Category: project

Indonesia’s “digital wallet” ecosystem and socio-technical change

Having to go back to my home country, Indonesia, twice in a span of a year have made me realize a significant change in many aspects of life here. Of course changes are expected when you left your country for more than a decade, so I already anticipated that. But one of the most vexing changes for me is this somewhat aggressive shift in the country towards the so-called “cashless society,” where you are made to use digital wallet services even though you do not really want to. Perhaps a couple of personal anecdotes will illustrate why I feel this way:

One time my family and I drove to a mall in Bandung, and this was during the first couple of weeks of our stay. When I tried to get into the paid parking lot (parking is rarely free in my country, especially at malls) I was struck with the sign: “No cash payment, [a digital wallet brand] only.” I asked the parking assistant about the sign and he confirmed it, I couldn’t pay with cash to park there. He told me that I could buy the digital wallet card from him though. I declined his offer and backed my car out of that mall because I did not want to use unfamiliar (at the time) transaction method and also felt that I was forced to use it.

This experience happened after I learned that there is no more cash payment option for toll roads. You have to use digital wallet service to pay for your toll fee, although in this case you have several options to choose. I am not sure if this is a nation-wide practice, but I assume it is. Later on, I also learned that at some malls when you buy food in their food courts you cannot pay with cash nor credit/debit card anymore. You can only use either a certain brand of digital wallet or the mall’s own service. I was annoyed that when I wanted to buy a bottle of water because my son was thirsty, I could not do it right away. I had to opt to use one of the services.

At this point, perhaps you might call me a whiner because digital wallet services are a convenient method for economic transaction. Or perhaps you might think that I am anti-progress because this turn to cashless society is Indonesia’s step towards realizing the so-called “Indonesia 4.0,” embracing economist Klaus Schwab’s conception of “Industrial Revolution 4.0.” However, I want to point out that there is a difference between forced “progress” and a participatory one. And I also think that Indonesians need to discuss socio-cultural implications of this aggressive shift towards cashless society from multiple perspectives, not just from the discourse of technopreneurship.

Even traditional food stalls such as this one are conditioned to employ digital wallet method for transaction

Here, I am reminded of the classic works by Langdon Winner and Neil Postman. Postman, in his book Technopoly: The Surrender of Culture to Technology, argued that any technological innovation never has one-sided effect, and that we have to simultaneously consider what new technologies can do and undo to society. Meanwhile, Winner in his seminal essay “Do Artifacts Have Politics?” explains the political nature of technologies in everyday settings and how the creation and operation of any technology require specific social arrangements. Winner’s most cited example, the height of bridges on the Long Island Expressway in New York, is the one that resonates with me the most in the case of Indonesia’s digital wallet ecosystem. Similar to Winner’s Long Island Expressway example, where its “master builder” Robert Moses deliberately designed the height of the bridges to discourage the presence of buses and consequently limiting access of racial minorities and low-income groups to Jones Beach, the adoption/enforcement of digital wallet services at some malls or toll roads in Indonesia is a case where technological architectures are being used as a method that constrains certain behavior (cash transaction) while encouraging another (digital wallet transaction).

Unlike the Long Island bridges though, it’s not racist ideology that motivates this “modality of constraint,” to borrow Lawrence Lessig’s term, but it’s market force. In my preliminary research, I learned that Indonesia is a huge untapped market for e-money market. According to one Google/GfK digital wallet study in 2018, despite the rapid growth of digital finance apps since 2010, only fewer than 40% of Indonesians with smartphones have used financial services apps. Even among the minority of e-money app users, only 11% are average daily users according to the same study. So it is understandable that these financial companies are being aggressive in making Indonesians use their service, even if it means forcing them through strategies such as the paid parking scheme that I experienced.

In my opinion, the aggressive strategies of some digital wallet services in Indonesia is somewhat an extension of what Silicon Valley giants like Google and Facebook have been doing to the internet ecosystem (in fact Facebook will soon join the digital wallet business with their cryptocurrency product, Libra). Some websites today limit how you sign up for their services. They only let you sign up either using Facebook or Google, with no other options (or a tiny-looking option that users often overlook). This strategy has now found its way out of the pure digital realm of the internet and into the daily lives of Indonesians. With the growth of digital wallet/e-money services and their strategies, I am guessing that many Indonesians will probably experience (or perhaps are already experiencing) a divided and sometime exclusive “merchant ecosystem,” where you can only use a certain type of service and not the others.

