Glucometer Foils

The labyrinth of foil inside a glucometer strip reveals a fragile chemistry. If you peel open the plastic covering, many inner circuits contain some version of biosensor technology, electrochemical cells screen-printed with gold or other precious metals and coated in places with enzymes. The foil serves as a conductor for electrons in a drop of blood, allowing a brand-matched glucometer machine to measure the charge a sample holds.[1] Yet costly design components (including gold) are also part of the reason that glucometer strips remain too expensive for most people in the world who have diabetes.

Diabetes mortality. World Health Organization 2014

Fig. 2. Diabetes mortality. World Health Organization 2014. Used with permission.

Today, personal blood glucose meters are widely considered best practice for optimal diabetes management. Key in calibrating safe insulin dosing, they have also become a vital part of how people with diabetes move in and out of numerical legibility: glucometers are playing a major role in the piecemeal global public health mapping[2] of a diabetes epidemic rising worldwide. Even with increasing bureaucratic recognition, the number of people with diabetes remains debated by major policy institutions. The World Health Organization, author of the concerning map above (Fig. 2), calculates some 1.5 million fatalities from diabetes each year, while the International Diabetes Federation (IDF) places its projections even higher. Trying to account for undiagnosed populations, they estimate that diabetes now kills around 5 million people worldwide annually—five times as many as the reported mortality from HIV/AIDS in 2016—and that some three-quarters of an estimated 415 million diabetics today are living in low- or middle-income countries (IDF 2015). These very different statistics help to show the murky contours of a vast epidemic that glucometers’ measures both enter and play a part in enacting (Mol and Law 2004). Yet their role in frontline diagnosis also hinges on a painful irony: glucometers’ metrics help to make visible an enormous population of people living with diabetes in contexts of poverty, many of whom cannot consistently access the same meters then vital for day-to-day care.

'Cash for diabetic test strips' sign at Pennsylvania intersection

Fig. 3. “Cash for diabetic test strips” sign at Pennsylvania intersection (photo by author).

I first encountered these issues as an anthropologist following people’s stories about living with diabetes during a year of fieldwork in the Central American country of Belize. It initially came as a surprise to me how expensive and out of reach the basic tools of glucose home management remained for many people I spoke with in 2010. During this time, glucometer machines—some purchased at grocery stores or local clinics, others acquired from visiting care groups or sent by relatives in the United States or elsewhere abroad—were priced around $50 to $100. Some corporations even provided them for free if you bought enough test strips, which are the truly expensive component of this system. Prices are declining today, but in 2010, they went for around $50 to $70 per jar of 50 strips (which would last less than a month for someone testing twice a day, but were often stretched much further by people trying to make supplies last). They had to be constantly replenished with imported strips that require precise matching to machine model and brand (Moran-Thomas 2016). A thriving gray market (Grondahl 2012) flourishes around them even in the national contexts they are specifically designed for, a problem reflected in the image I took recently in Pennsylvania (Fig. 3). According to a CNN report, in 2012 diabetes test strips became the number one most frequently stolen item in the United States, surpassing alcohol and cigarettes (and raising disturbing questions about the systems in place when a top target of criminalized theft is entwined with health-seeking behavior).[3]

Although glucometers first seem like the closest thing there is to a “solution in a box” (Redfield 2012a) for global diabetes management, as Peter Redfield (2012b) puts the quest for such objects, their upkeep entails engaging a transnational supply line full of expensive, complex parts and hardwired assumptions. Though portable, these devices require intricate networks to maintain: codes and calibrating fluid; lancets to draw blood from fingertips (for which some people substituted pins or sewing needles); and lithium and other specialized imported batteries, for which there was no substitute. Managing these messy assemblages could become a family affair, including the coordination of foreign insurance plans and mailed parcels. Certain models became easily damaged in hot temperatures, or left people trying to recode their machine’s time stamp, which might allow recently expired strips to come back into circulation. Many said a jar that expired a day or two ago could still work just as well, but no one knew exactly where to draw the line at when a strip’s diminishing efficacy became too far expired to be worth consulting: A month? A year? Of course, drawing such lines returns to much larger unsettling questions around about glucose meters: How bad is less than ideal care—and how are people navigating its risks against the de facto dangers of no care? I wasn’t sure what the implications of expiry backdating were in practice, but observed many cases in which refusing to fiddle with a meter would have meant no way to test at all.

Glucose meters were not designed to enter humanitarian aid economies. After all, diabetes had not historically been imagined as a worldwide issue of humanitarian concern. Decades ago in the 1970s when early blood glucometer models were first being developed in Europe, North America, and Japan, diabetes was still largely considered a “disease of affluence.” Historically portrayed as linked to excess—if anything, the opposite of malnutrition—Type 2 diabetes was frequently cast as the responsibility of misbehaving individuals rather than a societal concern or urgent public health issue. Meanwhile, people with Type 1 were often mistakenly imagined scarcely to exist outside high-income contexts.[4]

In U.S. settings today, glucometers are often used in conjunction with continuous glucose monitoring systems or even insulin pumps. But these, to my knowledge, were not available in Belize even to the wealthiest, making a working “finger prick” meter more important as a checkpoint. For those who could acquire these digital devices, they commonly indexed the generosity of relatives abroad or served as artifacts of transient philanthropic interventions, networks difficult to sustain day in and out. I saw countless machines that were unusable or broken. Time and again, I encountered malfunctioning meters with elaborate features such as Bluetooth compatibility on the shelves of homes without electricity, artifacts of vast gaps between the contexts these machines’ designers envisioned and the places they have become necessary. Stored on kitchen shelves or carried in weathered plastic bags by patients trying to repair them, people’s bodies and devices often seemed to be wearing out together.

There is a story about a critical crossroads in the history of meter development. It is an oral history that perhaps might be read as an aspirational rumor, but the story goes like this: There were two major competing companies shaping design when the first glucometer machines came out, one in England and another in Germany. A top employee of the British company has described how their engineers proposed making an open machine that would read either company’s strip, and called their German counterpart with a proposal to coordinate. According to his recollections, the German company turned down the idea and did not want their strips read by any but their own machines (Mendosa 2006).

Although meters philanthropically donated by manufacturers today provide key islands of care in select low-income pockets of the world, such programs remain highly proprietary and heavily dependent on donor control, leaving huge populations excluded. There are also important efforts under way to distribute glucose meters that reflect the hard work and care of innovative grassroots communities in Belize and beyond, but such collectives still deal with devices that are prone to systemic breakdown and remain out of financial reach for many in the world. Scholars such as David Fidler (2008) have envisioned a productive “open source anarchy” that might characterize global health governance, in which private and public institutions alike could collaboratively contribute to building health networks and catalyzing competition to drive technological innovation. But the case of brand-matched strips and proprietary glucometer parts for global diabetes care seems more iconic of what Ruha Benjamin (2015) calls “discriminatory design,” technologies with foreseeable injustices built in. (And like many forms of discrimination, taken-for granted norms and complacencies that exclude certain populations from access can produce worrisome effects without being deliberately unjust.)

Is “discriminatory design” the inverse of humanitarian design? Humanitarian impulses express conscious intent to remedy injustices, whereas a glucometer’s discriminatory effects seem to derive more from assumptions and failures of imagination. As Madeleine Akrich observes in her now-classic essay “The De-Scription of Technical Objects” (1992), it is often “only in the confrontation between the real user and the projected user [that] the importance of…the difference between the two [comes] to light,” taking ethnographic work to “follow the device as it moves into countries that are culturally or historically distant from its place of origin” (Akrich 1992:211–212). When design problems for poor patients are identified, what happens next? As Alice Street discusses in this issue, point-of-care diagnostics have become a frontier of innovation for various global health projects. Yet glucose meters stand out as a boundary case example of technological design that has not been transformed by these new norms. Glucometers also serve for much more than one-time initial diagnosis of diabetes (though they at times play a diagnostic role): people then require access day in and out for the rest of a lifetime, if they hope to monitor their blood sugar in the ways their doctors recommend. Why have affordable, portable diagnostic tests for human African trypanosomiasis been developed and manufactured, but not for blood glucose?

