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The Unique Identity Project: Surveillance Society and Democratic Culture in Aravind Adiga’s India 独特的身份项目:阿拉维德·阿迪加时代印度的监视社会与民主文化
Pub Date : 2019-12-05 DOI: 10.5771/9783956505959-143
Jeffrey Clapp
Am 24. August 2017 entschied der Oberste Gerichtshof Indiens, dass die Privatsphäre zu den Grundrechten gehört, die durch die indische Verfassung garantiert werden. Der unmittelbare Anlass für die Entscheidung zum Schutz der Privatsphäre war die rasche Verbreitung von Aadhaar, dem biometrischen Identifizierungssystem, das von der Unique Identification Authority of India (UIDAI), einer gesetzlich festgelegten Behörde, verwaltet wird. Die UIDAI bietet dauerhafte zwölfstellige Identifikationsnummern als zentralen Bestandteil eines Systems, das Bewohnern Indiens eine einzigartige Identität und eine digitale Plattform zur Verfügung stellen soll, sich jederzeit und überall zu authentifizieren. Kritiker haben eingeräumt, dass Aadhaar durch die Erfassung von biographischen, demographischen sowie biometrischen Daten nicht nur gegen Grundrechte verstößt, sondern auch den Weg zu einer ominösen Überwachungsgesellschaft ebnet. Die Urheber und Verteidiger dieses Systems dagegen bestehen darauf, dass Aadhaar offen und egalitär ist. Vor dem Hintergrund dieser Konflikte werden in diesem Aufsatz drei Romane des indischen Schriftstellers Aravind Adiga im Kontext der Neoliberalisierung Indiens behandelt. Obwohl Adiga nicht explizit auf Aadhaar eingeht, möchte ich behaupten, dass Neuerfindung, Neupositionierung – und sogar Neoliberalisierung – demokratischer Konzepte wie Privatsphäre, Empowerment und Inklusion im Mittelpunkt seiner Romane The White Tiger (2008), Last Man in Tower (2011) und Selection Day (2016) stehen. Darüber hinaus stelle ich die These auf, dass Adigas Romane durch „Erneuerungen“ innerhalb einer antimodernistischen literarischen Tradition die laufenden soziotechnischen Innovationen in Indien unterminieren. https://doi.org/10.5771/9783956505959-143 Generiert durch IP '54.185.63.223', am 10.12.2021, 06:10:19. Das Erstellen und Weitergeben von Kopien dieses PDFs ist nicht zulässig. Stirner nennt den Einzigen und sagt zugleich: Namen nennen dich nicht; er spricht ihn aus, indem er ihn den Einzigen nennt, und fügt doch hinzu, der Einzige sei nur ein Name; er meint also etwas Anderes, als er sagt . . . Max Stirner, “Recensenten Stirners,” 149 On 24 August 2017, the Supreme Court of India determined that privacy is among the fundamental rights guaranteed by the Indian constitution. This epochal decision, which reversed several previous verdicts, has brought Indian law in line with many national jurisdictions and international rights regimes, including the United Nations Universal Declaration of Human Rights, which numbers privacy among its “inalienable” rights. In the months and years ahead, this decision will likely have a substantial impact on governance in India. But the immediate occasion of the privacy decision was the rapid expansion of Aadhaar, India’s biometrically-enabled identification and authorization system, which was introduced in 2009. The Aadhaar system is administered by the Unique Identification Authority of India (UIDAI), a legislativel