Of course for many Indonesians, this may be a good thing. Especially with various shopping discounts offered by these digital wallet companies these days. However, we need to also seriously consider how new technologies disentangle the structures of everyday life in the country. There are several lines of inquiry that I think we can consider. For instance, how the digital wallet ecosystem affects the role of malls as commercially-constructed public sphere in the country, or how digital literacy (or a lack thereof)—as related to age, class, and gender—influences the adoption of digital wallet services, or how data mining and tracking used in digital wallet services to build “a single customer view”—as one digital wallet service is planning to do—will shape the life of Indonesians in the future. These are the conversations that should also take place alongside the celebratory remark about cashless society.

Tracing Indonesian Videogames History pt. 1

This is the first post related to my current research project on Indonesian videogames history (Disclaimer: thoughts are still scattered and disjointed):

As Inaya Rakhmani and Hikmat Darmawan (2015: 250) assert in their chapter about videogames culture in Indonesia, the exact history of videogames in the country is difficult to trace due to a variety of reasons. Archival awareness was not, and perhaps still not, high among Indonesians, especially for things considered trivial such as videogames. There aren’t really any exact record of what videogame titles first introduced to the country, or when. Statistical data on gaming is almost nonexistent, particularly during the early years. So, most narratives about Indonesian videogames history depend on the memories of people who participated or are still participating in the culture, i.e. gamers. Based on this collective memory, Rakhmani and Darmawan suggest that the development of videogames in Indonesia can be traced as far back as the mid-1980s.

While I cherish Rakhmani and Darmawan’s oral history/interview approach, I am interested in examining the scarcity of record about Indonesian videogames history, specially by means of popular distribution. My goal is not to provide the ultimate history of Indonesian videogames (that would be a rather foolish and impossible task), but to offer glimpses of what videogames discourse looked like (if there was such a thing) back in the early days. I think by doing this type of research, it will enrich our understanding of contemporary videogames culture in the country.

So, the first thing I did is to look for popular periodicals that were around during the estimated period that Rakhmani and Darmawan suggest. In this case, I examined two periodicals, Intisari and Variasi Putra Indonesia, from late 70s to late 80s. These two periodicals are by no means the representation of Indonesian popular culture back then. They are just ones among many, and they are, in this case, accessible to me.

Perusing these two periodicals, the first thing that I stumbled upon is this Graffiti jeans ad:

Graffiti Jeans Ad, Variasi Putra Indonesia, No. 397 (24-30 July 1981)

 

Graffiti Jeans Ad, Intisari, No. 217 (August 1981)

The ads show three hip-looking youths (by 80s fashion standard), posing next to what looks like a coin-op pinball machine. I am intrigued by the fashion and the machine. Well, mostly the machine.

The machine maybe just a prop for the ad. Yet, associating the aura of “hipness” that the ad promotes, the pinball machine may also suggest that it was part of a trendy youth culture back then. This may not be surprising if we connect it to the history of videogames in the US, especially coin-operated arcade. Coin-operated machines were already part of popular culture dating back to the Victorian-era amusements like the Kinetoscope.

However, 1981 was the heyday of videogame arcades in the US. As Carly A. Kocurek (2015) points out, “[b]y the early 1980s, mainstream media outlets from Life magazine to the New York Times were reporting on the youth trend, and arcades had become mainstays in shopping malls, strip malls, and small-town storefronts across the Unites States” (2). If we were to align the youth trend in the US with that in Indonesia, then the more appropriate background prop for the Graffiti ad would be a Space Invaders (Taito, 1978) arcade machine, or perhaps Sea Wolf (Midway, 1976). But what we see here is a much older coin-op machine (by the US standard).

Then perhaps videogame arcades were not yet popular in Indonesia back then (I rather doubt it). Perhaps arcades were still a novelty for upper-middle class youth as Rakhmani and Darmawan suggest. Yet, if they were a novelty, where did they play them? At home? (I also doubt it)

It is also interesting to note that this ad was the only non-game ad that used game-related background (at least in the two periodicals). And the appearance of this ad is very rare. From 1979 to 1990, it only showed up twice in Variasi Putra and once in Intisari (there are of course other Graffiti Jeans ads, but they did not use the pinball machine as a background prop anymore).

 

Works Cited:

Kocurek, Carly A. Coin-Operated Americans (Univ. Minnesota Press, 2015)

Rakhmani, Inaya and Hikmat Darmawan. “Indonesia.” In Mark J. P. Wolf (Ed.). Video Games Around the World (The MIT Press, 2015)

nutshell encounter

Archives in Between Recap

This post is a follow up from my last post about the digital humanities workshop I organized for AAS 2017. Well, I ended up not attending the workshop itself because of my visa situation (what a bummer!). But, the workshop itself went pretty well (thankfully!). The University of Rochester’s Re-Envisioning Japan (REJ) team (Joanne Bernardi, Nora Dimmock, and Tracy Stuber) and the Lafayette College’s East Asia Image Collection team (Paul Barclay) successfully facilitated the workshop.

