What Remains of Our Humanity in the Digital Republic ?

Susskind explains that the central problem of the internet is its “unaccountable power"
Susskind explains that the central problem of the internet is its “unaccountable power"
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What Remains of Our Humanity in the Digital Republic ?

Susskind explains that the central problem of the internet is its “unaccountable power"
Susskind explains that the central problem of the internet is its “unaccountable power"

When the World Wide Web first emerged, Silicon Valley was brimming with feeble, vulnerable startups. At the time, the US government decided not to regulate these startups, allowing them to continue their bold growth to the greatest extent possible. That is what happened. Today, these companies have become global household names and are some of the largest in the world, with some valued at over a trillion dollars. Unfortunately, however, some of those companies have obnoxiously brandished that power to cement themselves at the expense of the interests of their customers and their potential competitors.

In a recently published book entitled The Digital Republic: On Freedom and Democracy in the 21st Century, Jamie Susskind, a British barrister, brilliantly unpacks this controversial issue. It addresses a fundamental question that concerns the entire world: What is left of our humanity and human relationships after the emergence of the internet, one of the most prominent fruits of technological development? Where is it leading the billions of us unable to keep our thumbs off our small devices?

Susskind explains that the central problem of the internet is its “unaccountable power.” While at first, power was largely exercised by libertarian-inclined technologists who knew how to code, today, it’s in the hands of corporations and wealthy individuals who resist being regulated and are keen on a kind of “market individualism.” “Unlike in medicine, there are no mandatory ethical qualifications for working as a software engineer or technology executive. There is no enforceable industry code of conduct. There is no obligatory certification. There is no duty to put the public ahead of profit. There are few consequences for serious moral failings; no real fear of being suspended or struck off.”

Their power means that none of us is free. We have to follow their dictates. We have to forgo any rights we may think we have as we “consent” to online agreements no one has the time to read, let alone understand. If you’ve read one before, you know how ambiguous they are intended to be and how loaded they are with imprecise terms that internet companies can explain however they like. Thus, there is no point in reading them. It is not like you can negotiate to remove an article you do not agree with. Either you forgo all your rights, or you do not enter. Such unilateral agreements are normally thrown out in court.

While Susskind is keen on our “naughty” side — our inclination to avoid and bend the rules. Humans will exceed the speed limit, skip paying a metro fare, try to see two films while at the cinema, not signal a turn when no one is in sight and so on. Susskind suggests the development of a code, even a body of law, that protects individuals from depredation and manipulation while at the same time calling for “as little state intrusion as possible.” The author takes a cautious, reasoned approach to the attendant problems, noting, for example, that “the simplest form of platform power is the ability to say no.”

Susskind thus revives the concept of the republic in the ancient Greek sense of the word. These republics demanded joint efforts and mutual respect to manage properly. He calls for the formation of mini-publics, ad hoc committees pulled together to deal with single issues. They would have the power to require a new law, call a referendum, or ban some practices. And then disband these entities and allow their members to go back to their lives. This approach, which also goes by the name democracy, is a means of keeping lobbyists and special interests out of the process. There are no parties, no re-election campaigns, and no fundraising. The matter can be summed up by saying that the members of this republic assess the situation and address any problem facing society in the best way to solve it.

From here, he develops his classification of the overall problem. He sums it up into five main points.

First, big technology companies wield real power that should be regulated. Second, technology is not neutral, objective or apolitical. Third, digital technology is framed entirely in terms of the market economy. Fourth, there is nothing natural or inevitable about the emergence of Big Tech; everything can happen at any time without any restrictions. As for the fifth problem, it is that we have catered to Big Tech companies in terms of market individualism instead of regulating them as service corporations.

Building on this assessment, Susskind directs a lot of his criticism at Facebook, its lies, and its hypocrisy. Facebook’s privacy policy “is almost as difficult to understand as Immanuel Kant’s 1781 treatise Critique of Pure Reason, a book so impenetrably dense that philosophy students tremble at the very thought of it.” But there is also an unfortunate truth: “Social life and social media became inseparable” with the coming of Facebook.