Some people ask whether a satisfactory low-cost version of glucose testing already exists in urine strips (freighted with their own history of technical and ethical conundrums). Some of the first known technoscientific testing for diabetes was conducted with urine and bits of sheep’s wool dipped in stannous chloride, which turned black to indicate the presence of sugar. Urine tests using paper steeped in alkaline indigo-carmine were in vogue by 1883, when Bedside Urine Testing was published in England (Clarke and Foster 2012). The messy material culture of boiling your own urine was finally replaced in the 1940s by an Ames company urine dipstick test for sugar, the Clinitest. It was based on the breakthroughs of dry-reagent chemistry (the technology behind litmus paper), and popularly marketed for home use.

Clintest

Figure 4. Clinitest, 1942. Gift of Robert J. Locurto, Division of Medicine & Science, National Museum of American History, Smithsonian Institution. Used with permission.

Today’s blood glucose machines are far more accurate than urine tests because they provide “real-time” blood glucose levels, whereas urine (by the time it’s expelled) is reflecting the body’s state several hours before. This, along with other limitations in precision, now makes blood glucose meters a basic standard of care for home testing in the United States. But out of recognition that such everyday glucometer testing remains utterly out of reach for many poor patients in huge swathes of the world, one of the IDF’s important advocacy and policy engagements was to issue a position statement on glucose testing access. It boldly supported the use of urine testing at home for diabetic people who could not afford personal blood glucose meters. The IDF’s official position statement on urine glucose testing was publically issued in 2005. The three-page document reads in part:

Before the advent of blood glucose monitoring in the 1970s, urine glucose monitoring was universally used, with many people able to maintain good control. Blood glucose monitoring has now replaced urine monitoring in resource-rich settings. However, insistence on blood glucose monitoring in economically disadvantaged settings could result in no monitoring at all…

  • Urine glucose monitoring should continue to be available throughout the world.
  • Education about its role and appropriate use should be part of essential education about diabetes for health care professionals and governments.
  • It can be used separately to, or in conjunction with, blood glucose monitoring in particular circumstances and settings.
  • It should continue to be included on the World Health Organization Essential Drugs List.
  • The major promotion by industry of blood glucose monitoring should not result in the appropriate role of urine glucose monitoring being underestimated.
  • As long as results are interpreted correctly, and limitations understood, it provides valuable information in persons with type 2 diabetes treated by diet or diet and tablets, in people with type 2 who use insulin, and in people with type 1 diabetes, who cannot afford blood glucose testing…
  • Because it is significantly cheaper than blood glucose monitoring, it has a very important role to play in settings where blood glucose monitoring is not accessible due to cost, or where blood glucose monitoring can only be done relatively infrequently. This occurs in some situations in both developing and developed countries.
  • Its use should be determined by the individual healthcare professional in conjunction with the person with diabetes, taking into account all circumstances.

International Diabetes Federation, 2005.

The IDF affirms they have not updated this statement, though it is not widely publicized. (Perhaps this relates to diplomatic negotiations with glucometer manufacturers, key players in diabetes policy arenas today.) Yet controversies about digital glucometer machines versus urine testing are also tangled up in much larger debates in global health ethics: When is outdated basic technology a stopgap measure for pragmatically addressing inequality in the meantime, and when does it risk normalizing complacency with unequal standards of care?

The glucometer’s historical emergence in high-income contexts sets the stage for certain kinds of innovation being constrained around industrial players’ concerns with retaining control of lucrative markets. Yet Akrich argues that it can be easy to believe such norms are unchangeable, which makes social history useful for opening up the contingencies of past designs and suggesting how their contours may be fiddled with ahead: “processes involved in building up the technical objects are concealed. The casual links they establish are naturalized. There was, or so it seems, never any possibility that it could have been otherwise” (Akrich 1992:222). Indeed, even market realities do not put to rest the larger questions also at play: Which inequalities trouble people into action or outrage, and which ones do not? Obviously there are unequal standards all over the place, but a few, like antiretroviral (ARV) availability to treat HIV/AIDS, became points of moral action. And like HIV/AIDS, diabetes also shares the market dilemmas of treatment for a lifelong disease that afflicts populations in both high- and low-income countries.

In the famous case of ARVs, alliances of patient advocates and national governments played major roles in using state laboratory capacities to put pressure on industrial players and make proprietary life-sustaining treatments more affordable. When it comes to diabetes hardware, a number of innovative projects (Akpan 2015) to design glucose management for people living in low-income settings are starting to get off the ground. One such effort is under way at the MIT Little Devices Lab (http://littledevices.mit.edu/), where I visited to learn more about work on “open design” by Jose Gomez-Marquez and his team. Studying the circuits of various glucose meters to figure out how they are wired, they envision an open device that could be useful for practitioners in his home country of Honduras or key collaborators in Nicaragua, for example, or a design blueprint that might be published online as a template for consideration by national laboratories in countries like Brazil that have the capacity to engineer their own quality components. The Little Devices team has also begun exploring what they call “lost technologies” of diabetes care.

Jose Gomez-Marquez holding an open glucometer prototype at MIT Little Devices Lab.

Fig. 5. Jose Gomez-Marquez holding an open glucometer prototype at MIT Little Devices Lab (photo by author).

Such efforts are full of techno-ethical challenges, as Gomez-Marquez describes elsewhere (Mayo Clinic 2017). Yet they surely seem worth grappling with, given how uneven global diabetes care looks at present. In Belize at least, health workers I knew did not recommend urine dipstick tests for diabetes home care because they weren’t considered best practice. But the stark reality persisted: poorer patients often had no way at home to test their sugar at all. Once I asked in a local clinic how they dealt with this quandary, and was surprised to find out that this simple alternative glucose test—costing pennies instead of dollars, and requiring no machine—had been right there on the clinic shelves all along. It turned out that the same urine dipsticks used to check for infections measured not only leukocytes, but also a row of other indicators, including nitrates, albumin protein, bilirubin, urobillinogen, pH levels, and—most important for diabetics—glucose and ketones, present in urine only when the body is off balance. There were numerous cardboard boxes filled with urine test strip jars in storage, a visiting nurse added; it was one of the few things they kept easily in stock. She invited me to look. “Intended for use in the U.S.A.,” read the bottle’s evasive label.

I twisted off the plastic lid and examined its contents, but they yielded no easy answers either—just little strips of rainbow colored patches, paper bands expiring in a jar.

A jar of urine test strips that include glucose and ketone indicators

Fig. 6. A jar of urine test strips that include glucose and ketone indicators (photo by author).

Amy Moran-Thomas is an Assistant Professor of Anthropology at MIT, interested in questions of environmental change and ethnographic approaches to science, technology, and medicine.

References

Akpan, Nsikan. 2015. “Weavers Turn Silk into Diabetes Test Strips.” NPR, January 8. Available at link.

Akrich, Madeline. 1992. “The De-Scription of Technical Objects.” In Shaping Technology/Building Society: Studies in Sociotechnical Change, edited by W. L. Bijker, pp. 205–224. Cambridge, MA: MIT Press.

Benjamin, Ruha. 2015. “From Park Bench to Lab Bench: What Kind of Future Are We Designing?” [Video]. Available at link.

Clarke, S. F., and J. R. Foster. 2012. “A History of Blood Glucose Meters and Their Role in Self-Monitoring of Diabetes Mellitus.” British Journal of Biomedical Science 69(2):83–93.

Fidler, David. 2008. “A Theory of Open-Source Anarchy.” Indiana Journal of Global Legal Studies 15(1). Available at link.

Grondahl, Paul. 2012. “Growing Diabetic Population Fuels a Black Market.” Albany Times Union, January 30. Available at link.

International Diabetes Federation (IDF). 2015. “IDF Diabetes Atlas, 7th Edition.” Available at link.

———. 2005. “The Role of Urine Glucose Monitoring in Diabetes: A Valuable Technology in Appropriate Settings.” IDF Position Statement. Brussels, Belgium.

Mayo Clinic. 2017. “Jose Gomez-Marquez.” Transform Conference 2017. Available at link.

Mendosa, David. 2000. “Meter Memories.” Diabetes Wellness Letter, pp. 1–6.

Mol, Annemarie and John Law. 2004. “Embodied Action, Enacted Bodies: The Example of Hypoglycaemia.” Body & Society 10(2-3): 43-62.