The workshop itself comprised four activities:

  1. Introduction of the two projects
  2. Hands-on activities: Object Encounters, Twenty Questions with an Object, and Metadata and Tagging
  3. Concluding comments (recapping projects)
  4. Q & A

Here are some of the photos from the workshop (courtesy of Nora Dimmock):

And here is the link to the REJ team’s powerpoint presentation.

 

Archives in Between

This coming March, I will be organizing a collaborative digital humanities workshop: Archives in Between-Digital Humanities and Material Culture in East Asian Studies, at the Association for Asian Studies Annual Conference in Chicago .

This workshop is part of an on-going collaboration that my CLIR fellow cohort, Michaela Kelly, and I are initiating.

It will feature two large-scale, on-going digital humanities projects at the University of Rochester and Lafayette College: Re-Envisioning Japan: Japan as Destination in 20th Century Visual and Material Culture and the East Asia Image Collection. Both are faculty-library collaborations offering innovative pathways for East Asian Studies scholarship, research, and teaching.

So, if you are planning to be at the conference, do come to our workshop session!

Here’s the link to the workshop flier that contains more info, including the location and time: link

 

 

 

RE-ENVISIONING JAPAN: Recuperating Ephemeral Histories through Collaborative Digital Curation, DH Pedagogy, and Web-based Publication

Last month I went with Joanne Bernardi, a professor of Japanese here at University of Rochester, and Nora Dimmock, my supervisor, to Bucknell University Digital Scholarship Conference.

It was by far the best conference I went to this year. The keynote talks by Tressie McMillan Cottom and Safiya Noble were great and really relevant to our current digitally-mediated culture (I will try to write a short review of their talks in a different post). We also went to see several engaging panels, among them were compelling presentations about digital humanities projects done by undergraduates at Lafayette College and Gettysburg College.

Our team gave a presentation on Re-Envisioning Japan (REJ) project, a collaborative project that we are involved in. As the principal researcher, Joanne gave a brief background history about the project, which is a public archive of digital surrogates of an original physical collection of travel and educational ephemera about Japan during the early to mid 20th century, and its significance in terms of research and pedagogy. She also explained the challenges that have driven the project’s initiative to migrate the contents from WordPress to Omeka platform. Then Nora explained how the project has opened the way for close collaboration between library and faculty here at U of R. The project has not only bridged the gap between scholarship and teaching, but also introduced new critical practices in the library in terms of participatory curation, metadata structure, technology framework, and team-building. Following up Nora’s explanation, I explained my roles as a newly-joined member of the project, which include collaborating with the team to create a sustainable and transportable data model that will create a much stronger archive platform both in the front-end and the back-end, and creating an interactive timeline for REJ‘s film collection. At the end of our presentation, Joanne gave a brief showcase of two things that the REJ group is currently working on as “future directions” of the project: “Encounters” and “Routes.” The group has developed the “Encounters” since the previous CLIR Postdoc fellow was here. It is basically an interactive tool that will enable users of the REJ archive to dynamically curate the objects in the collection in a real-time. Meanwhile, “Routes” will be a multimodal web-publishing platform embedded in the REJ archive that will accommodate academic scholarship about the collection. These two tools will reflect REJ‘s main objective: to create an online archival platform that is organic, creative, and collaborative.

You can check out our presentation slide deck here. And if you want to see REJ’s “old” look, click here.

‘Programming’ the Archipelago Featured in My Campus Library Newsletter

So, recently I was featured in my campus library e-newsletter. I was actually humbled by the invitation and thought it was nice that someone thought my project is worth-featuring. So here is the link to the text version (there is also a link to the video interview).

It’s Complicated: The Social Lives of Networked Teens (danah boyd) – Collaborative Book Engagement

Around five or six months ago I volunteered to co-direct a collaborative book review project as a HASTAC scholar. It’s a kind of “crowdsourced” book reviews where you invite people to review sections of a book instead of the whole thing. This is actually the second project of its kind launched by HASTAC (I also participated in the first one). This time we choose It’s Complicated: the social lives of networked teens by danah boyd. It’s a really good book if you want to learn about youth engagement with social media from the perspectives of the youth themselves, and it’s highly readable. I’d have still recommended it even if I didn’t get involved in this project.

In this project, I partner up with another HASTAC scholar Megan Farnel and we work together with the HASTAC Scholars Director, Fiona Barnett. And couple days ago we finally launched the finished version of this project. We’ve gotten twenty-two people writing nineteen reviews and one pedagogical resources (excluding Megan who also wrote the review for the book’s intro). They all come from various academic backgrounds and have taken diverse approaches in writing their reviews.

For me, to be involved in this project is a really rewarding experience, both personally and professionally. And I’m really happy with how it turns out.

You can check the project here!

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