Freedom of speech extinguishes firewalls in Pakistan

An online civil society group in Karachi wins a reprieve on internet censorship.

In February this year the Pakistan government, under influence from the military state, put out a $10 million public tender for “development, deployment and operation of a national-level URL filtering and blocking system”. Until this point the left hand and the right hand, as the country’s irrepressible satirists would have it, were doing different things: despite an ability to cut off internet sites such as Facebook and Youtube (and pornography sites), services have only been blocked infrequently and reinstated in the ensuing uproar. And despite being known to big up their surveillance capacity, the move was seen as a way for the ISI to bring internet censorship more into their domain.  

This effort by the state to create a firewall with automatic blocking and filtering along the lines of China seemed to be different. Instead of being shrouded in secrecy, the contracts for tender were openly put out in the media and through the Ministry of Communication and Technology and described a system that would have,

a central database of undesirable URLs that would be loaded on to the distributed hardware boxes at each POP and updated on a daily basis . . . technology should be able to handle a block list of up to 50 million URLs (concurrent unidirectional filtering capacity) with processing delay of not more than 1 milliseconds . . . The database would be regularly updated through subscription to an international reputed company maintaining and updating such databases. 

It allowed Pakistan’s energetic and harassed civil society and civil rights defenders, including Bytes for All to get ahead. “The authorities [for which read military] are big fans of China and how it filters the Internet,” Sana Saleem, 24-year-old founder of Bolo Bhi, whose civil liberties and site had been blocked for several months in 2010, told the New York Times. “They overlook the fact that China is an autocratic regime and we are a democracy.” 

“What makes this kind of censorship so insidious is that they always use national security, pornography or blasphemy as an explanation for blocking other kinds of speech.”  

She wrote to the chief executives of eight international companies asking them to publically declare that they would not tender for the contract. So far five - including Websense, McAfee, Cisco Systems and Verizon - have made that commitment. Those still in the running include Huawei of China. 

Then in March, Farooq Awan, Pakistan’s IT secretary, told Bolo Bhi that the plan for the national URL filtering and blocking system had been shelved; that the ministry did not know who had initiated it and that the Pakistan Telecommunication Authority (PTA) were not keen on the system after all the criticism. Bolo Bhi, along with other civil society members, is now seeking a high-court injunction against PTA for censoring the internet in a way that violates Pakistan’s laws and constitution. 

Unless the military adopt Chinese tactics and use secrecy to put a firewall in place, the attempted ban on censorship seems to have temporarily failed. Bad news for one of its instigators, the religious and pious “15-year-old” computer nerd Ghazi Muhammad Abdullah, who complained for months on end to PTA that pornography sites needed to be censored and when asked to provide a list came up with 780,000 of them; excellent news for Pakistan’s enthusiastic texters and tweeters who learnt words they didn’t know on a projected list of PTA banned text words that has also failed to be implemented. 

The issue of internet surveillance isn’t just relevant in Pakistan. In February there was a tweet comment about projected internet scrutiny by the Indian government from @pragmatic_d in Delhi: “Wow. A government which can't clean drains properly wants to scan all emails, tweets and updates.”

Catriona Luke is a freelance writer and editor

A Pakistani boy plays with an advertisement of a laptop computer in Lahore. Photo: Getty Images
Calvert 22/Courtesy of the artist, Danila Tkachenko
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Ruin porn: the art world’s awkward obsession with abandoned Soviet architecture

Deserted fairgrounds, disused factories and forgotten military bases may look cool, but are we fetishising the remnants of such a cruel history?

Armenia, where one side of my family is from, was one of the first members of the USSR, annexed by Russia in 1922. A few years ago, when I visited this little country that perches precariously in the south of the Caucasus, I was struck most by its Soviet architecture.

Although its landscape is a hotchpotch of medieval Orthodox churches, a smattering of Persian-era domes, and brutalist concrete, it was the latter that particularly stuck out. From unfelled statues of Stalin to giant tower blocks spelling out the letters “CCCP” from a bird’s-eye view (well, half spelt-out – construction stopped partway through, with the fall of the Soviet Union), I’ve never forgotten it.

Perhaps it was so compelling because such stark physical symbols make recent history all the more tangible. A history still profoundly affecting the country of my ancestors (and all post-Soviet and communist states). But also, it just looked really cool.


Mixed air corps, Mongolia. Photo: Calvert 22/Courtesy of the artist, Eric Losito

It’s a bit passé now to mock the hipster obsession with reclaimed industrial detritus, exposed pipes and bare concrete. An aesthetic – that of a post-industrial wasteland, but a chic one – which has gripped western cities for years, and crept worldwide.