Moran-Thomas, Amy. 2016. “Breakthroughs for Whom? Global Diabetes Care and Equitable Design.” New England Journal of Medicine 375: 2317-2319. Available at link.

Redfield, Peter. 2012a. “The Unbearable Lightness of Expats: Double Binds of Humanitarian Mobility.” Cultural Anthropology 27(2):358–382. Available at link.

———. 2012b. “Bioexpectations: Life Technologies as Humanitarian Goods.” Public Culture 24(166):157–184.

Yoo, E.-H., and S.-Y. Lee. 2010. “Glucose Biosensors: An Overview of Use in Clinical Practice.” Sensors (Basel) 10(5):4558–4576.


Notes

[1] This is a gloss of one biosensor technique, described in lay terms to the best of my understanding, but various meters use many different variations of this technology that involve much further nuance. For detailed technical specifics of glucose biosensor technology, see “Glucose Biosensors” (Yoo and Lee 2010).

[2] Mapping the “global burden” of diabetes is very unevenly underway, as these statistics begin to suggest. Laboratory tests (such as fasting blood glucose or A1Cs) are more accurate to determine if someone has diabetes, since they provide a picture of glucose beyond the particular moment of testing. But these are much more logistically difficult than glucometer checks to realize outside clinics. Institutions currently rely on a patchwork of differently collected and missing data to estimate their diabetes projections, projects that raise their own conundrums (see IDF 2015).

[3] HLN News Now, CNN International Television; 7 June 2012.

[4] Though trimmed for space here, elsewhere this project unfolds in close dialogue with many other ethnographic and historical projects that also consider about how diabetic conditions are socially framed and materially enacted across distinct global contexts.

Featured Image: Foil inside an opened glucometer strip (photo by author).

Customer Care

The mobile phone revolution in Papua New Guinea (PNG) began in July 2007 when Irish billionaire Denis O’Brien’s company Digicel, in response to the government’s liberalization of the tele-communications sector, began rolling out its wireless network. Digicel was warmly welcomed by a country whose citizens felt neglected—if not downright mistreated—by the erstwhile state-owned monopoly Telikom due to the prohibitively expensive and geographically limited wireless services of its subsidiary Bemobile. Digicel did not disavow nationalism, to which Telikom reactively appealed, and also apparently cared about PNG, sponsoring sports teams and cultural festivals.

Digicel billboard in Goroka, Eastern Highlands Province, Papua New Guinea, 2015.

Digicel billboard in Goroka, Eastern Highlands Province, Papua New Guinea, 2015. Photo by D. Doiki

Most important, Digicel delivered wireless service to areas where it was never before available (Fig. 1), thus making good on its promise to bring the nation together (Fig. 2).

Individual customer benefits mattered too. Digicel quickly put basic handsets such as the Nokia 1020 within affordable reach of tens of thousands of people, many living in remote rural areas. By virtue of small, prepaid purchases of airtime, villagers could for the first time experience long-distance communication, especially with kin living and working in urban centers. And when a customer had no credit on her phone, she could use the free “call me” short-message service (SMS) to request that a loved one get in touch (Fig. 3). Digicel clearly understood the value of mobile phones as affective technologies, objects that “mediate the expression, display, experience and communication of feelings and emotions” (Lasen 2004:1).

Fig. 1. (left) Digicel newspaper ad, September 2007. Photo by R. Foster
Fig. 2. (right) Digicel ad, circa 2011.

In the beginning, people did not have many numbers to call or much credit with which to call. So they called Customer Care. Dial 123. 24/7. Free. They still call. But now there is a charge for calling during off-peak hours. The charge is meant to discourage prank calls, especially late at night.

Digicel ad for “call me” sms service, circa 2007.

Fig. 3. Digicel ad for “call me” sms service,
circa 2007.

People also called numbers randomly in search of phone friends who might become romantically involved and eventually meet face to face. Persistent calls from unknown numbers became a common topic of public conversation and a compelling justification for legislating mandatory registration of subscriber identity modules (SIM cards), which finally happened in 2016.

Mobile phones entrained new possibilities not only for sustaining long-distance kin relations but also for experimenting with self-development. The capacity to engage in novel forms of intimacy with strangers and in private forms of communications with intimates was welcomed by some, decried by others, and regarded with ambivalence by most people. New ways to express care and concern—such as sending and receiving credit requests for airtime—were offered by a company that promoted itself as a caregiver to its customers and to the nation as a whole.

Since its launch in 2007, Digicel has achieved market share of about 95% in PNG. The company claims that its “bigger and better network” of more than 1,100 cell towers now covers almost 90% of the population. The so-called penetration rate of mobile phone subscriptions is 49%, representing some 4 million subscriptions (compared with 1.6% in 2006, which is also the current penetration rate of fixed-line telephony). A Digicel official reported in 2016 that approximately 800,000 of these subscriptions are for smartphones. These smartphones are the primary means for most people to access the internet, hence the remarkable growth in the last several years in the number of internet users in PNG from less than 2% in 2010 to more than 11% in 2016.

At the same time, mobile phones, understood as social and material assemblages that include more than the discrete handset, were taken up in ways that exposed the premises of a robust moral economy: what companies, consumers and state agents owed to each other posed a perpetually open question. The capacity of the PNG state to regulate Digicel, which owns and controls the network it built, is weak; the business challenge faced by Digicel to overcome the absence of a reliable electric power grid and the chronic insecurity of corporate assets such as cell towers, which are regularly vandalized, is enormous; and the ability of consumers to use the network in the face of limited financial means and increasing demand for smartphones and data is always under threat.

In short, the moral economy of customer care in PNG is precarious for everyone. Here I offer five brief ethnographic examples.

Karen acquired her first mobile phone when she came to university in the capital city of Port Moresby in 2011. She already had friends who owned mobile phones despite an official ban on the devices at her high school. But at university, every student seemed to have not just a phone, but a smartphone that enabled use of the internet for their studies. Having a phone appeared to be a standard expectation, and students who did not have them felt an acute sense of being left out. Karen’s uncle gave her an old Samsung model that he brought from Australia, which she used until the inconvenience of not having a matching charger for the phone compelled her to buy a new entry-level Alcatel smartphone for 149 kina (approximately US$50; Fig. 4).

Fig. 4. Entry-level smartphone on display
at Digicel retail outlet, 2014.
Photo by R. Foster.

For Karen, the phone was helpful in overcoming her nervousness about approaching her lecturers and tutors in person. She would instead call them and pay attention to how they conversed and asked her questions: “How may I help you?” Karen learned and repeated her lecturer’s conversational strategies in her face-to-face interactions with others, developing a sense of confidence and clarity in her public speaking. “I learned how to approach people…. I felt like my life changed.”

The phone allowed Karen to overcome her timidity (and she has witnessed similar transformations in other female university students). For example, Karen now has no hesitation about calling Digicel’s Customer Care when she has questions about the accuracy with which her prepaid balance of airtime is being managed. Dial 123, send: “How may I help you?” Digicel will find the right person to attend to her concern. The next time Karen makes a call, she will be charged at a lower rate. She is not sure how it works exactly. But they respond. “They respond…because I am their customer.” As a customer, Karen received the sort of recognition that many Papua New Guineans seek in vain from a state that has failed since independence in 1975 to bring development to its citizens in the form of tangible goods and services.

Not all Digicel customers agree with Karen. The evidence is found on the Facebook page of the Digicel Complaints Group, a public forum for more than 43,000 mobile phone users. Group members who purchase airtime from Digicel, the dominant mobile network operator, use the forum to register dissatisfaction with the company’s services. They express particular concern about the conversion of prepaid airtime into data and the dubious ways in which Digicel adds and subtracts data from an individual’s balance. Complaints often concern the failure of credits to appear on a person’s phone after a purchase has been made or the disappearance of data from a person’s balance even when the phone is not in use.

My friend Cletus’s complaint to the group is fairly typical:

At exactly 11am today, I entered two K5 flex numbers: 01 7249 490 5910 & 16 2662 659 3637. At exactly 11:14am, Digicel sent me two messages: 1. Advised that I have used up my data and 2. Asked whether I need airtime of K13 advance. I immediately checked my balance only to see K5.03. I texted Digicel and 5 minutes [later] I was reimbursed K3 and not the whole K4.77. What a daylight robbery!

