Posts Tagged ‘iran’

Brookings Institution: The Doha Forum

Inside the Ritz Carlton Hotel at the U.S.-Islamic World Forum in Doha, Qatar

In February 2008, Dancing Ink Productions’ Joshua S. Fouts and Rita J. King were invited by the Brookings Institution to be speakers at the U.S.-Islamic World Forum in Doha, Qatar. Dancing Ink Productions produced a mixed media event live from Doha and in the virtual world of Second Life. The event, which was entitled, “The Transfer of Cultural Energy,” featured Nashwa Al Ruwaini, host of the two top-rated television shows in the Middle East, “Nashwa” and “Poet of Millions”; Howard Gordon, executive producer of the Fox television show, “24″; and Ambassador Cynthia P. Schneider.

(A portion of this work is also featured in the findings of the Understanding Islam through Virtual Worlds project, which was released January 2009.)

Avatar of Nashwa Al-Ruwaini
Avatar of Nashwa Al-Ruwaini
Howard Gordon and Rita King speaking to their virtual audience
Howard Gordon and Rita J. King speaking to their virtual audience

The event also featured two hip-hop artists, Palestinian Muhammed Mughrabi of the Jerusalem-based hip-hop group, G-Town, and Iranian Yas, who is the first hip-hop artist whose work is sanctioned by the Iranian government. The two sang a spontaneous Arabic-Farsi hip-hop performance, which can be viewed in its entirety here.

Muhammed Mughrabi and Yas perform at the U.S.-Islamic World Forum
Muhammed Mughrabi and Yas perform at the U.S.-Islamic World Forum

Proceedings of the U.S.-Islamic World Forum can be downloaded in PDF format here.

Dancing Ink Productions’ participation in the U.S.-Islamic World Forum so inspired us that we penned the following vision statement about the foundational aspects of our work, “Our Vision for Sustainable Culture in the Imagination Age.”

Dancing Ink Productions produced the below machinima video as part of their participation.

In Ambassador Cynthia P. Schneider’s forthcoming report about cultural diplomacy, “Mightier than the Sword: Arts and Culture in the U.S.-Muslim World Relationship,” includes the following recommendations:

Virtual Worlds: Although participation in virtual worlds is minimal at present in the Muslim world, the technology off ers the possibility over the long term of lectures, dialogues, discussions, concerts, screenings and other performances that could break down barriers of geography and incorporate “audiences” from diff erent parts of the world. Contests, such as the remix contest with Salman Ahmed’s music, increase distribution and engagement with diverse types of music. At the 2008 U.S.-Islamic World Forum, the Brookings Institution, in collaboration with Dancing Ink Productions, held a virtual world panel discussion featuring Howard Gordon (executive producer of 24) and Nashwa al Ruwaini (CEO, Pyramedia) and attended by people (via their avatars) from the U.S., South America, Europe, Asia, and Africa. Th e session concluded with a freestyle hip-hop concert featuring top Iranian rapper YAS in Farsi and, in Arabic, Palestinian Muhammed Mughrabi, the leader and co-founder of the G-Town the Palestinian Hip-Hop Makers group in Jerusalem that had all the participants’ avatars dancing.

The Ethics of Changing Your Twitter Location to Tehran

[Originally published on DIP's Dispatches from the Imagination Age.]

By Rita J. King

At the #140conf in NYC yesterday I served on a panel moderated by Joshua Fouts, Digital Diplomacy and Cultural Collaboration. 44 tweets and retweets were generated by the comments, and I received several requests for fielding ethical questions related to the use of Twitter as well as the publication of Twitter names in a major publication. I wrote a statement prior to the panel, and while I didn’t deliver directly from the written comments, that statement, which sums up my position, is pasted below:

Twitter’s #iranelection demonstrates that the digital culture is tied irrevocably to the physical world. The digital is real.

The developing ethics of cultural collaboration can help us avoid turning this magnificent tool for greater understanding into an instrument of further destruction through misinformation, a tragedy made all the more ironic for its motivation: the desire to meaningfully connect with others or, in the case of #iranelection, to participate in the world’s first digitized revolution.

Understanding issues related to anonymity and the creative construction of digital identities is critical. In 2001 I wrote a cover story for the Village Voice, “Terms of Service: Sweaty Scenes from the Life of an AOL Censor.”

“Just as playing Dungeons & Dragons doesn’t turn a kid into a wizard, pretending to be a homicidal maniac on line doesn’t make a man a killer. But what it does make him is one of the greatest ethical dilemmas facing modern society.”

Last night one of my friends called after midnight because she needed to know how to use Twitter so she could follow #iranelection. “What is RT?” she asked. “What is RT?”

“It means retweet,” I said. Then I explained the hashtag, and the etiquette of including handles in a retweet, and editing to stay within the 140 character limit.

“People are switching their locations to Tehran,” she said, “to protect protesters.”

I’ve been hearing people suggest this constantly in the last day, but is it the right thing to do? It might serve a purpose, but won’t it also deliberately obscure the ability of Iranians to communicate with one another? And won’t it give the impression that more Iranians are tweeting at a time when many people have reported that Iranians they follow have stopped?

Is switching your location to Tehran if you’re really not in Tehran ethical?

“But people are dying,” my friend said. “Look, is it unethical for a person in Second Life to create an avatar that can walk if that person is really in a wheelchair in the physical world? In that case, lying serves a purpose, to transcend limitations.”

I do not believe that creating an environment in which a paraplegic’s avatar can walk is the same as listing one’s location as Tehran. Human beings are well capable of suspension of disbelief, which amounts to trusting one another to create a collaborate narrative that highlights the most authentic aspects of how we see ourselves and one another, to explore, to push the boundaries of what it means to co-create the mixed-media, mixed-reality world in which we live.

Twitter is important. Clay Shirky just gave a TED talk to the State Department, and the State Department asked Twitter to postpone a shutdown to keep more Iranians communicating.

TED founder Chris Anderson said,”Spend half an hour looking at the #iranelection stream on twitter and browse some of the vivid individual accounts of what’s happening on the ground. Then see how a massive number of non-Iranians have begun declaring their solidarity. Feel nothing? (Are you human?!)”

We will move from here toward augmented realities and telepresence. We cannot go backward from this evolution in human consciousness, but the road ahead will be dangerous as the shift occurs. We are forming a sense of global ethics that sits like an overlay map on a three-dimensional framework of different rituals, customs and systems of belief. We are doing this together.