Susskind wants to turn everything in Big Tech into a profession. Accountants and lawyers need degrees and licenses; they display them prominently. Why not require software engineers to do the same? Also user experience professionals, privacy professionals, platform professionals, ecommerce professionals and so on down the line. If they could lose their right to work or be fined or publicly humiliated, the internet would look very different; it would change for the better. The internet is so important to society. It is scarcely believable that no one needs any kind of certification to build or run it. There are no educational requirements to gather and sell everyone’s personal data to advertisers for whatever they want to do with it. Regulators should check those credentials, measure what is out there against published regulations, and discipline those who transgress. It is how the modern world works — except in Big Tech.

The Digital Republic demonstrates a couple important things. One, the problems are many and gigantic. And two, they are, for the most part, manageable with a mix of logic and common sense.



Madrasat Addeera Empowers AlUla Youth Through Traditional Crafts

The school focuses on empowering girls, teaching craft skills rooted in ancestral trades and presenting them in modern ways that create sustainable and creative opportunities - SPA
The school focuses on empowering girls, teaching craft skills rooted in ancestral trades and presenting them in modern ways that create sustainable and creative opportunities - SPA
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Madrasat Addeera Empowers AlUla Youth Through Traditional Crafts

The school focuses on empowering girls, teaching craft skills rooted in ancestral trades and presenting them in modern ways that create sustainable and creative opportunities - SPA
The school focuses on empowering girls, teaching craft skills rooted in ancestral trades and presenting them in modern ways that create sustainable and creative opportunities - SPA

Madrasat Addeera in AlUla Governorate offers specialized training programs and workshops to develop the skills of local youth in traditional crafts and arts, preserving cultural heritage while connecting it to contemporary life.

The school focuses on empowering girls, teaching craft skills rooted in ancestral trades and presenting them in modern ways that create sustainable and creative opportunities, SPA reported.

Throughout the year, the school contributes to the cultural vibrancy of the governorate by taking part in festivals and exhibitions. Through its workshops, visitors can explore traditional industries such as pottery, weaving, carpets, and natural products.

According to SPA, Madrasat Addeera's programs go beyond training, transforming craft skills into sustainable income, with handcrafted items sold locally and online, all entirely Saudi-made and inspired by AlUla’s culture and environment.

Since its establishment as the first girls’ school in AlUla and as the region’s first center for arts and design, the school has become a hub for nurturing talent, rediscovering heritage crafts, and attracting both local and global expertise.


British Treasury to Cover Bayeux Tapestry for Estimated £800 Million

This photo provided by Bayeux townhall shows a technician inspecting the famed Bayeux tapestry in Bayeux, Normandy, in 8th January, 2020. (Ville de Bayeux via AP/File photo)
This photo provided by Bayeux townhall shows a technician inspecting the famed Bayeux tapestry in Bayeux, Normandy, in 8th January, 2020. (Ville de Bayeux via AP/File photo)
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British Treasury to Cover Bayeux Tapestry for Estimated £800 Million

This photo provided by Bayeux townhall shows a technician inspecting the famed Bayeux tapestry in Bayeux, Normandy, in 8th January, 2020. (Ville de Bayeux via AP/File photo)
This photo provided by Bayeux townhall shows a technician inspecting the famed Bayeux tapestry in Bayeux, Normandy, in 8th January, 2020. (Ville de Bayeux via AP/File photo)

The British Treasury is set to insure the Bayeux Tapestry against damage for an estimated £800 million while it is on loan to the British Museum next year, reported the BBC.

The 70m-long embroidery depicting the Battle of Hastings in 1066 will travel from France to London as part of a deal between the two nations' governments.

The artifact's transit and its time in storage and on display will be covered under the Government Indemnity Scheme (GIS). Indemnity insurance covers situations like loss or damage.

The Treasury said without the long-standing scheme, “public museums and galleries would face a substantial commercial insurance premium, which would be significantly less cost effective.”