People sometimes post screenshots of the balances on their phones as evidence of stolen data. Accusations of robbery and theft, of being “ripped” (off), are commonplace. Such complaints recall historian E. P. Thompson’s (1971) well-known account of the protests that erupted as a moral economy of food provision gave way to practices and principles associated with “free trade” in 18th-century England. These protests, which often led to direct action, invoked notions of fair and transparent dealing in the face of concerns that the poor suffered at the hands of those with “command of a prime necessity of life”  (Thompson 1971:93). Much like the folks about whom Thompson wrote, Digicel Complaints Group members express intense feelings over “weights and measures” and beseech the authorities to regulate business transactions. In other words, offended consumers look for help from the same neglectful state that let them down before Digicel arrived.

The capacity of poor people to own and operate a phone in the developing world hinges on technologies of prepay, which allow users to pay as they go by buying small amounts of airtime when necessary or when funds become irregularly available. Managing one’s airtime requires tempering the practice of self-discipline with responsiveness to the obligations of caring for others.

Winnie is a heavy user who can spend up to 100 kina (US$33) a week in airtime credits. She is a young single woman living far from home and regards frequent communication with her family and friends as nothing less than essential. Winnie has a steady income and is generous when her kin send credit requests for airtime, which she can transfer directly to their phones for a small fee. She says that she is capable of spending all her savings on airtime, and she has on occasion come close to doing so by “topping up” her phone through a mobile banking account, a relatively new service that effectively enables users to purchase airtime anytime, anywhere. (A fair comparison is with gambling machines that provide access to a player’s bank account without requiring the player to leave his or her seat in front of the machine.) To discipline herself—and she used the English word discipline—Winnie has opened an account with another bank into which she makes weekly deposits. This bank, Winnie explained, does not offer the mobile top-up service. She has thus safeguarded her money from herself (see Foster, in press).

Winnie is explicit about the calculations that she makes in managing her mobile phone. She says that she does not feel able to start the day unless she is equipped to communicate. So, in the morning she will top up her phone for 5 kina (US$1.66). This top-up gives her 100 free promotional minutes for use between 11pm that night and 7am the following morning. She then purchases a one-day data pass: 60 MB for 3 kina. This data is enough to allow her to go online and communicate with friends and family via the applications WhatsApp and Viber. Winnie discovered that she could send voice messages over the internet for much less money than making voice calls. Finally, Winnie purchases a discounted bundle of 60 text messages for 1.20 kina. She will use most if not all of these text messages before they expire at midnight. That leaves 80 toea as a balance in case Winnie needs to make a quick phone call during the day (100 toea = 1 kina). (On-net calls from one Digicel phone to another are billed at 79 toea per minute, with per-second billing, during the peak hours of 7am to 9pm.) Once she has made these preparations, Winnie feels ready to go out into the world and meet the demands of the day.

Winnie’s daily routine might understandably lead one to conclude that a peculiar kind of calculative rationality has been baked into the phone itself, such that Lucy’s habit of giving gifts to her relatives is subsumed within the sort of measuring and monitoring associated with markets and commodity exchange. This same tension between alternative logics of gift and commodity shapes the larger social and material assemblage of which the phone itself is part. It is a tension that threatens the future of customer care.

Phone repair vendor’s table, Goroka, 2015

Fig 5. Phone repair vendor’s table, Goroka, 2015. Photo by W. Magea

Matthew, a single man in his early thirties, repairs mobile phones and sells airtime at a street stand in the highlands town of Goroka (Fig. 5). He occupies a particular spot on a particular corner with other vendors who sell cigarettes, betel nuts, hard-boiled eggs, soft drinks, and the scratch (or “flex”) cards that people buy to top up their mobile phone airtime balances (Fig. 6). Matthew was one of the first to teach himself how to repair phones; he and his friend and workmate Gabriel were also among the first to start selling airtime in 2009 as Digicel expanded its network of cell towers across the country.

Street vendor selling scratch or “flex” cards, Goroka, 2015

Fig. 6. Street vendor selling scratch or “flex” cards, Goroka, 2015. Photo by W. Magea

Matthew regards his work as a service to the community; indeed, to the nation. His business yields to the demands of a moral economy that Thompson would easily recognize. Villagers who come to town with no money can offer their homegrown bananas or sweet potatoes in exchange for repair services. Town workers, however, will be sized up and charged according to Matthew’s estimate of their ability to pay. The vendors, moreover, care for each other: they all offer their goods at the same price and eschew overt competition. One vendor’s business crashed when he overspent his revenue and was unable to purchase a new supply of scratch cards. A fellow vendor hired him until he was able, a year later, to save enough money to re-establish his own business.

Matthew insists that he and his fellow vendors are part of Digicel: without them the network would not work. His recognition of people as infrastructure is entirely plausible; Digicel still relies on vendors in places like Goroka to distribute airtime credit into the hinterlands where people prefer to buy scratch cards in town for use (or resale) later in the village. In cities like Port Moresby, however, the advent of smartphones has enabled more and more people to top up directly online, buying airtime like Winnie through linked banking accounts. Moreover, new forms of “self-care”—quite different from the kind of care that Matthew affords his customer—are being promoted. In January 2017, Digicel launched the My Digicel App for smartphone users, promising customers an efficient tool for “managing their Digicel life” (The National 2017). Several months later, the company introduced a menu that would allow customers, including users of basic handsets, to assist themselves with queries relating to data and top up, among other things. Dial *123#. 24/7. Free. A list of frequently asked questions appears on the phone’s screen.

The future of the prepaid scratch card is dubious, and the economic niche of street vendors is shrinking. There is a policy argument to be made that preservation of the scratch card vendors’ livelihood would support the so-called informal economy on which so many Papua New Guineans depend. For Matthew, however, it is an ethical as well as economic question: Does Digicel really care about him and his fellow vendors, who were present at the beginning when the company was first establishing itself in the country? His concerns echo those of the Digicel Complaints Group, and pose the unsettling question of whether Digicel still cares for the people of PNG 10 years after the company brought them a revolution in communications.

Digicel of course expresses care and concern in ways that are familiar to corporate observers, if not immediately relevant to Matthew. The company has set up a branch of the Digicel Foundation in PNG as a way of giving back to the community by funding health and education projects—providing bits of infrastructure that the state has not—like a reliable nationwide telecommunications system. The company has even addressed one of the main problems for individuals in operating a mobile phone, namely keeping the battery charged. Outside of urban centers, which experience frequent power outages, access to electricity is severely restricted. Digicel has responded by marketing small solar panels for 95 kina (US$31; Fig. 7).

Fig. 7. Digicel ad for solar panel
at Jackson’s Airport, Port Moresby, 2016.
Photo by R. Foster

The Digicel Foundation attracts the standard critiques of corporate social responsibility: it’s window dressing and public relations and so on. Whether the Digicel Foundation is successful in promoting goodwill and positive sentiments among the people of PNG is unclear. The uptake of mobile phones in the country, however, continually surprises with respect to the capacity of these devices as affective technologies. My final ethnographic example underscores the high stakes involved in the emergence of a desirable new form of affective technology over which one’s control is exceedingly tenuous.

Lucy is in her early fifties, a rural woman with little education who, after being diagnosed as HIV positive, was struggling to live on her own after her older brother had refused to take her in.[1] A previous husband offered Lucy some money and a used mobile phone. Desperate, hungry, and contemplating suicide, Lucy began calling the contacts saved in the phone until one woman, instead of yelling and hanging up, agreed to speak with her. This woman, Angela, responded with compassion and began sending Lucy small gifts of food, money, and secondhand clothes. Lucy and Angela never met, but continued to talk by phone, thereby restoring Lucy’s feelings of hope and alleviating the anxieties that Lucy thought would reduce the effectiveness of her anti-retroviral medications. A friend found by chance on a random call enabled Lucy’s old mobile phone to function therapeutically as an affective technology, a medium for giving and receiving care.

