Facetime to Facebook: Social Cohesion Inside the Digital Network


Are we setting ourselves up for loneliness when we seek lasting social bonds within the network of digital media?  Nilofar Ansher

Straight up, let me ask you something elemental: How difficult was it for you to transition from chatting with your friends in a coffee bar to having regular conversations online, to Facebook becoming your dominant form of staying in touch with them? Really, come to think of it, engaging in discussions or chit-chat online should have traumatized most of us, considering we are social creatures and we love to jump all over our conversations (and each other) – interrupting someone’s train of thought, laughing, saying more with our expressions than with so many spoken words.

I guess you didn’t spend a whole lot of time ruminating over the move, it seemed natural, almost inevitable. A broadband connection would have been cheaper for a family, than using your cellphone to talk to each of your friends at a time. Also, the kind of stuff we now share or talk about has changed. Instead of just talking shop, we have this entire ‘media arsenal’ at our disposal, prompting us to share. News, videos, cartoons, books, funny quotes and memes, songs and lyrics, photographs and other digital ephemera that encouraged a move from face to interface. While a decade ago, we still did all these things without the aid of the social media ‘share’ button, the mechanics of digital conversations are different: sharing chunks of information at a time with a larger group or the public (one-to-many dissemination is more the norm on Facebook), the instant feedback loop (acknowledgement from the network) and the interface of the network (textual, word limit, smileys) mean that the very nature of ‘sharing’ has changed.

That loneliness is a pre-dominant concern of social media users is a trope that refuses to die in mainstream media and academic circles. There are frequent surveys of teenagers and youth who spend long hours online, yet fail to have strong social ties within the network (Pew Research, February 2012). There are several news items that chronicle depression and anxiety (and even bullying) among heavy social media users (here, here and here). This is not to say that the frequent spotlight on this phenomenon confirms this peculiar situation of being hyper-connected, yet hyper-lonely. These studies or surveys are certainly not global, nor are they wide-reaching in the demography they cover or the period through which the participants are tracked. On the other side of this debate are the digital culture gurus, the net experts and geeks, and the cyberculture celebs who cry foul when they read such reports. They deny the validity of these studies and insist that social media fosters connections, help us meet people we would otherwise have not met, and intensify our influence in the friend-of-a-friend-of-a-friend network (here, here and here).

So, are we all gung-ho and cheerful when we build our social network (and net worth) online or are there slight cracks to this happy portrait? Are people who are social ‘in real life’ equally social online and those who are introvert just as shy online or do the positions and personalities do a switch-over the moment we log on to Facebook? Most importantly, are we connecting lesser with each other – in the flesh and face to face than before – but still maintaining strong social, emotional and filial ties with people, both online and offline? I guess a survey wouldn’t be able to answer these questions. I think it’s a bit of everything: firstly, the nature of work we are engaged in; the kind of social activities we love to be part of; the level of engagement we display in any activity, and our immediate environment.

For those of us who spend a minimum of eight hours in front of our PCs and frequently our phones, loneliness is not an active ingredient of our routine. There is work to be done, multiple tabs to navigate content and avatars to talk to. It’s just convenient that we also use the same medium to maintain and strengthen our social network. But over the weekends, when I am not working, if I don’t make it a point to go out and socialize, then of course I am bound to feel lonely. But since we are also habituated to spending so much time online, perpetually interacting with icons, friends, messages, responding to comments, sharing and linking information – constantly on talk mode – there’s a definite sense of something missing when we are not online, available and swimming in the social tide. Is that sense of disconnect loneliness?

Information overload is an entirely different debate, but one that runs parallel to the loneliness issue as well. We consume media content because the benchmark of what is interesting and fun has also evolved. If we don’t talk about the Kolaveri di video going viral or share the ‘Y U No’ memes, we would be left sharing mundane stuff about that guy next door or our low paying jobs or the family wedding where chicken tikka stains ruined your Anarkali. And while we still do that – share the minutiae of our lives with our best friends, most of us don’t do it so overtly online, and certainly not with our network who are always conspicuously online.

