Article 19 launches campaign calling for more transparency and accountability around online content removal

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“Are social media companies publishers or platforms?” Juliet Oosthuysen, who was recently banned from Twitter for expressing an opinion regarding the UK’s Gender Recognition Act, asked at a panel discussion to launch Article 19’s Missing Voices campaign on 20 June.

Oosthuysen was joined by Jennifer Robinson, a barrister who specialises in international media law, Paulina Gutierrez, an international human rights lawyer who has worked on developing the digital rights agenda for Article 19, and Pavel Marozau, an online activist whose satirical films have been removed from YouTube. The event was co-sponsored by Index on Censorship.

Article 19 is an organisation devoted to protecting freedom of expression. Missing Voices is its campaign to call for more transparency and accountability from the likes of Twitter, Facebook and YouTube over content removal. The aim is to protect online free expression in the complex web of intellectual property laws, community standards, algorithms and government censorship mandates that regulate what can and cannot be posted on social media platforms.

As described in Article 19’s 2018 policy brief, Missing Voices’ mission is to “Call on social media platforms to respect due process guarantees in the content moderation and account suspension or removal processes, create clear and transparent mechanisms to enforce such guarantees, and at the same time, call for them to align their policies with their responsibility to respect human rights, set out in the Guiding Principles of Business and Human Rights.”

As social media now spans hundreds of countries and their respective laws surrounding censorship, companies have to either model universally applied community standards to fit within every country’s unique laws or to impose standards unique to each country. This can create overly strict restrictions or even more barriers to free expression. Robinson said: “If any one country can determine that their takedown requirements based on their own free speech standards can be applied globally then we are going to see a race to the bottom of what is available online.”

In the breakout session that followed the panel, various groups discussed the difficulty in balancing the protection of opinions expressed online and fighting against the rampant harassment faced by ethnic, racial, sexual or gender minorities. The line between what is and is not acceptable is often blurry, argued multiple panellists, and is even more so when the decisions about what content to remove and which users to ban are increasingly made by artificial intelligence or algorithms. Speaking about her own experience with being banned and her multiple fruitless attempts to regain her Twitter account, Oosthuysen said: “A person made the decision to terminate my account, and I would like to speak with a person to get it reinstated, not an algorithm.”

Community standards are difficult to navigate. One audience member jokingly suggested social media platforms institute a “cooling off period,” so that users could be protected from censorship for posts made in the heat of the moment following a tragedy. This is not, in fact, a new suggestion: human Facebook content moderators are encouraged to consider recent personal events, such as romantic upheaval,  when deciding whether to remove a piece of content that expresses hatred towards a gender, for example. However, the idea that circumstances could excuse certain content that was otherwise inexcusable is difficult to enshrine in community standards that are supposed to be universally implemented. Algorithms — and even human censors — are not always able to determine when a piece of content is intended as a joke or whether it is condoned by the perceived target.

Marozau said that when attempting to understand what community standards he had broken, it was obvious content-sharing platforms “can’t say clearly what they’re against”. Marozau’s film attacked Belarusian president Alexander Lukashenko, and he was subsequently persecuted by the Belarusian government. His film, which he does not believe violated any community standards, was removed shortly after. It can often be difficult, noted Robinson, to determine the reason for the removal of a piece of content, and when removals are manipulated for political ends rather than legitimate online harassment.

There have been instances — some quite recent — when content-sharing platforms have been criticised for censorship after barring high-profile users whose content has been controversial. For example, American far-right conspiracy theorist Alex Jones was censored and banned by Facebook, Youtube, Instagram and Twitter, platforms that haven’t pursued many accounts with less followers but more violent rhetoric. Community standards, it seems, are applied most frequently to send a message rather than act punitively.

The Missing Voices campaign seeks to counteract censorship and consolidate laws and community standards wherever possible. The campaign will lobby media companies by spreading the message of free speech through social media influencers, marginalised groups, employees of the companies and shareholders.

According to Gutierrez: “If we put all the processes together, then we can… find inconsistencies between the actual responses and what [social media companies] are publishing in their transparency reports.” Gutierrez hopes that clarifying the regulations about posting will lead to better awareness about when community standards and laws are used fairly and when for political ends, and that doing so will make social media platforms more conducive to free speech. [/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_basic_grid post_type=”post” max_items=”4″ element_width=”6″ grid_id=”vc_gid:1561458322739-c029debc-beba-1″ taxonomies=”4883, 16927″][/vc_column][/vc_row]

Cambridge Folk Festival: Spoken Folk

[vc_row][vc_column][vc_single_image image=”107607″ img_size=”700×700″][vc_column_text]Join Index on Censorship for a weekend of talks and performances in the Flower Garden at Cambridge Folk Festival (1-4 August 2019).

