demonstrated the ingenuity of innovation through the history of the Indian mousetrap, in which he described three generations of mousetraps, which increase in the scale of functionality and effectiveness with each new proceeding product. One of the recurring views that emerged during the conversation was that while the Indian society is highly innovative, large Indian corporations do not generally take part in innovation. Harish Bijoor explained why there is a lack of motivation on the part of Indian corporations to innovate by stating, "what happens to large companies is that they get too preoccupied with success." The comfort that comes with the achievement of success makes Indian corporations unmotivated to pursue innovative ideas. Mr. Krishnan also added that "the Indian corporate is too regimented, which kills innovation. Most innovators are outside of corporations."</p>
<p>A distinction between innovation in India and the West was made, stating that in most Western societies, innovation occurs at the top most resource-rich layer of society. In India it is the opposite. Entrepreneurship happens on a grassroots local level. Arun Pande offered a thought on improving the current trends, stating that large companies can play a role in innovation by collaborating with small entrepreneurs working on social issues. It was agreed among the speakers that Indian corporations need to focus on innovative ideas to tackling some of India’s grand challenges and improving the quality of life for the citizens.</p>
<p>On that thought, the second panel began on the question: Is Innovation in the Public and Social Sectors Possible? Sunil Abraham, the panel moderator, introduced the session by giving an example of modern innovation, speaking about Spice M9000 and the extremely efficient and economic way in which it is manufactured. The device comes with features such as a dual SIM card, radio receiver, a receiver for terrestrial television, two large boom-box speakers, and a projector. Five thousand of these devices can be manufactured in Shenzen, China for Rs 2 crores within approximately 45 days. </p>
<p>The panel was asked whether academic knowledge and innovation can be incorporated into practical government policies. Ashwin Mahesh answered this question by stating, "the structure of absorbing information from academia is not present in the public sector." The speakers agreed that the government needs to encourage innovation and support its citizens to pursue innovative solution-based initiatives. Rohini Nilekani was of the opinion that "you need solution-based thinking on two levels, the state and local." Mr. Mahesh added that "the government needs to empower small communities to solve their problems and drive things locally, from the bottom-up." The necessity for private-public partnerships was a clear theme throughout the conversation, Pratham Books being given as a successful example of such endeavour. Mrs. Nilekani explained that "we need to break down the distinction between what is public and what is private. We need to work towards a common goal. We need to innovate and design checks and balances to wheel public interest."</p>
<p>The third panel was on The Challenge of Start Up innovation. Aditya Mishra from the Headstart Foundation defined a startup as something that makes a meaningful impact on society. According to Mr. Mishra, the startup ecosystem is problematic in India because large corporations generally do not engage in partnerships with startups. Naresh Narasimhan pointed out that "there is a notion that startup entrepreneurs do not have enough knowledge, so they get dismissed." It was further explained that aspiring entrepreneurs in India do not have enough spaces where networking and business negotiations could take place. Zackery Denfeld was of the opinion that there is a lot of innovation happening in the middle level, but more innovation needs to be done at the lower level. There is a need to focus on smaller start-ups. Design should be done at a higher paste. People should be able to fail fast, learn from mistakes, and start-up again. </p>
<p>The Theory and Practice of Innovation was the next panel. Upon being asked to give a single sentence definition of design, the speakers provided several enlightening answers. M. P. Ranjan stated that it is human intentions and actions that generate value. Reto Wettach added that design encompasses "methods which help define solutions, and goals which help solve these problems." One of the emerging thoughts from the discussion was that design has a value that is measurable beyond monetary gain. Furthermore, when you take public issues into consideration, the non-designers are just as important as designers. "Everybody has privileged information which they can bring into the synthesis of a solution," stated Eswaran Subrahmanian.</p>
<p>Having learned from each other and the inspiring ideas that were circulating the panel discussions, the participants were given three scenarios for which they were asked to brainstorm innovative approaches and solutions. The scenarios were Online Higher Education, Quality Maternal and Child Healthcare, and Toilet-training for All. During these sessions, the participants were confronted with problems faced by communities in India, which included the lack of higher education opportunities in rural areas, the need for proper and timely administered antenatal care, as well as the need to ensure village sanitation infrastructure. The solutions given to these problems highlighted the importance of a participatory approach to problem solving. Empowering community members and encouraging local leadership in innovative projects ensures their sustainability. </p>