Historically, we are adept at maintaining different sets of friends: school, college, library partners, and music class pals, acquaintances that you meet every day on your way to religious lesson; we perform differently with each of them and the quality of information sharing also differs. But with Facebook or other social media platforms, we face a unique situation: to have all these disparate set of friends on a single platform means the rules of social engagement and intimacy change. While it was alright to crack a joke within my group about my brother’s romantic exploits, to do that on Facebook’s Wall or tweet about it to my followers would be kind of funny, in a socially awkward way. That’s just not information for public consumption. Notice that although we are quite aware of what to share with which group, the position of having several of your close friends sharing breathing space with hundreds of your acquaintances is a tricky maze to navigate. It calls for a certain level of artifice. That’s the fine distinction I wanted to draw out between natural rhythm of social communication versus the ones that we engage online.

The spotlight is also on the nature of these interfaces. Once again, net celebs have criticized that plugging in 24×7 doesn’t mean we are missing out on conversations or walks in the park. However, we have to acknowledge that there’s a distinctly sudden change in the way we say something; face to face conversation would entail so many cues to follow – eyes and expressions, gestures and body language, silences, pauses, stuttering, and the breadth of manoeuvres required to convey a detail or argue over something finely, distinctly and with clarity, elements which we still believe necessary for a satisfying conversation. In textual communication, while you hear their responses, there’s the uncertain element of asynchronicity. On Facebook for instance, you say something first, wait for your friends to respond, then you respond to that – it’s a sequence, which is exactly how the conversation would have unfolded in that coffee bar, with the minor difference being that on Facebook, your friends might reply to your post in a minute or perhaps a week later, and you wouldn’t have the joy of witnessing their cheeky smiles.

You might argue that social media has evolved its own lexicon and codes to bridge that physical divide. We now have emoticons and newer ways to re-present the Body. There is also video and voice chat, so it’s like being ‘in front’ your friends, even if you are not ‘with’ them. This is the homily that sci-fi writer Isaac Asimov projected in his novel, The Naked Sun, where communication is done via holographic telepresence called viewing, as opposed to in-person seeing. This perspective of how ‘presence’ is understood is essential to how conversation thrives and ultimately, inter-personal relationships and social cohesion. I have this rather alarmist view that we are already on the trajectory depicted in The Naked Sun, where personal / human contact is shunned and coded out of practice.  

I guess I grew up at a time when we had the best of all the worlds – we were close enough to our closest friends, maintained interesting relationships with our pen friends, visited relatives every other week for that familial bonding, and also had the novelty of the landline to get in touch with friends during the vacation or a favourite cousin who has shifted to another city. Conversely, the limitations also didn’t fill us with the need to know what these people did every hour or day or find out what movies they saw or games they played, or if their relationship is complicated or rainbowish. All of these were, in simple terms, none of our business!

Facebook users thrive in an environment where all personal remarks are subject to increasingly informal responses by default, because of the way the interface is designed. These responses are not taught or borrowed, but mutate over time (and time itself is experienced differently online). Facebook is all about transparency and the ensuing culture of participation that underpins open systems. If you are open about your life, you engage with people more often and gradually post increasingly greater bytes of information. You don’t pause to think if posting about your boredom is of any value to all your friends. It’s understood that the list will itself understand which information is of value and which can be ignored. The wall posting is seen as just that – a post, and not likened to a person in a room or a coffee house saying something to someone. A post or a tweet has value as an item in a list that needs to be check-marked either with a Like or a smiley or a one-liner.

There is no barometer to measure and ascertain whether your presence is ‘valued’ in the ‘corporeal’ sense – you are present as a body on the other side of the screen, but only really represented through your posts. Offline, a look, gesture or nod conveys fully well a response; silence (in this case, deletions) are not the usual responses to a spoken word. How do you measure the impact of a ‘seen’ or Like? In simple terms, I think Facebook does away with the offline value of courtesy or empathy. Critically, it has given rise to a new breed of conversationalist: the lurker. Offline, you do have the odd person in the group who does most of the listening and chips in with a laugh or just nods their head. However, lurking as a defined ‘online’ behaviour, as characterized by consistent lack of engagement, is quite peculiar to the world of Facebook. What does it say about a system’s emotional quotient when half the posts, comments and conversations pinned on The Wall are subject to only being read, scrolled over or worst, manually hidden / deleted as if the words never existed? What sort of a system consciously engineers a space where a person’s output – her words, ideas, opinions – are not subject to a response? What are the implications of subscribing to and evolving towards a culture of constant stimuli with no visible response? That’s the space where loneliness is born.