WHAT’S ON

Fireside Folk Tales for Grown Ups |  Friday 2, Saturday 3, Sunday 4 | 9:00PM

As dusk falls and the witching hour approaches, join Index on Censorship and artists for some sordid, uncensored folk tales as you have never heard them before: grizzly, taboo-busting and downright disturbing.

What The Folk? |   Saturday 3 | 3:00 – 4:00 PM

What actually constitutes “folk” music? Where does hip-hop, rap, new folk and folk-fusion fit in? Join Index on Censorship with Dan Tsu, founder & director of Lyrix Organix, and Jade Cuttle, poet, musician and plant-whisperer, for an exploration of the just what the folk is “folk” music in the context of free expression and a rapidly changing UK scene.

Aimed at Young People (ages 15 +)

Women’s Panel |  Friday 2 | 17:30 – 18:30

Index on Censorship’s CEO Jodie Ginsberg joins Stevie Freeman, CEO of Americana UK, and professional “Strong Lady” Charmain Childs to discuss women and folk music. [/vc_column_text][vc_column_text]

When: 1-4 August 2019
Where: Cherry Hinton Hall, Cambridge
Tickets: Available here from £148.50

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#FlytheFlag: Zehra Doğan’s symbol of resistance

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A white cloth, transparent and mysterious…

The white scarf is the symbol of resistance against pain. The embroideries on it have unique mysteries. It’s the symbol of women’s resistance against the war that’s been waged on Kurdish lands for thousands of years. It’s the symbol of the women who don’t give in to the war and call for peace in the middle of war. It’s the symbol of the mothers who meet in Istanbul’s Galatasaray Square every week asking about how their child disappeared and the mothers who chant “Don’t let mothers cry, let there be peace” on the streets of Kurdistan. The white scarf is not a religious symbol but a cultural one for the women who resist.

The peacock feather is an attribute to the Ezidi women who were enslaved in Sinjar mountains by ISIS after massacres in 2014. According to the Ezidi belief peacock is a holy bird, a savior. It doesn’t obey and always leads to the light, to the sun. It dances around the sun, celebrating its existence. This is why it’s seen as evil in some religions. But the bird that’s been cursed by the Abrahamic religions is the holy bird of Ezidis. It has the freedom on its wings. The cyclic equality of the nature, the indomitability and the reality of finding one’s self is hidden in its wings. According to Ezidis, the world was a small pearl in the beginning and it developed fully after waiting in the wings of a bird. I think what we call the world is the human itself, a small child in the wings of a bird.

I wanted to design my flag in the form of the resistant women’s white scarf, for enslaved women to fly to the freedom in the wings of the peacock.

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Fly The Flag

To mark the 70th anniversary of the Universal Declaration of Human Rights, artist Ai Weiwei has created a flag to celebrate universal human rights.

Arts organisations and human rights charities invite you to Fly The Flag for human rights on 24 – 30 June 2019. From the Highlands of Scotland to the coast of Cornwall via cities, towns and villages across the UK, in galleries and theatres, shopping centres and offices, schools and libraries, both physically and online, people will come together to celebrate that human rights are for everyone, every day.

Discover our full programme of events and activities.

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Podcast: Judged with Xinran, Stefano Pozzebon and Steven Levitsky

In the Index on Censorship summer 2019 podcast, we focus on how governments use power to undermine justice and freedom. Lewis Jennings and Rachael Jolley discuss the latest issue of the magazine, revealing their top picks and debating what rating they would be under China’s social credit rating system. Guests include best-selling Chinese author Xinran, who delves into surveillance in China; Italian journalist Stefano Pozzebon, who reveals the dangers of being a foreign journalist in Venezuela; and Steve Levitsky, the co-author of The New York Times best-seller How Democracies Die, discusses political polarisation in the US.

Print copies of the magazine are available on Amazon, or you can take out a digital subscription via Exact Editions. Copies are also available at the BFI, the Serpetine Gallery and MagCulture (all London), News from Nowhere (Liverpool). Red Lion Books (Colchester) and Home (Manchester). Each magazine sale helps Index on Censorship continue its fight for free expression worldwide.

The Summer 2019 podcast can also be found on iTunes.

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