<p>Concluding remarks on lessons learned and a way forward brought the afternoon to an end. Some of the final thoughts were that consensus is integral in the public space. End users and community members need to be involved in the process of design and innovation. While one must look beyond the government for instituting solutions to public problems and concerns, the role of the government, especially the local government, is also important. All sectors of society need to be engaged in design and innovation. "Persistence and methodology can make us an irresistible force," pointed out Ashwin Mahesh. </p>
<p>On that note, the conclave came to an end, but without a doubt, the lessons and inspiration gained by the participants will continue on.</p>
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For more details visit <a href='http://editors.cis-india.org/internet-governance/blog/design-public'>http://editors.cis-india.org/internet-governance/blog/design-public</a>
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No publisheryelenainnovation2011-10-20T08:48:04ZBlog EntryA Guide to Key IPR Provisions of the Proposed India-European Union Free Trade Agreement
http://editors.cis-india.org/a2k/blogs/a-guide-to-the-proposed-india-european-union-free-trade-agreement
<b>The Centre for Internet and Society presents a guide for policymakers and other stakeholders to the latest draft of the India-European Union Free Trade Agreement, which likely will be concluded by the end of the year and may hold serious ramifications for Indian businesses and consumers. </b>
<div class="visualClear">In its ongoing negotiation for a FTA with the EU, a process that began in 2007 and is expected to end sometime this year, India has won several signicant IP-related concessions. But there remain several IP issues critical to the maintenance of its developing economy, including its robust entrepreneurial environment, that India should contest further before ratifying the treaty. This guide covers the FTA's IP provisions that are within the scope of CIS' policy agenda and on which India has negotiated favorable language, as well as those provisions that it should re-negotiate or oppose.</div>
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<div class="visualClear">Download the guide <a title="A Guide to the Proposed India-European Union FTA" class="internal-link" href="http://www.cis-india.org/a2k/publications/CIS%20Open%20Data%20Case%20Studies%20Proposal.pdf">here</a>, and please feel free to comment below.</div>
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<div class="visualClear">You may also download a <a title="India-EU FTA TRIPS Comparison Chart" class="internal-link" href="http://www.cis-india.org/advocacy/ipr/upload/India-EU_FTA_Chart.odt">chart</a> comparing the language proposed by India and the EU respectively with that included in the WTO's Agreement on Trade-Related Aspects of Intellectual Property Rights (TRIPS).</div>
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<div class="visualClear">Following is a summary of CIS' findings:</div>
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<ul><li>India has become a de facto leader of developing countries at the WTO, and an India-EU FTA seems likely to provide a model for FTAs between developed and developing states well into the future.</li><li>The EU has proposed articles on reproduction, communication, and broadcasting rights which could seriously undermine India's authority to regulate the use of works under copyright as currently provided for in the Berne Convention, as well as narrowing exceptions and limitations to rights under copyright.</li><li>The EU asserts that copyright includes "copyright in computer programs and in databases," without indicating whether such copyright exceeds that provided for in the Berne Convention. Moreover, by asserting that copyright "includes copyright in computer programs and in databases," the EU has left open the door for the extension of copyright to non-original databases.</li><li>India should explicitly obligate the EU to promote and encourage technology transfer -- an obligation compatible with and derived from TRIPS -- as well as propose a clear definition of technology transfer.</li><li>The EU has demanded India's accession to the WIPO Internet Treaties, the merits of which are currently under debate as India moves towards amending its Copyright Act, as well as several other international treaties that India either does not explicitly enforce or to which it is not a contracting party.</li><li>In general, the EU's provisions would extend terms of protection for material under copyright, within certain constraints, further endangering India's consumer-friendly copyright regime.</li><li>An agreement to establish arrangements between national organizations charged with collecting and distributing royalty payments may obligate such organizations in India collect royalty payments for EU rights holders on the same basis as they do for Indian rights holders, and vice versa in the EU, but more heavily burden India.</li><li>The EU has proposed a series of radical provisions on the enforcement of IPRs that are tailored almost exclusively to serve the interests of rights holders, at the expense of providing safety mechanisms for those accused of infringing or enabling infringers. </li><li>The EU has proposed, under cover of protecting intermediate service providers from liability for infringement by their users, to increase and/or place the burden on such providers of policing user activity.</li></ul>