But it could be this tendency to find disused stuff visually intriguing, and a morbid fascination with cruel regimes, which has led to the art world’s obsession with abandoned Soviet architecture. A whole wave of artists and photographers have been poking around the eastern bloc’s architectural graveyard in recent years.

Late last year, we saw the hugely popular disused Soviet bus stop series by photographer Christopher Herwig, echoing photographer Sergey Novikov’s equally absorbing collection of abandoned Soviet cinemas from 2013.

Following Russian filmmaker and photographer Maria Morina’s “Atomic Cities” project four years ago, London-based artist Nadav Kander explored the “aesthetics of destruction” in his exhibition, Dust, in 2014, snapping “radioactive ruins” of secret cities on the border between Kazakhstan and Russia. The same year, Moscow photographers Sasha Mademuaselle and Sergey Kostromin travelled to the disputed region of Abkhazia, capturing fragments of its deserted infrastructure.


Fighter aviation regiment, Mongolia. Photo: Eric Losito
 

And photojournalist Anton Petrus’ now iconic pictures of Chernobyl’s abandoned amusement park have long been an internet favourite, as have numerous haunting images of Pripyet – the city famous for lying deserted following the nuclear disaster.

Jamie Rann, a lecturer in Russian at Oxford University, has written that the quality and technical accomplishment of most of this photography make the style more “ruin erotica” than “ruin porn” (the tag being used by some critics), but argues: “The enormous online popularity of this genre . . . combined with their voyeuristic, almost exploitative feel, certainly has something porny about it.”

The latest exploration of Soviet society’s skeletons can be found at the Power & Architecture season at London’s Calvert 22 Foundation. In an exhibition called Dead Space and Ruins, we see abandoned military bases and formerly mighty monuments, forgotten space ports freezing in the tundra, the ghost of an entire unused, unfinished city in Armenia lying derelict.



The unfinished "ghost city" built in Armenia to house earthquake survivors (water added by artist). Photo: Calvert 22/Courtesy of the artist, Vahram Aghasyan

The works are beautiful, but do they feed in to this zeitgeisty lust for Soviet ruins?

One of its curators, Will Strong, laments this trend. “I was keen that this didn’t become like a kind of ‘ruin lust’, ‘ruin porn’ thing; this slightly buzzwordy term that there is at the moment, this kind of fetishisation of dead space,” he tells me.

“This history is incredibly loaded, and it did not end in 1991. To sort of fetishise it in the very bourgeois western way of, ‘oh yeah, look at all this wonderful Soviet architecture, isn’t it fantastic?’ Obviously a lot of people who lived in that time hated it . . . a lot of people were very miserable under these regimes, so it’s important not to forget that.”


Gym at the Independent Radar Centre of Early Detection, Latvia. Photo: Eric Losito

He adds: “It’s more a point of reflection on how buildings were designed, what their legacy is, what their narrative is, and who the people are who live with that story. This show looks at the aftermaths of when utopia hasn’t been delivered.”

This view is echoed by the Moscow artist, Danila Tkachenko, whose work is featured in the exhibition. “It is rather a metaphor for the future, not the past,” he says. “It represents an image of a possible future. When there is a visualisation of this issue [utopia], it evokes a response in people; they see this utopia in their lives . . . There is disappointment in all utopias.”


The world's largest diesel submarine, in Russia's Samara region. Photo: Calvert 22/Courtesy of the artist, Danila Tkachenko

His Restricted Areas series explores great behemoths of European communism left to lie forgotten in the tundra of remote regions in and around Russia and Kazakhstan: the world’s largest diesel submarine, like a beached whale in the snow; a giant satellite, thatched with antennae, built to communicate with Soviet bases on other planets some day; the deserted flying saucer-like communist headquarters in a region of Bulgaria. The structures hover in blank, white space, making the photos appear black-and-white.


Deserted observatory, Kazakhstan's Almaty region. Photo: Danila Tkachenko
 

Anton Ginzburg is an artist who grew up in St Petersburg in the Eighties as the Soviet Union was disintegrating. He believes studies like his film, Turo, of disused modernist constructions in the post-Soviet bloc, appeal to people’s connection to history. After all, picking through the architectural carcasses of former societies isn’t exactly a new thing:

“Russian culture is still haunted by its Communist past, and constructivist architecture is a decaying shell for its ghosts. It is an active reminder of the recent history,” he reflects. “Perhaps [its appeal] is a mixture of memento mori, with its thrill of beauty and destruction, along with a Romantic tradition of contemplation of Greek and Roman ruins.”

(Anton Ginzburg Turo teaser from Visionaireworld on Vimeo.)

The Power & Architecture season is on at the Calvert 22 Foundation, London, from 10 June-9 October 2016. Entry is free.

Anoosh Chakelian is deputy web editor at the New Statesman.