24日.2017年8月,印度最高法院决定公民隐私是印度宪法保障的基本权利。赢得保护隐私的直接原因是一种由法律机构统一身份的印度创安局(uiod)所控制的生物鉴别系统迅速扩散。ncd提供持久的12位数身份识别号,是印度人民提供一个独特身份和数字平台、在任何时间和地点进行验证的系统的关键组成部分。批评家承认,阿德毛的生物印刷术、人口结构和生物计量数据的收集不仅违反了基本权利,而且为隐蔽的监控社会铺平了道路。相比之下,这种体系的管理者和辩护者则坚持鼠发应当是开放、平等的。有鉴于上述矛盾,本文论述了印度新自由化背景下的印度作家阿瑞文·阿迪加的三部小说。尽管雅迪加并不明确对aad毛做重新定位,但我想说的是,诸如隐私、赋权和包容等民主概念一直是他的小说(2008年)的核心,另外,我指出雅加的小说通过在一个反现代的文学传统中“革新”,损害了印度当前的那种社会科技创新。通过IP ' 54,1855165 / 95143产生的,于2021年12月10日,66:10:19。文档备份和传阅是无法接受的。斯特林管一个人叫…又说独一无二的名字他不是这个意思149年8月24日这项划时代的决议源自于《国家法制词典》和国际权利体制,体现了联合国人权普遍原则。在1987年的国会选举中美国人选出了但单独决定的密码是青光眼的快速扩张印度生物测定的身份和授权系统导致2009年进入内爆印地安设于唯一的印地安设所,是关于印地安问题的12号问题所设的立法问题。在2009年12月14日,有人在几乎全印度都是“幻影和数字平台”(uiday,“幻影和任务”)。大多数标准都是彼此认同的信息、联系方式的信息和生物信息在其他部门的创建者和保护者也是他们的手《如何平衡自然和超越琐事》的文章《印度作家阿拉文迪加》的三篇小说重点是印度新自由主义的逻辑:雅典舞缺少了对头发的指示。《白虎计划》(2008年)的第一项,《守望台》(2011年)和《选择日》(2016年)都体现了不仅使用、陈述,还包括新自由主义的定义。新自由主义他们还不够成熟这才是真正的成熟最后,我几乎可以说是“创新”,这源自反对现代的文学和哲学传统,它源自do斯托夫斯基到2017年世代的历史。离开我的劝说,我同意离开 通过IP ' 54,1855165 / 95143,产生于2021年12月10日,66:10:19。文档备份和传阅是无法接受的。好了,他一定是为了报复印度,在他的《白虎记》里他是个了不起的英雄暗中帮忙,同意这个想法
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引用次数: 0
Resisting Authority: Surveillance in Contemporary American and German Fiction 抵制权威:当代美国和德国小说中的监视
Pub Date : 1900-01-01 DOI: 10.5771/9783956505959-169
Betiel Wasihun
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引用次数: 0
Totalitarianism by Consent: Orwell, Huxley, and Capitalism in the Stage of Corporate Surveillance 同意的极权主义:奥威尔、赫胥黎和公司监督阶段的资本主义
Pub Date : 1900-01-01 DOI: 10.5771/9783956505959-21
C. Bode
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引用次数: 0
From Stall to Screen: Reading Surveillance in Thomas Pynchon’s Bleeding Edge 从摊位到银幕:托马斯·品钦的《流血边缘》中的阅读监视
Pub Date : 1900-01-01 DOI: 10.5771/9783956505959-225
M. Wilson
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引用次数: 0
Vom ‚Big Brother‘ zum ,Big Other‘: Verhaltenskontrolle im Überwachungskapitalismus am Beispiel des Spielfilms Ex Machina 从‚老大哥“大他手下“:区域,在überwachungskapitalismus例证的前妻的
Pub Date : 1900-01-01 DOI: 10.5771/9783956505959-129
Jörg Metelmann
The article discusses the relation between surveillance and narration, under-stood as regimes of control, in the larger framework of culture (media, visuali-ty), economy (capitalism) and technology (big data, robotics, AI). The point of departure is a paradigm shift from “Big Brother” to (the) “Big Other” which transforms a visual regime into an omniscient one that is not based on images alone. In this new constellation, Big Brother serves as visualization and narrati-zation for the algorithmic data network that escapes our perception. To discuss these observations, the text relies on Alex Garland’s feature film Ex Machina (2015) that incorporates both regimes of control into its story of a threat to mankind.
本文在文化(媒体、视觉)、经济(资本主义)和技术(大数据、机器人、人工智能)的更大框架中讨论了监控与叙事之间的关系,将其理解为控制制度。出发点是从“老大哥”到“大他者”的范式转变,将一个视觉政权转变为一个不仅仅基于图像的无所不知的政权。在这个新的星座中,老大哥充当了我们无法感知的算法数据网络的可视化和叙事。为了讨论这些观察结果,本文引用了亚历克斯·加兰(Alex Garland)的故事片《机械姬》(Ex Machina, 2015),该片将这两种控制制度都纳入了对人类构成威胁的故事中。
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引用次数: 0
Surveillance in Jennifer Egan’s Novels of the Information Age 詹妮弗·伊根信息时代小说中的监视
Pub Date : 1900-01-01 DOI: 10.5771/9783956505959-111
J. Straub
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引用次数: 0
Introduction: Narrating Surveillance 简介:叙事监视
Pub Date : 1900-01-01 DOI: 10.5771/9783956505959-7
Betiel Wasihun
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引用次数: 0
Überwachung als filmische Form 监视作为电影形态
Pub Date : 1900-01-01 DOI: 10.5771/9783956505959-75
Dietmar Kammerer
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引用次数: 0
“And from this moment on, we know nothing” – Ellipsis, Epistemology, and the Anti-Detective Novel “从这一刻起,我们什么都不知道”——省略、认识论和反侦探小说
Pub Date : 1900-01-01 DOI: 10.5771/9783956505959-211
Florian Zappe
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引用次数: 0
Titelei/Inhaltsverzeichnis Titelei /目录。
Pub Date : 1900-01-01 DOI: 10.5771/9783956505959-1
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引用次数: 0
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Narrating Surveillance - Überwachen erzählen
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