Facebook cloaks itself as a platform that is alive and teeming with people all engaged and interconnected with one another. What I see, however, is an aggregate service, which culls our data and archives it. Our every little outpouring might be more important to the servers and algorithms than to our own network. I fear the sum total of what I am will just be a footnote in the codices of the Web. That smallness that we experience when we measure ourselves against the vastness of the universe is nothing but loneliness. If we learn to cope with that sense of insecurity on Facebook and others of its kind, then we are set for long term innings within the network. The point is, while the trade-off from face to interface might not be what we anticipated when we invented these devices, perhaps a guide or toolkit or a ‘Wiki’ resource to adapting to a new way of communication is something that should be penciled in for generations of people who are in the transition phase. Crowdsourcing, anyone?

This is the unabridged version of the article that appears in ‘Home Alone’: Digital Natives with a Cause newsletter | Volume 10 Issue 1 | Hyper-connected, yet hyper-lonely? http://cis-india.org/digital-natives/dn-newsletter-volume-10-issue-1.pdf via The Centre for Internet & Society, India

Everyday Digital Native: Video Contest


The Everyday Digital Native Video Contest

You THINK Digital?

You CONNECT using digital devices and gadgets?

You ACT digital, always clicking, linking, posting, tagging and Liking?

You know what it means To Be digital!

Tell us your Digital Story. What makes your life so click-worthy?

Submit your idea online: https://www.research.net/s/BZXQPHL | Top 10 video finalists win EURO 500 EACH!!!

Deadline: 26 January 2012

Contest Website: http://cis-india.org/digital-natives/video-contest

Piracy Wars: Sharing Should Not Be Equal To Stealing


 

Waging War on Piracy: Enough Say Media Producers
Today, we are looking at increasing crackdowns on piracy – police officials undertaking raids on street vendors, storerooms and middlemen involved in physical piracy of media goods – Music CDs, VCDs, DVDs, books, software CDs, etc; tougher laws with heavier penalties and fines; increasing court cases filed by media producers against pirates. However, piracy is an overwhelming force, with millions of criminals hand-in-glove with consumers – us, the ones who patronize this theft in films, music, comics, books, and other media goods.

Sharing is NOT Selling: At least, it shouldn’t be
How about digital piracy? Digital pirates are the ones who upload media goods online and make profit out of selling and distributing it – for money. The operative phrase is “selling for money” (are you listening media producers). Back in the analogue age, when you listened to music on audio cassettes and watched movies on video tapes, you habitually “lent” tapes to friends. We all know that redistribution, copying or sharing of such content was forbidden – whether for commercial purposes or otherwise, however that didn’t stop us for doing so. Our friends recorded the music on blank cassette tapes and shared it with their circle – again, it’s illegal to do so because the music producer would have made profit had your friend legally purchased a music CD from a store.

The same concept applies to sharing of digital content. Music, film and PDF files that are put up online (copyright infringement) and shared among peers or users – of a torrent site, hosting site, a user’s personal blog – again copyright infringement and No Electronic Theft Act (US). The contention is that the website owner ends up making profits out of selling media goods not belonging to him, and secondly, this type of free sharing disallows media producers from making money legitimately.

Those are the facts. Reality is black and white: a lot of media goods are distributed, remixed, recycled, reproduced and redistributed into the public domain because of such inimitable sharing. Could you imagine a digital age where every college kid was forced to buy a music CD or DVD in order to watch one scene or listen to three songs? I guess the trend of creating Singles evolved from this limitation. It’s economy of scale and clearly, students or those sharing files with other users are not en masse out to make a buck – those who do, can be jailed.