Lucy’s story, like Matthew’s, exposes not only the possibilities but also the vulnerabilities inherent in the shifting moral economy of mobile phones. But Lucy’s story does not end well. Her phone, the source of Lucy’s emotional sustenance, was eventually stolen: “All those phone friends, in Port Moresby, Mt. Hagen, and other places, they would send me credit, and we talked all the time, every night, and now I don’t have a phone, and I’ve lost all those numbers. It’s terrible. I can’t stop crying about it. I had the same phone for four years, and had so many numbers, so many friends. And now it’s all gone.”

Robert J. Foster is Professor of Anthropology and Visual and Cultural Studies, and Richard L. Turner Professor of Humanities at the University of Rochester.

Acknowledgments

In this essay I draw on research supported by the Australian Research Council through a grant (DP140103773) awarded to Professor Heather Horst (University of Sydney/RMIT University) and the author. Wendy Bai Magea offered helpful research assistance.

References

Foster, Robert J. In press. “Top-Up: The Moral Economy of Prepaid Mobile Phone Subscriptions.” In The Moral Economy of Mobile Phones: Pacific Islands Perspectives, edited by R. Foster and H. Horst. Canberra, Australia: ANU Press.

Lasen, Amparo. 2004. “Affective Technologies—Emotions and Mobile Phones.” Vodafone Receiver Magazine 11. Available at link.

The National. 2017. “Digicel PNG Launches My Digicel Application.” The National, January 20. Available at link.

Thompson, E. P. 1971. “The Moral Economy of the English Crowd in the Eighteenth Century.” Past and Present 50:71–136.

Wardlow, Holly. In press. “HIV, Phone Friends, and Affective Technology in Papua New Guinea.” In The Moral Economy of Mobile Phones: Pacific Islands Perspectives, edited by R. Foster and H. Horst. Canberra, Australia: ANU Press.


[1] Lucy’s story is told more fully in Wardlow (in press).

Featured Photo: Digicel Flex Cards. Photo by M. Boie.

Précis: Little Development Devices / Humanitarian Goods

“Little Development Devices/Humanitarian Goods” seeks to explore objects or instruments designed to care about and improve the welfare of infrastructurally marginal populations (i.e. those lacking connection to “networked” forms of modern provisioning—such as water, sewerage, communication, electricity—or to services such as health care and finance). As our title suggests, we perceive two trajectories into this phenomenon.

The first derives from the legacy of the large, capital intensive and spatially fixed infrastructural projects of post-World War II development — such as dams, power plants, and road networks — which embody a substantive vision of societal transformation as laid out and organized by technocratic experts and government officials who act in the name, and for the benefit, of a whole nation. In contrast, the devices we highlight arose against the backdrop of sustained and polymorphous critiques of this older paradigm of development. They combine elements of earlier attempts to define more “appropriate” technology with new techniques for monitoring, calculation and testing. In reacting to perceptions of past failure, their normative rationality is oriented to immediate, measurable and testable outcomes.

The second trajectory stems from the parallel emergence of humanitarianism as a mode and set of techniques for crisis response, including the establishment of intergovernmental agencies and nongovernmental organizations devoted to the care of distant others, as well as the standardization of associated mobile technologies like refugee camps. The devices we examine here respond to perceived incapacities, failures and perverse outcomes of this very aid regime, even while seeking to further its general goals of alleviating pressing needs and saving lives. Many rely on market logic and present themselves as commodities more than gifts, ostensibly enrolling profit motives into the service of a greater good.

In this issue of Limn we seek to ask: What are we to make of the proliferation of such small devices? What do they tell us about the state of “development” and “humanitarianism” as projects? And what do we make of the convergence of humanitarian and developmental projects around them? What forms of life, and what kinds of subjects, do they work on and constitute? What relationships do they establish between expertise, government, and the purported beneficiaries of these devices? What politics do they make possible – or preclude? Do some appear analogous to hacks, exploiting the vulnerability of existing infrastructures for other ends? And what might a critical social science have to say about them?

Little: These devices are little in a number of senses. First, they are light, inexpensive, scalable, and portable; they may be deployed experimentally and flexibly, for small units of population. Second, they are little in the sense that they operate at the level of the “micro” in economics – their target is not the “national economy” or macroeconomic aggregations but individual preferences, aspirations, and calculations. Third, they are “minimal”; they are, for better or worse, deployed with relatively limited assumptions about the form of life into which they are to be inserted. None of this is to say that they need remain small scale. Some have, indeed, been deployed by national governments and have large aspirations (e.g. affecting national poverty or mortality rates).

Development: Although these devices may not define development in terms of national populations, they do aspire to social transformation, to improvement of conditions of existence and the quality of lives – even to saving the planet! They thus require and entail the assembly of new kinds of expertise, new visions of a better future (whether for individuals, communities, or nations), new articulations of populations and new instruments.

Devices: Here is where the assembly—as technical or techno-political work—takes place. Because they are deployed with “minimal” assumptions about context, a very great deal is packed into these devices themselves, and it has to be unpacked. Many are technologically-laden, depending on everything from GPS to mobile phones to solar panels. But they are not merely machines in the conventional sense of that word, drawing on forms of accounting, and various kinds of expertise in modeling and forecasting. They also embody norms, models of how people make decisions, assumptions about what people want, what might translate across scales, and what constitutes a good life.

Humanitarian: These are things that are designed to do good, intervening in worlds where large-scale infrastructures, like those for the delivery of health and energy, do not reach or have collapsed. They reflect an explicit desire to alleviate suffering and save lives. They focus on moments of present crisis and a future in which states may no longer have the capacity to build, manage or sustain universal infrastructures in territorial grids. As they move through contexts of design and use, and through spaces of poverty and humanitarian emergency, they remind us of just how difficult it has become to imagine ways of expressing care and concern without fostering markets.

Goods:
These are things that also seek to do well (financially) while doing good. Humanitarian goods that are premised on conditions of state fragility often hold out the promise that they can transform that fragility in productive or profitable ways. Things like solar lanterns or nutritionally fortified foods, for example, are also built to generate economic value for a diverse array of investors, via sales to institutional consumers like humanitarian or aid organizations as well as directly to the poor. Thus, they present themselves as caring commodities rather than disinterested gifts.

“Happy Homes Have Gramophones” –Gender, Technology, and the Sonic Restaging of Community Before and After the Partition of Bengal

co-edited by Praseeda Gopinath and Monika Mehta

Our listening practices are discursively constructed. In the sonic landscape of India, in particular, the way in which we listen and what we hear are often normative, produced within hegemonic discourses of gender, class, caste, region, and sexuality. . . This forum, Gendered Soundscapes of India, offers snapshots of sound at sites of trans/national production, marketing, filmic and musical texts. Complementing these posts, the accompanying photographs offer glimpses of gendered community formation, homosociality, the pervasiveness of sound technology in India, and the discordant stratified soundscapes of the city. This series opens up for us the question of other contexts in India where sound, gender, and technology might intersect, but, more broadly, it demands that we consider how sound exists differently in Pakistan, Sri Lanka, the Maldives, Bangladesh, Bhutan, Nepal, and Afghanistan. How might we imagine a sonic framework and South Asia from these locations? —Guest Editors Praseeda Gopinath and Monika Mehta

For the full introduction to the forum, click here.

To read all of the posts in the forum, click here.

“She compelled respect at once by refusing on any account to be phonographed: perhaps she thought, amongst other things, that if she committed her soul to a broken piece of wax it might get broken…my subsequent experiences showed that it was only too likely,” wrote the British musicologist A.H. Fox-Strangways in 1910 about Indian female singer Chandra Prabha, while remarking on the harsh reactions to the gramophone in India (90).  Such deep-rooted discomfort with the gramophone speaks to the cognitive, perceptual and experiential challenges faced by a listener/performer when a new auditory technology substitutes familiar terrains of musical production.

In this post, I revisit the decades prior to and following the 1947 Partition of Bengal, a phase singularly volatile not only in India’s political but also its musical and technological histories.  I examine how the introduction of European harmony/polyphony in the aural imaginary of Bengal negotiates ideologies espoused by the nationalists in the (re)constitution of gendered space post-Partition by transforming relations of consumption. The production of gendered domesticity was vitally related to rigid conceptions of physical space and its allocation in colonial Bengal which, further, influenced music reception in ways worth probing.