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For more details visit <a href='http://editors.cis-india.org/a2k/blogs/a-guide-to-the-proposed-india-european-union-free-trade-agreement'>http://editors.cis-india.org/a2k/blogs/a-guide-to-the-proposed-india-european-union-free-trade-agreement</a>
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No publishergloverDevelopmentConsumer RightsCopyrightAccess to KnowledgeDiscussionEconomicsAnalysisTechnological Protection MeasuresIntermediary LiabilityinnovationIntellectual Property RightsPatentsPublications2011-08-30T13:06:03ZBlog EntryThe 'Dark Fibre' Files: Interview with Jamie King and Peter Mann
http://editors.cis-india.org/a2k/blogs/dark-fibre-files
<b>Film-makers Jamie King (producer/director of the 'Steal This Film' series) and Peter Mann, in conversation with Siddharth Chadha, on 'Dark Fibre', their latest production, being filmed in Bangalore</b>
<p>'Dark Fibre' is a documentary/fiction hybrid by J. J. King, producer/director of the 'Steal This Film' series, which has already reached over six million people online and is working towards achieving international television distribution, and Peter Mann, a British film-maker whose most recent work is titled 'Sargy Mann'.</p>
<p>'Dark Fibre' is set amongst the cablewallahs of Bangalore, and uses the device of cabling to traverse different aspects of informational life in the city. It follows the lives of real cablewallahs and examines the political status of their activities.The fictional elements arrive in the form of a young apprentice cablewallah who attempts to unite the disparate home-brew networks in the city into a grassroots, horizontal 'people's network'. Some support the activity and some vehemently oppose it -- but what no one expects is the emergence of a seditious, unlicensed and anonymous new channel which begins to transform people's imaginations in the city. Our young cable apprentice is tasked with tracking down the channel, as powerful political forces array themselves against it. Not only the 'security' of the city, but his own wellbeing depend on whether he finds it, and whether it proves possible to stop its distribution. Meanwhile, mysterious elements from outside India -- possibly emissaries of a still-greater power -- are appearing on the scene. This quest for the unknown channel is reminiscent of a modern-day 'Moby Dick', with the city of Bangalore as the high seas and our cable apprentice a reluctant Ahab. The action is a combination of verite, improvisation and scripted action.</p>
<h3>In conversation with Jamie and Peter in Bangalore</h3>
<p><strong>Q: How did you get the idea to make Dark Fibre, a fiction film?</strong></p>
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<p><strong>Peter: </strong></p>
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<p>We first met through BritDoc--British Documentary--and they run Channel 4 which is a Film Foundation. They have been good to us. They funded both Steal This Film and 'Sargy Mann'--a film on my father who is a blind man. They organised a meeting of all the directors they had funded and we met there. We were both thinking about what to do next and felt frustrated because we were making documentaries but really wanted to make fiction. We both shared the same ideas, with regard to shooting something completely as it is but presenting it in a fictional context.</p>
<p><strong>Jamie:</strong></p>
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<p>And furthermore, we agreed that documentaries are not really real life. Because at the end of the day, I will keep only what I like, make you look at the way I want you to, I would cut you out of the picture if I don't agree with you. This happens even with the most worthy of the films. And you can be more truthful in fiction because its always a subjective truth. Fiction allows things to remain more real. I don't need an argument in the film. If I can just say, here is one guy's story and this is his story, then you can see the city with no bullshit. The story would allow you to look at things as they are; it's partly that idea behind Dark Fibre.</p>
<strong>Peter:<br /><br /></strong>
<p>This is in some way related to the concept of the artistic truth. You use all the tools at your disposal to tell a story, not just literal facts. This is about presenting things within an atmosphere, presenting things in a context. This then adds up to someone understanding something about the world, and I think fiction serves that better than documentary.</p>
<p><strong>Q: What brings you to India to make Dark Fibre?</strong> </p>
<strong>Jamie:<br /><br /></strong>