I believe our copyright laws are far too obsessed over the concept of “protection” of artists’ work. Sharing is clearly distinct from selling (media goods) or what is seen as an umbrella term – digital piracy. Recently, a lawsuit was filed against Pirate Bay (Torrent Becomes A Dirty Word, France) and I am afraid it’s the tenth of several hundred lawsuits waiting to be inflicted on the system of digital sharing.

Why do we buy pirated goods off the streets?
1) media goods are expensive. For e.g. if a music CD costs $14.99 in the US, it has the equivalent price in developing countries such as Brazil and India. This means, there is no price ratio taken into consideration by the producers / production houses / marketers while fixing prices across geographic regions. Rather, we (developing worlds) are expected to pay what is generally, 50 to 100 times the price of the CD in local currency.

2) Shoplifting is a crime because you enter a shop knowing full-well that products are on display for sale and not for free consumption. In the online world, while there are dedicated portals to purchase media goods, consumers also have access to free media goods. Research from independent government bodies demonstrate that file sharing has actually helped increase sales of music CDs, theatre / box office collections and book purchases: read three excellent posts on this and here and here.

3) Digital content allows us greater freedom to choose specific content for download. Back in the analogue age, I had to buy a music CD of Michael Jackson even if I loved only four of his 14 songs from the album. Today, I just download a couple of tracks – or pay for it on iTunes. However, not all digital users across the world can afford to sign up with iTunes and pay cents short of a dollar for one song. You do know that in several developing nations, the daily wage of a worker is less than $2; surprisingly the workers are able to afford cheap cell-phones and download caller tunes and music from the mobile service provider. So, choice and pricing once again play a huge role in encouraging digital downloads.

TV, digital and radio campaigns created by media producers appeal to citizens to stop piracy as it is kills artistic freedom and livelihood. Clearly, such campaigns are mostly targeted towards physical piracy, rather than digital, because scores of file sharing and download sites do not make money out of the media content they upload. Advertisements, clicks on banners and donate button are means to keep the website running, not profits incurred from sales of any media goods.

Let me iterate here, clearly: a music album, a book or movie, journals, architectural designs and paid news come with a price tag and need to be purchased from a legal outlet, authorized showroom or distributor premise. The operative word is purchase. If you redistribute physical copies of these goods and make money out of it, then that’s clearly piracy. However, what the Internet manages to do, is circumvent this “store-room only” policy and allows consumers to sample media goods, just like we did back in the analogue age. That should not classified as piracy or any form of criminal intent. It would have been a crime if there was clear evidence that such “free” sharing is leading to decrease in sales or profit making for media producers and artists, writers and so on – clearly that is not the case.

- Nilofar Ansher

Would like to hear what digital users think of downloading stuff online – is it wrong, do you feel guilty but still continue downloading, do you make money out of sharing?

‘Time Lapse in an Art Gallery: When to Stop Looking


‘Crocodile Tears’ by A.S. Byatt set me on this trail. Coming from an Indian middle class family with zero interest or affiliations with the arty-farty world, entering an art gallery for the first time when I was all of 20 came as a bit of a ‘wow’ moment for me. Pristine white walls, hot focus lights, splashes of colors – and everyone looking dazed.

That was way back in 2001 at the Art Gallery in Nehru Planetarium in Mumbai’s Worli area. Since then, I must have trawled numerous art galleries, fine art museums and events where art is the focus. Some places, I cried out in wonder and astonishment at the brilliance on display! At other times, I have wrinkled my nose and curved my lips in a sneer – jeez, why would anyone PAY for this! There have been the in-between times when I have taken a serious liking to someone’s works after dismissing it off at first glance, and the few “rare” times when I threw a gauntlet at a gallery hand to ‘hand me a brush, and I will show you a masterpiece’. Err, the masterpiece was never painted nor “hung”.