The auditory regimes prior to the emergence of recording/radio-broadcast typified public modes of listening based on live performances engendering affective flows and presupposed human proximity. This culture of aurality is inextricably tied to communal modes of consumption and performance, be it the high-end salon-tradition of the Bengali modern song, the hard-hitting agitprop strains of the Bengal wing of the IPTA (Indian People’s Theatre Association) or even the stylized elite classical genres. The collective nature of musical practice conjures up traditional connotations of masculine spaces, especially in the case of the elite Bengali household where the gendered ideology of spatial orientation relegated the respectable Bengali woman (bhadramahila) to the interiors of the house (antahpur/andarmahal). The delights of salon-music were to be relished by the man of the house (babu).

‘Gramophone – a home entertainer’

Thus, the communitarian character of musical practice often made it elusive to respectable women. However, the emergence and subsequent sophistication of auditory technologies ushered a radical transformation to such a dynamic by dissociating music from the human performer. Besides leading to the obvious technological alienation in the listener, the privatization of the listening experience was accompanied by a condition of a penetrating solitude and interiority, a state speaking to the voices and /sounds emanating from the phonograph. At the sociological level, the entry of recording technology redefined long-held divisions of domestic space and the gendered dynamics thereof by not only democratizing musical consumption but also forging provisional collectivities of listeners often cutting across gender, class and caste. Besides, traditional associations of musical genres with specific loci- classical music with the salon/concert space for instance- gave way to a more fluid conception of domestic space assuming multiple sonic/musical identities depending on what the gramophone played. The phonographic interface, thus, radically reconfigures listening practices and produces a different paradigm of self, sound, community, and gender.

What is at stake here is not some covert form of linear technological determinism, but a more nuanced detour around auditory-technologies, spaces of consumption, and the affordances thereof that calibrate auditory experience along new registers. What merits contemplation is how (if at all) these technological innovations in the commercial arena complement and usher formal nuances and sonic innovations in the musical works they mediate. The gramophone renders problematic the uncritical conflation of the sonic and visual registers typical of live musical performance and, in the process, sets in motion a unique dynamic of interacting with musical sound. Severed from its visual footholds in live performance, phonographic sounds often provoke the listener to imagine the singing/performing body which, in turn, informs the way the sounds are processed mentally.

Vintage Gramophone spotted in Little India, Serangoon, Singapore, Image by Flickr User Linkway88, (CC BY-NC-ND 2.0)

Indian music has traditionally been based on a single melody which, in its skeletal grammar, is an individual mode of expression, even when performed by a group. The intrinsic form of Indian and traditional East Asian music in general exhibits a non-harmonic character. The concept of musical harmony proper is considered a European import. European harmony, polyphony, and counterpoint are in their very essences a set of disparate tonal registers forging a gestalt which impresses on the mind of the listener an overarching unity. At an experiential level, the polyphonic form embodies a distinct sonic ontology and a novel dimension, as it were, and thus cannot be reduced to merely a stylistic import. It induces a new auditory condition, a new register of being-in-listening (the lecture snippet from 57:08-.1:02:07 effectively demonstrates the morphing of the basic melody of a song into its polyphonic equivalent). The new auditory condition conjoins the familiarity of the melody with the markedly different yet complementing registers of the polyphony, creating a novel sensation for the uninitiated Bengali listener.

Among the very early records to employ musical polyphony in India were two iconic musical works of the mid-20th century, one devotional in intent– Aham Rudre from Mahishasurmardini (1931) composed by the legendary music director Pankaj Mullick–and the other, a professed experiment in introducing polyphony in Bengali music, Shurer Ei Jharna (1958), by the noted composer Salil Chowdhury.

In the current context, it is important to note how the sonic dimension of musical polyphony in Aham Rudre  and Shurer Ei Jharna embodies and substitutes notions of aural communities and restages a communitarian character. Notably, the creation and circulation of these works paralleled the establishment of commercial state-radio in India (1930) and the first microgroove record in Kolkata in 1958 by the Gramophone Company.

The Gramophone Company in Calcutta marketed its records with the Bengali tagline “Shukhi Grihokon Shobhe Gramophone/Happy Homes Have Gramophones,” projecting the phonograph as the symbolic ideal of the domestic idyll and in the process confronting gendered spatial demarcations head-on by invading the auditory horizons of the secluded Bengali women. The striking presence of the gramophone in the iconic Gramophone Scene (1:35:17-1:35:28) in Satyajit Ray’s movie Ghare Baire–set in the backdrop of the 1905 Partition of Bengal–beautifully illustrates the sorority forged by the gramophone which, notably, draws even the marginalized widow Bouthan within its field of influence.

However, the gramophone superseded its commodity-character to serve not only in crass exhibitionism but also as an index of a masculine, elite consumerist culture where “serious music” and musical connoisseurship often became synonymous with the gramophone and recorded sound. A new breed of “record-collectors” came into existence, mainly belonging to the upwardly-mobile/elite classes whose passion for records was their most prominent identity-marker in the domestic realm, occasionally outweighing even their professional concerns.

But even as the radio and phonograph transcended the hitherto gendered character of musical reception by entering the women’s quarters and dissolving time-honored segregations of auditory spaces within the household, it had to contend with a deep-seated psychological discomfort in the listener, a fundamental unease with befriending technology that substituted the human. I argue that the newly insulated character of the radiophonic auditory experience was counteracted by significant efforts, conscious or otherwise, at sonically restaging and reclaiming the community lost in technological mediation.

Indian farmers gathered to listen the Farm Forum programme broadcast by All India Radio in the 1950s, Image Courtesy of Flickr User Public Resources.Org, (CC BY 2.0)

Given pet notions of musical anthropology and the chronological coincidence between the early uses of harmony and the entry and sophistication of technologically mediated music in Bengal one could, at the risk of slight oversimplification, posit that the import of the harmonic form at this significant juncture sonically compensates the auditory solitude induced by radio/phonograph by recreating a modified and idealized Platonic (Platonic here is used as an allusion to ‘music of the spheres’ to point towards how musical harmony since medieval times has been associated with ideal public) community and restaging it within the confines of the constitutive plurality of the polyphonic mode. As an aside, the initial introduction of polyphony in Shurer Ei Jharna (1958) garnered flak from a large section of the audience who cognized it as a group of amateur performers ‘singing out of key’ (Salil Chowdhury’s lecture from 30:31-31:15). Over the next few decades, however, this form was  trans-culturated and seamlessly assimilated within the sonic vocabulary of the Bengali/Indian masses, so much so that without the regular vocal/instrumental counterpoint, commercial songs nowadays are often felt to be lacking hue.

The sonic changes that I have been investigating preceded or followed the Partition of Bengal, which informed the gendered patterns of popular musical consumption. It is well-known that the exigencies of the Partition proved emancipatory for women in that they were exposed to the vagaries of the workplace, leaving the confines of their quarters. It is with an often uncritical celebratory fervor that the Partition is credited with fashioning the independent, self-reliant and educated middle-class Bengali working woman, on occasion emerging as the sole bread-earner of the family. Jasodhara Bagchi says that the “partition accelerated the earlier trends of the twentieth century of abolishing the ‘purdah that had confined the Bengali bhadramahila to her antahpur (private quarters)…The same stroke that brought this flood of uprooted marginalised women to Calcutta also opened the door to many new opportunities for Bengali middle-class Hindu women. They came out of the private domain of domesticity and child rearing to take up public duties.’”(8) Uditi Sen, however, in her revisionist reading of the celebratory impulse argues that “situational aberrations” notwithstanding, the Partition did not lead to “a transformation of social norms or any substantive change of women’s ideal role within the bounds of the family.”(16)

In the aftermath of the Second World War, which had also witnessed the entry of women into the professional/public sphere, the USA launched a propaganda war to restore women to their hearth, revivifying the “cult of the housewife,” deploying films and popular music to promote the trope of the ideal housewife. Redefining domestic spaces as woman’s space had also been in the cards for the Indian state post-Partition, which had to a large extent been governed by patterns of popular media consumption. Arguably, the coincidental emergence of musical harmony and sophistication of private auditory technologies in the years following the Partition contributed to efforts to restore women to their private quarters, by compensating the lost professional community of the self-reliant working woman with the poetic/sonic community embodied by the polyphonic form, in the process enlivening her insipid lived quarters. Popular media technologies often employ innovation in content to revivify clichéd formats; musical harmony coupled with sophisticated audio-reproduction provides a classic instance of inaugurating a new sonic dimension in popular music which provides a powerful and enthralling form of domestic leisure.