There are concerns about the move, as some French art experts have suggested the nearly 1,000-year-old work was in far too a delicate state to be transported - something French officials have denied.

It is understood the Treasury has received an initial valuation for covering the Bayeux Tapestry that has been provisionally approved. The loan will not be formally confirmed until it receives the final valuation.

That final valuation is estimated to be around £800 million.

The Bayeux Tapestry will be displayed in the Sainsbury Exhibitions Gallery of the British Museum from next September until July 2027 while its current home, the Bayeux Museum, undergoes renovations.

Comprising 58 scenes, 626 characters and 202 horses, the huge masterpiece charts a contested time in Anglo-French relations when William The Conqueror took the English throne from Harold Godwinson, becoming the first Norman king of England.

The government's indemnity scheme allows art and cultural objects to be shown publicly in the UK which "might not have been otherwise because the cost of insurance would have been too high".

The scheme - first set up in 1980 - has facilitated numerous high-value loans, including Vincent van Gogh's 1888 work "The Bedroom" to the National Gallery.

In exchange for the Bayeux Tapestry, the British Museum will loan items to France, including the 7th Century Anglo-Saxon artifacts discovered at the Sutton Hoo burial site in Suffolk and the 12th Century Lewis chess pieces.


Kolkata’s Iconic Trams Face Final Stop as Modernization Rolls in

Passengers sit inside a decorated tram during the 152nd anniversary celebrations of trams in Kolkata, India, February 24, 2025. (Reuters)
Passengers sit inside a decorated tram during the 152nd anniversary celebrations of trams in Kolkata, India, February 24, 2025. (Reuters)
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Kolkata’s Iconic Trams Face Final Stop as Modernization Rolls in

Passengers sit inside a decorated tram during the 152nd anniversary celebrations of trams in Kolkata, India, February 24, 2025. (Reuters)
Passengers sit inside a decorated tram during the 152nd anniversary celebrations of trams in Kolkata, India, February 24, 2025. (Reuters)

For more than a century, trams have rumbled past Kolkata's crumbling colonial facades, with their chiming bells contributing to the city's soundtrack as they ferried generations of ​commuters.

Now, Asia's oldest tram network is on the brink of disappearing as authorities consider pulling the plug on a mode of transport that has become more nostalgia than necessity.

The West Bengal government plans to shut down the 152-year-old system, keeping only a short heritage route. The decision has sparked a court battle as residents and heritage advocates fight to keep ‌the trams ‌rolling.

"As children, we would take the ‌trams ⁠for ​fun, ‌but as I grew older it became a necessity," said Abha Maity, 44, recalling rides to school and college. "I can’t imagine Kolkata without them."

Once a highlight of the city's streets, the wobbly trams now struggle for space amid traffic jams - competing with buses and yellow taxis - as Kolkata builds modern infrastructure and seeks faster transport.

Kolkata introduced ⁠horse-drawn trams in 1873 and electrified them in 1902. At its peak, the ‌network boasted more than 340 trams and ‍covered the entire city. Today, ‍only two routes remain, with a fleet of about 10.

"When ‍I joined, more than 340 trams were running. Now it's down to seven or eight," said Bacchu Sidda, a conductor for 36 years who still checks his duty roster pinned on a board ​at the last functioning depot in Gariahat.

The government began selling depots and scrapping cars years ago, prompting a citizens' ⁠group called Calcutta Tram Users Association (CTUA) to take the fight to court. CTUA has campaigned since 2016 to save what remains of the system.

"I love my trams more than myself," said Deep Das, 19, a journalism student and CTUA member. "If they disappear, it will be like a part of my body has left me."

Despite resistance, authorities are pouring billions into upgrading Kolkata's infrastructure, focusing on metro expansion, wider roads and new highways to ease congestion.

For now, the fate of Kolkata's aging trams awaits a ‌court review, as they continue carrying some passengers who view them as living memories of the city's past.