[Reader-list] [Sarai] Social and Digital Media Short Term Project- Post 2

[The Sarai Programme]

Dear all,

please refer to the following links for the second research postings by the
Sarai Social Media Fellows-

Abhija Ghosh, Streaming Nostalgia: Listening to Nineties Film Music Online
<http://sarai.net/streaming-nostalgia-listening-to-nineties-film-music-online/>

In this post, Ghosh follows the popularity of nineties film music across
various online circuits of music circulation to map the complexities of an
emergent nineties nostalgia. Film music of the nineties becomes an
interesting cultural entity in this media scenario, circulating through
unofficial fan uploads, categorized official audio and video streams as
well as social media feeds, not only relaying an afterlife of nineties
romance music across the internet but also, continually transforming the
role of the film music fan

Charu Maithani,
<https://mail.google.com/mail/u/0/Imago%20Aevitas:%20Beginnings%20of%20Art%20Projects%20on%20the%20Internet%20in%20India%20and%20the%20World>
Imago Aevitas: Beginnings of Art Projects on the Internet in India and the
World  <Imago Aevitas: Beginnings of Art Projects on the Internet in India
and the World>
This second post gives a brief introduction of net.art as a precursor to
internet and web art and a few observations on one of India’s first net art
projects in form of websites by the artist Shilpa Gupta.

Mrinalika Roy, Charting e-territory: How Khabar Lahariya made the Digital
Transition
<http://sarai.net/charting-e-territory-how-khabar-lahariya-made-the-digital-transition/>
This post is the second part of Roy's research into the digital
transformation of a rural newspaper – Khabar Lahariya ­­- run by an all
women’s team in Bundelkhand. In the first post, she traced the origins of
the newspaper. In this post, she chronicles the way technology was
integrated into the working of the newspaper. The process is two-pronged.
At the macro level, it meant bringing Khabar Lahariya into the web sphere
and at the micro level it involved imparting digital education to the rural
women who are both news disseminators (reporters) and consumers (readers).

Pallavi Paul, Can Speak? Will Speak: Interpreting Digital Forensics
<http://sarai.net/can-speak-will-speak-interpreting-digital-forensics/>
This post deals with the arrival of audio and video content into courts of
law. Constructed around significant litigations, crime scene analyses and
interviews with forensic experts- this piece traces the processes of
digital forensics and its myriad philosophical provocations. It stages the
site of video forensics around questions of materiality, digitality,
production of authenticity and technological fragility

Silpa Mukherjee, Starlets as Item Girls #OBSCENITYDEBATES
<http://sarai.net/starlets-as-item-girls-obscenitydebates/>
This research note deals with the case of internet virality of item numbers
and their live performances (often at private occasions) and the debates
over obscenities that they generate which sometimes make these dance
numbers controversial. The curious nature of publicity that the starlets
performing the item numbers receive, a quick but ephemeral glamour remain
the focus of the study.

Smarika Kumar, Creating Authority of Law Over a New Technology: Reflections
from Shreya Singhal
<http://sarai.net/creating-authority-of-law-over-a-new-technology-reflections-from-shreya-singhal/>
This post discusses how courts have employed analogies to understand a new
technology and assert legal authority over the technical. Examining idea of
justified differential treatment under Article 14 of the Constitution, it
contemplates over the development of the concept of 'technological
neutrality' and its relationship with the authority of law.