Thus, in the context of early 20th century Bengal, the gramophone was a significant import which not only reconfigured perceptual registers and musical cultures but also listening practices by entering the interiors of elite Bengali households. Besides democratizing the listening experience, which till then had largely been restricted to male constituencies, the gramophone privatized musical consumption. It was through the introduction of musical polyphony, which is intrinsically ‘public/ communal’ as regards its sonic character, that this impulse was counteracted. As mentioned earlier, these technical/musical innovations widened the scope and impact of musical performance and arguably contributed to the reconstitution of gendered domestic space post-Partition which points to subtle and complex relations among technology, (musical) genre and gender.

Featured Image: Screen Capture from by SO! Ed. Satyajit Ray’s Ghare Baire

Ronit Ghosh is a postgraduate student at the Department of Art and Technology, Aalborg University, Denmark. His research interests include aesthetic philosophy, critical sound studies and the sociology of Indian popular music. He has published articles on sound studies in the International Journal on Stereo and Immersive Media and The Rupkatha Journal and has an article forthcoming in the Journal of Sonic Studies. He is a classical violinist and an aspiring music composer.

REWIND! . . .If you liked this post, you may also dig:

Tape Hiss, Compression, and the Stubborn Materiality of Sonic Diaspora–Chris Chien

Pushing Play: What Makes the Portable Cassette Recorder Interesting?—Gustavus Stadler

Hearing “Media-Capitalism” in Egypt–Ziad Fahmy

Good Data: Call for Proposals for Theory on Demand edited book

Good Data: Call for Proposals for an INC Theory on Demand edited book Editors: Angela Daly (Queensland University of Technology), Kate Devitt (Queensland University of Technology) & Monique Mann (Queensland University of Technology). In recent years, there has been an exponential increase in the collection, aggregation  … Continue reading 

Zojuist verschenen: Van Meme tot mainstream van Nadine Roestenburg

Nadine Roestenburg, Van meme tot mainstream: internetkunst, esthetiek en offline luxe in een postdigitale wereld, Mu Eindhoven, 2017, 19,95 euro, te bestellen via de MU website: http://www.mu.nl/nl/shop/van-meme-tot-mainstream. De titel van het boek verwijst naar een van de meest karakteristieke eigenschappen van onze tijd: de kracht van het internet die ervoor zorgt dat iets in een fractie van een seconde de wereld over kan gaan en alle aandacht op zich weet te vestigen, om vervolgens net zo snel weer te verdwijnen in het digitale universum.  … Continue reading 

Issue Number Nine: Little Development Devices / Humanitarian Goods

Edited by: Stephen J. Collier, Jamie Cross, Peter Redfield and Alice Street

November 2017. This issue of Limn examines the recent profusion of micro-technologies in the worlds of humanitarianism and development, some focused on fostering forms of social improvement, others claiming to alleviate suffering, and many seeking to accomplish both. From water meters, micro-insurance and cash transfers, to solar lanterns, water filtration systems, and sanitation devices, examples proliferate across the early 21st century landscapes of international aid. Although small-scale endeavors are far from novel, today these devices are animated by different intellectual and moral energy, drawing on novel financial and organizational resources. Many blur distinctions between public and private interests, along with divisions between obligations, gifts and commodities. At the same time, they entail novel configurations of expertise, political obligation and forms of care. The articles in this issue explore these new convergences of developmental and humanitarian projects, alongside reworked relationships between experts, governments, and purported beneficiaries, focused on fostering “participation” and “partnerships” rather than nation-building.

Contributors include:

Jacqueline Best, Marc Boeckler, Brenda Chalfin and Xhulio Binjaku, Jamie Cross, Vincent Duclos, Robert Foster, Christopher Kelty, Meena Khandelwal and Kayley Lain, Austin Lord, Amy Moran Thomas,
Jonathan Morduch, Peter Redfield, David Reubi, Anke Schwittay and Paul Braund, Tom Scott Smith, Alice Street, and Tatiana Thieme

Limn Number Nine is on its way! Watch this space

Coming Soon… The next issue of Limn (#9) examines the recent profusion of micro-technologies in the fields of humanitarianism and development, some focused on fostering forms of social improvement, others claiming to alleviate suffering, many seeking to accomplish both. Although small-scale endeavors are far from novel, today’s micro-devices are animated by new intellectual energy, channels of finance, and moral ambition.  … Continue reading 

Out of Sync: Gendered Location Sound Work in Bollywood

co-edited by Praseeda Gopinath and Monika Mehta

Our listening practices are discursively constructed. In the sonic landscape of India, in particular, the way in which we listen and what we hear are often normative, produced within hegemonic discourses of gender, class, caste, region, and sexuality. . . This forum, Gendered Soundscapes of India, offers snapshots of sound at sites of trans/national production, marketing, filmic and musical texts. Complementing these posts, the accompanying photographs offer glimpses of gendered community formation, homosociality, the pervasiveness of sound technology in India, and the discordant stratified soundscapes of the city. This series opens up for us the question of other contexts in India where sound, gender, and technology might intersect, but, more broadly, it demands that we consider how sound exists differently in Pakistan, Sri Lanka, the Maldives, Bangladesh, Bhutan, Nepal, and Afghanistan. How might we imagine a sonic framework and South Asia from these locations? —Guest Editors Praseeda Gopinath and Monika Mehta

For the full introduction to the forum, click here.

To read all of the posts in the forum, click here.

“Indian traffic tends to be one of the noisiest, but that is true of all third world countries…What doesn’t make sense is when you try to remove it from that context. Two people can’t be whispering to one another in the middle of a bench by the sea in Bandra. Will you hear someone sitting next to you on that bench?,” asks sound designer Dileep Subramaniam indignantly.  We are discussing the Indian film industry’s norm of looping (or “dubbing”) sound and dialogue at the post-production stage, which has traditionally given India cinema’s sound track an unrealistic degree of clarity. For a loud country, Indian films have been in the habit of incorporating remarkably few ambient sounds into their sound track, until the practice of synchronized sound recording began to infiltrate Hindi film aesthetics in the late 1990s.

The break from post-synchronized sound occurred over a relatively brief period of time in India, as a majority of the commercial films moved away from MOS (motor only sound or no sync sound) to synchronized sound, which refers to the recording of sound alongside image during a film shoot. Industry professionals argue that sound technologies underwent revolutionary changes in comparison to image technologies in India between 1995 and 2002, as the introduction of digital editing platforms weaned the Bombay film industry away from its reliance on mono-tracks and primitive stereo-tracks, directly to Dolby digital multi-tracks. Hindi cinema almost entirely skipped the intermediary technological stage of stereo ultrasound, used for several years in Hollywood. Today, an amalgam of sync sound and Automated Dialogue Replacement (ADR) characterize Bollywood cinema’s soundscapes.

We have been more attuned to Hindi cinema’s soundscapes than to the production and pre-production practices of sound recording and the composition of sound crews, which follows a disciplinary habit in film studies of prioritizing film aesthetics over other aspects of film’s materiality and production. This lopsided emphasis has meant that we have missed out on the complex ways in which the story of film sound is part of a larger story of social change in India, wherein formal shifts are of a piece with new employment opportunities and a realignment of India’s middle class. These social and professional changes have impacted Indian class and gender relations in disparate ways.

On the set of Bhagum Bhag filmed on Brighton Station, image by Flickr User Simon Pielow,(CC BY-SA 2.0)

Based on conversations that I conducted in Bombay (now Mumbai) in 2009 and 2013 with sound professionals working on Bollywood’s location shoots, I comment on sociological aspects of Bollywood’s increasing adoption of sync sound recording in location shoots, particularly with regard to its implications for class and gender relations within the film industry. My point will be two-fold. One, as the Hindi film form gravitates toward internationally recognizable codes of aural and visual realism, an expanding social range of skilled and unskilled workers are attracted to professions related to location sound recording.  Two, despite the diversifying social profile of these professionals, women remain structurally excluded from all levels of the profession.