<p>I think the cablewallah networks are unique. I have never seen anything like this anywhere else myself. India is also in a very, very interesting time and place. The idea of information as a commodity is alive here as it isn't in many other places. The value of information is very high here. There is a western imaginary of Bangalore which is immediately fascinating. It's the place where our information is processed. This is where our credit card and our phone data goes. And it enters a weird black market that we don't understand. This is the cliché. We already have cliché films about Bombay and call centers. We do not want to put a call center into the film because that is already the imagined cliché vision of Bangalore. It is obviously far more sophisticated than that. And in some ways it is far patchier than that. Who are these information workers? What are they doing and at which level are they doing it? Are they the street workers putting cables into walls or is it the guy at Infosys who is hiring people and teaching them to fake English accents? Which is the real information worker? That variegation of information life in Bangalore is interesting, not just to us, but, I think, to everybody. Information dexterity is perceived as the signature of Northern dominance. The ability to manipulate information, to move intellectual property, to transform an idea into a product, to transform someone else's idea into your property. That kind of dexterity is seen as the keynote of western dominance. And watching a developing country transform into an information dextrous economy, seeing information dextrous people is amazing. And then there is the patchiness of it--who gets left behind? Who gets included? Whats missed out and what is added in that vision? How is it manipulated in favor of big businesses? And all of this is fascinating not only from an orientalist's point of view but from a general economic-socio-political point of view.</p>
<p><strong>Q: What is the underlying concept that brought about Dark Fibre?</strong><br /><strong><br />Jamie:</strong><br /> <br />While making 'Steal This Film' we spent a year on a 36 minute film trying to make an argument that would be staunch, impactful, and radical. What we learned is that it's very difficult to set out to argue your way to the truth. It's relatively easier to let the world itself speak and in the meanwhile observe it in detail. The kind of issues we are engaging with in Dark Fibre are around people's relationships with information and their relationship with freedom. These are very, very hard to nail down and speak about in a radical way. These are things left to the Intellectual Property lawyers, it's already happening, it's already cliché. All the arguments are already written. And even after a year of Steal This Film, it's shown in liberal universities – Wait! Liberal universities? I was supposed to be an anarchist! We want to go further. We want to tell people things through an image.</p>
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<p><strong>Peter:</strong></p>
<p>Our idea of relationships is exploring the parallel physical communications networks and the virtual networks. In a city like Bangalore you see it. The traffic here is chaotic but it works. How? There is no answer to that. But it provokes questions. Through Dark Fibre, we are trying to say that there is a potential network in the city (cablewallahs) which is currently being unused and asking what it would take to unlock that potential and where would it take us if that really happens.</p>
<p><strong>Q: Why the cablewallahs? What is so fascinating about them?</strong><br /> <br /><strong>Jamie: </strong><br /> <br />Yes, we are interested in the cablewallah network and I think it's quite perverse that it makes people from around here laugh. You see cablewallahs as a fact of life, probably a mundane fact of life. Westerners, Europeans, who are used to orderly deployments of information technology are completely blown away when you tell them that this is how it works in India. Ad hoc, grassroots, messy, out of control.</p>
<strong><br />Peter:<br /><br /></strong>
<p>To the West, it is just unthinkable that the government would allow something like these networks, which supply 24 hours television. To not have these under government control is unthinkable.</p>
<strong>Jamie:<br /><br /></strong>
<p>So, obviously, we are at a point of transition where it's unthinkable to the Global North and it would become unthinkable here too. We are in the middle of that shift and thats one of the things we are trying to document; the network form, which is horizontal, ad hoc and on the street, becomes not only regulated but seditious.</p>
<strong>Q: Why would you call it seditious?</strong><strong><br /><br />Jamie: <br /><br /></strong>
<p>Because it begins to be seen as almost dangerous. As the regulators move in, they take Direct to Home control of all the deployments of their intellectual properties. The older networks start to look not only like intellectual property right infringements, but their disorder is also seen to be terrorist.</p>
<strong>Q: What is the film trying to propose through linking these cablewallah networks?</strong>
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<strong>Jamie:<br /><br /></strong>
<p>Our proposal in this film is - "What if instead of just dying peacefully, someone had the idea of transforming these networks that used to deliver international and local content, by connecting them together, and turning them in to massive local media networks which are used for media sharing, file sharing, your own local channel?" There is a potential because the network is already there.</p>