More than the art on the walls, it was the goings-on inside the gallery that elicited – still do – reactions from me. The oh-so-la-di-da society ladies; the khadi-trotting, kolhapuri chappal-strapping, kohl-eyed, hair-a-wild-coif type impresarios (socialites); the staunch-faced, cigar-smell reeking ‘suits’ and his dolled up ‘mrs’ come to talk art mart & business; the critic with his permanently squinted eyes; the ‘art is an uplighting, sprititual experience’ puritan, and the punk youngsters who want to a break in this world. Of course these are stereotyped, all characters you would recognize though. Each of them have mastered the art of “viewing art“.

Yes, you heard that right. Viewing art is an Art in itself. “Viewing” Art, mind it, not staring, gazing, peering, stealing backward glances again and again of the paintings. Viewing is seeing something through a medium, a lens perhaps, or a glass, it’s not direct. When we look at a painting, we don’t just see it, but we study it, we challenge it. We engage with it until we have heard what the canvas has to say or it has done telling us its story.

Which brings me all the way back to the first line of this post: A.S. Byatt’s “Crocodile Tears”. Right on the very first page itself, Dame Byatt throws a startling tidbit at her readers: How does one judge when to stop staring at an art work and move on to the next? How indeed! Does it take 15 seconds? A minute to be polite? A whole 3-and-a-half minute to appear a serious connoisseur? A leg-aching 10-and-a-3/4 minutes to fool the audience that you have transcended the canvas in front of you to take residence in another realm?

If you ask me, I give it 85 seconds only. Yeah, there is precision in numbers. Here’s how I arrived at the magic number:

First, step in front of the frame (5 seconds).

Second, let your eyes go over the entire painting once (15 seconds).

Third, zero in on the name of the painter and other snippets (of details) that your brain needs to digest before digging into the real meat (15 seconds).

Fourth, now take a deep breath (and in the next 30 seconds) zero in on the one thing in the painting that has caught your attention. It’s like letting the first essence of fine wine whet your tongue and senses, let it take hold of you and give in to the taste.

Fifth, move to the borders of the painting, away from the central figure of interest, and see how the peripheries have added or subtracted from the centrality or theme of the painting (15 seconds).

The sixth and last stage (last 5 seconds), bid the art goodbye – don’t dilly dally, give it a last glance, but don’t keep turning around to see if you have “really taken in its significant, underlying subtext & context” -

And then? MOVE ON!

By Nilofar Ansher

When Folk Theater comes to the City


I am all for the breaking down of cultural barriers – not nation to nation (we have already crossed that milestone a hundred times over) – but from the rural to the urban.

I had the delight to observe a ritual spirit dance taking place in the interiors of south India a while ago and was left with the question: how do I know these rural / tribal dancers are not just putting up a show for us city slickers, but are actually lost in their traditional ritual?

Had another interesting thought-wave recetly when I attended a Yakshagaana performance in the city of Mumbai, India, in an auditorium. The folk theatre, an almost opera-like form of performance, dialogue, narration and singing, has its roots in classical Indian dance and is traditionally performed during a festival, religious event or a significant ceremony in the community. These performances last for a fortnight in many villages, and villagers – the audience – participate in the event by asking ‘Lord Ram’ to solve their problems, or asking ‘Lord Hanuman’ to bless their newborn. It’s a cathartic experience for them, as it’s a recreation of a myth they believe in. 

With a rural/folk roots, Yakshagana today has traversed the village boundaries with troupes establishing a base in cities where their performances are patronized. It was just a leap of time before such performances came to regularly ’showcased’ in city auditoriums around India and the world.

The same question haunts me: How does the context  of a folk performance change when it’s translated on stage? These troupes, who are used to being treated as ‘gods’ by their local community while they perform the Epics – Ramayana and Mahabharata – are reduced to ‘performers’ who receive claps, standing ovations and calls for ‘encore’ in the city.

Obviouly, urbanites are not educated about the background of folk theater, and neither will they view such performances in a ‘religious’ or ‘ritualistic’ context. But, how has the folk dancer coped with the changed setting? Has he learnt to enhance his performance and play to the gallery? How does he retain the originality and context of his ritual? Is he conscious of the fact that his is a performance and not a worship for the audience? I hope there will be documented answers to these questions soon.

By Nilofar Ansher