The change from non-sync to sync sound in Hindi films has created a demand for trained creative technicians and sound engineers, and equally for those who can work as bouncers and sound-security personnel on the field. Security personnel are crucial to recording location sound in a high-decibel country. According to Line Producer Raj Hate (with commercials and the location-heavy Miss Lovely to his credit, the practice of “sound lock ups” started with television commercials in India during the late 1990s before it was adopted by film shoots. “Sound lock” is a phrase used by Bollywood professionals to describe the practice of securing an area to ensure silence, in order to get the best location sound. Many of those working in this pool of unskilled labor in Bollywood today come from Mumbai’s economically depressed migrants who have traveled to the city in search of employment.

For instance, Security Provider Narendra Baruah started with security work on the film Lagaan (2001), the first big-budget film shot with sync sound, although it was preceded by the smaller scale Bombay Boys (1998), which also recorded in sync. Baruah created Active Squad Security while working on sound security for the location shoot of Veer Zaara (2004). He has provided security protection to stars (such as Madhuri Dixit Nene, Shah Rukh Khan, Aamir Khan and Preity Zinta), but his primary employment is in sync sound security. He retains a small group of men on a monthly salary with additional per diem top-ups during assignments, which may range between INR 5,000 to 10,000 to over 20,000 a day, depending on the nature of the shoot. Additionally, he hires men on a temporary basis from a pool of local Mumbaikars and immigrants seeking employment in the big city. Baruah’s company is in competition with actor Ronit Roy’s security company ACE and movie star Salman Khan’s Tiger Security. Although he lacks their star profile and their facility with English, he has made a name for himself through his entrepreneurial practice and expertise in shooting at “jhopad pattis” (slums) for films such as Slumdog Millionaire (2008) and Barah Aana (2009).

Bollywood Film Set, Image by Flickr User Rhys Tom, (CC BY-NC-ND 2.0)

Shot in Dharavi, Barah Aana required twenty men because of the high sound levels of the urban slum. As Baruah points out, jhopad pattis are the hardest places in which to secure sound for location shoots because “A pressure cooker’s whistle goes off somewhere, or a TV starts up, or a child starts crying” (“Kahien cooker ki seeti bajti hai to kabhi TV chalu hai aur bacchha rota hai.”). Open locations for films with smaller budgets also do not require ID cards for film crews, so Baruah finds that one of his greatest challenges is teaching his staff to memorize faces and manage crowds with diplomacy rather than violence. The phenomenon of Baruah and his crew working on a contract-basis with a range of films is what philosopher and sociologist Maurizzio Lazaratto discusses as the reconfigured “anthropological realities of work” in the new global work space, where “polymorphous self-employed autonomous work has emerged as the dominant form” of global labor.

The social range of Baruah’s crew reveals a disparity between Bollywood blockbusters’ onscreen transnational and cosmopolitan backgrounds, and the class diversity of those involved in producing them.  As Hagen Koo argues in relation to the shrinking middle class in America and Western Europe against the expanding middle class of India and China, representations of the global middle class that narrowly refer to “the upper segments…in developing countries, whose members are affluent and globally oriented in their lifestyle and mobility pattern” are woefully inadequate (“The Global Middle Class”). Without rendering Bollywood professionals into mere representatives of their class, I can confirm based on my conversations on the field that the assorted workers enabling sync sound shoots in India today come from a range of social classes, which reveals a negotiation and redistribution of work across different classes of professionals, particularly when we consider the work of sound security personnel in conjunction with the work of sound engineers on site.  On-the-ground compositions of production crews are more complex and hybrid than what is suggested by a Bollywood blockbuster’s flat image of urbane cosmopolitanism, by Mumbai’s segregated urban spaces, or by the hostile monocultures of Hindutva pushed by Shiv Sena’s divisive politics.

Filming of Bollywood movie “Agent Vinod” on set in Riga, Latvia, August 2010, (CC BY-SA 2.0)

At the other end of the social spectrum and hierarchy of labor among people involved in Bollywood’s revolution in sound are highly skilled sound artists and engineers. Early experimenters in sync and location sound (such as Shyam Benegal and Govind Nihlani) provided opportunities to Bollywood’s new generation of creative audio technicians, who have become key players in the industry’s innovations in sync sound recording, digital sound editing and audio mixing. Dileep Subramaniam worked in sync sound for Nihlani’s television features during the 1980s, and for BBC’s Channel 4 nature documentaries, which made it easier for him to work with transnational productions such as Merchant Ivory’s Deceivers (1988) and Shekhar Kapoor’s Bandit Queen (1995).

Location recordist, production mixer and sound designer Baylon Fonseca edited sound on the digital workstation Audio Vision from Avid for Nihlani’s Sanshodhan (1995) at a time when most Hindi film producers and directors “considered it almost witchcraft.” With Sanshodhan, he initiated methods for digital sync sound recording and mixing that are standard practice in India now.  The integration of trained sound engineers into the Hindi film industry has made a palpable difference to its cinema’s sound quality, even as Hindi cinema’s increasing social legitimacy with white-collar workers allows Bollywood to seem like a valid career choice for Indians from the middle and upper middle classes. Nevertheless, high net-worth engineers have to buck traditional social norms—ranging from familial expectations to cultural notions of respectability—to consider sound work in the film industry as a valid career path.

All this is assuming that the engineers are men. Indian women face a double burden in entering such a profession: they must work against social prejudice to pursue careers in science and technology, and then apply that training to the field of media production, which does not possess the social legitimacy of most jobs in engineering.  Effectively, new opportunities created by the use of sync sound in Hindi cinema does not bring much promise to women.   Women are entirely omitted from the unskilled end of the location sound spectrum because of the incipient threat of violence and aggression against women in India’s public spaces. Under the strain of Hindutva’s India and Shiv Sena’s Mumbai, wherein the concept of protecting women’s honor becomes the violent pretext to restrict their freedom of movement, women are presumptively excluded from sound security work.  Women are also largely absent from sound engineering because of the gendering of the hard sciences. In proportion to men, few Indian women are encouraged to enter the sciences, and fewer can choose to use it as the path into film work, so that they are structurally sidelined from high-end work in sound technologies.

Bollywood Film Set, Image by Flickr User Dani Venn, (CC BY-NC 2.0)

Strong female characters on screen and strong female voices incorporated into the timbre of a film’s soundscape can be cause for celebration. But such inclusions rarely change the social and professional make-up of a film’s production crew. Further, merely adding women to the ranks of security personnel or sound engineers will not presumptively result in a more feminist or inclusive film text. On-screen representations do not reflect pre-production and production practices in simple ways. Despite these cautionary notes, is worth our while to invest some time and thought to how gender relations are impacted along different tiers of film production, as production practices shift in response to Hindi-cinema’s post-globalization aesthetics. Considering the gendered make up of professionals in Hindi cinema’s shift to sync sound recording on location shoots reveals several things. It demonstrates that professional opportunities, social norms and political pressures accompany formal changes in cinema. It allows us to consider what professional shifts in film sound recording in the wake of globalization look like in relation to men as opposed to women, providing an embodied perspective to abstract discussions of social change. And it chastens us against making naïve assumptions about inclusiveness.

Featured Image:On the set of Salaami Ish, filmed on Brighton Station,, image by Flickr User Simon Pielow, (CC BY-SA 2.0)

Priya Jaikumar is Associate Professor at the Department of Cinema and Media Studies at University of Southern California’s School of Cinematic Arts. She is the author of Cinema at the End of Empire, and several articles and book chapters in publications such as Screen, Cinema Journal, The Moving Image, World Literature Today, Hollywood Abroad, Transnational Feminism in Film and Media, Postcolonial Cinema Studies, Silent Cinema and the Politics of Space, The Slumdog Phenomena, Empire and Film and Routledge Companion to Cinema and Gender.

REWIND! . . .If you liked this post, you may also dig:

Sounding Out! Podcast #49: Sound and Sexuality in Video Games— Milena Droumeva and Aaron Trammell  

As Loud As I Want To Be: Gender, Loudness, and Respectability Politics –Liana Silva

SO! Reads: Roshanak Khesti’s Modernity’s Ear–Shayna Silverstein