<strong>Peter:<br /><br /></strong>
<p>In a way, if you think about the microcosm idea of the Internet as a whole, that essentially is what our plot is. On a certain level you would say that it's just a network but then the internet is the most important driving force of the world today.</p>
<p><strong>Jamie:</strong></p>
<strong></strong>
<p>The point is that once this idea is out, we can create the infrastructure to connect the entire city, infrastructure we can all use. Everyone starts to have a stake in it, be it the newspapers, TV channels, pirate markets (they will say, "No one is buying our shit anymore because they can share it over the network"), the computer manufacturers, the importer of Chinese routers, a gangster who thinks he can advertise on the network, the intellectual property lawyer... different people start getting the idea that they might have something to do with this network. Basically this is a chaos scenario, from which arises the plot. It is a fictional scenario but is set in the reality of information sharing here today.</p>
<p><strong>Q: What is the technique you use to make the plot hybrid fictional?</strong><br /> <br /><strong>Jamie:</strong><br /><br />The main character is played by an actor and he will be an embedded actor, working with the real cablewallah. Parts of it will be documentary, seeing how the cablewallah works and the viewer, through watching this actor, will understand how the network works. We have already spoken to some cablewallahs. And they have been very happy about all this. We see this as sort of embedded journalism, where the embedded actor takes the place of an interviewer. The film is not going to be historical. The characters will have a background and the film is going to have a background, but what we are trying to do is show the 'now'. We want to make it speak about the past and speak about the future. About our future.</p>
<p><strong>Q: 'Steal This Film' was a critique of the international intellectual property regimes. Would this film also be similarly advocative?</strong><br /> <br /><strong>Jamie:</strong><br /><br />We are going to the next level from 'Steal This Film', and this is more of my argument than Peter's -- that the conversation about Intellectual Propery is over or the film is the last word at all. But I personally need to go somewhere else to say more. I am interested in information in general. And how information affects what we can think, what we can dream, what we can be, how it forms all of us -- that is what we are working on in 'Dark Fibre' and the question of intellectual property is a subset of that question. We spend a lot of time talking about ideas and that's one of the things that connects us. We want to articulate a lot of the philosophical, abstract ideas in this film. And we will see if we can manage to do it in a new context. 'Steal This Film' interested a few people and this will be the next point of departure for discussion.</p>
<p><strong>Q: Peter, do you share Jamie's passion for Intellectual Property?</strong><br /> <br /><strong>Peter:</strong><br /><br />Not in the same way. I am very interested in the subject. Anybody who creates work is interested in it. In my last film, there is a constant commentary of a test match going on and as a result of it, it is almost impossible to sell it to television; people who own the rights to the cricket say that we have to pay them thousands of pounds! I am interested in documenting the world as it is and not what is cleaned up for TV. I am interested in the specifics. If you get on a bus in London, the ringtone everyone has on a mobile phone is not a ringtone but a particular song. But you can't put that on film because Mick Jagger, or whoever the artiste is, will want ten thousand pounds for it. The frustration that I face is that it is impossible to put the world that I see in front of me on film. I used to work with TV commercials and you would never see anything in commercials that is not the product being sold. I was once working on a Coca Cola commercial in New York and there was a person who was appointed by Coca Cola to go around the whole set to ensure that no one is drinking anything that is not made by Coca Cola, whether that is water or juice. Anything. And I think all that is about creating a creased world that we don't live in. I am interested in the world, through documentaries or fiction, that we live in. And it is bits of music, it is referenced films, we reference music, we reference sport. Just because people have rights over these, you never see them on film. That is my main area of interest, more than what is happening on the legal front.</p>
<p><img class="image-inline image-inline" src="uploads/stf.jpg/image_preview" alt="stf" height="400" width="284" /> <img class="image-inline image-inline" src="uploads/copy_of_steal_this_film_2.jpg/image_preview" alt="steal this film" height="400" width="280" /></p>
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For more details visit <a href='http://editors.cis-india.org/a2k/blogs/dark-fibre-files'>http://editors.cis-india.org/a2k/blogs/dark-fibre-files</a>
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No publishersiddharthhistories of internet in Indiainternet and societyDigital AccessIntellectual Property RightsYouTubeart and interventionPiracyOpen Accessinnovationdigital artists2011-08-04T04:41:31ZBlog Entry