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.



Once a National Obsession, Traditional Korean Wrestling Fights for Survival 

An elderly spectator watches a ssireum match during a Lunar New Year Ssireum championship at the Taean Complex Indoor Gymnasium in Taean, South Korea, February 14, 2026. (Reuters)
An elderly spectator watches a ssireum match during a Lunar New Year Ssireum championship at the Taean Complex Indoor Gymnasium in Taean, South Korea, February 14, 2026. (Reuters)
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Once a National Obsession, Traditional Korean Wrestling Fights for Survival 

An elderly spectator watches a ssireum match during a Lunar New Year Ssireum championship at the Taean Complex Indoor Gymnasium in Taean, South Korea, February 14, 2026. (Reuters)
An elderly spectator watches a ssireum match during a Lunar New Year Ssireum championship at the Taean Complex Indoor Gymnasium in Taean, South Korea, February 14, 2026. (Reuters)

As South Korea's global cultural influence expands in areas such as music, film and television, one form of entertainment struggling to attract attention even at home is Korea's traditional style of wrestling, known as ssireum.

Ssireum - pronounced like "see room" - had its heyday in the 1980s and early 1990s, when there were as many as eight professional teams and the top wrestlers became household names. Since then, it has been squeezed by tighter budgets and a public quick to move on to new trends.

Twenty-year-old Lee Eun-soo, who began training at the age ‌of nine, is ‌taking part in this year's Lunar New Year ‌tournament, ⁠the showcase event ⁠for the more than 1,500-year-old sport.

Lee lamented that at his former high school, the ssireum team currently has no members and there is talk of disbanding it.

"I once tried to imagine my life if I hadn’t done ssireum," Lee said. "I don’t think I could live without it."

A ssireum match involves two wrestlers facing off in an ⁠eight-meter (26.25 ft) sandpit ring, gripping each other by a ‌cloth belt called a "satba" and using ‌strength, balance, timing and stamina to force the opponent to the ground.

Ssireum ‌was inscribed on UNESCO's Representative List of the Intangible Cultural Heritage ‌of Humanity in 2018, but that international recognition has not translated into commercial success. Its relative obscurity contrasts with the high profile of Japan's sumo, another centuries-old form of wrestling.

Unlike sumo, which is supported by ‌a centralized professional ranking system and six major annual tournaments - or Olympic wrestling, with its global reach - ⁠ssireum remains ⁠largely domestic.

"Sport is something people won't come to watch if they don’t know the wrestlers or even the sport itself," said Lee Tae-hyun, a former ssireum wrestler and Professor of Martial Arts at Yong In University, who has promoted the sport overseas and believes it has commercial potential with the right backing.

Lee Hye-soo, 25, a spectator at the Lunar New Year tournament, said many Koreans are now unfamiliar with ssireum.

"My grandfather liked watching ssireum, so I watched it with him a lot when I was young," she said.

"I like it now too, but I think it would be even better if it became more famous."


Saudi Arabia Concludes Guest of Honor Role at Damascus International Book Fair 2026

The Kingdom’s pavilion, led by the commission, attracted strong attendance and active engagement through its cultural activities - SPA
The Kingdom’s pavilion, led by the commission, attracted strong attendance and active engagement through its cultural activities - SPA
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Saudi Arabia Concludes Guest of Honor Role at Damascus International Book Fair 2026

The Kingdom’s pavilion, led by the commission, attracted strong attendance and active engagement through its cultural activities - SPA
The Kingdom’s pavilion, led by the commission, attracted strong attendance and active engagement through its cultural activities - SPA

The Literature, Publishing and Translation Commission concluded the Kingdom’s Guest of Honor participation at the Damascus International Book Fair 2026, held in the Syrian capital from February 6 to 16, drawing strong attendance and engagement from visitors and cultural enthusiasts.

The Kingdom's pavilion was highly praised for its rich cultural content and high-quality programs, reflecting the vitality and growth of the Kingdom’s literary and cultural scene, SPA reported.

Literature, Publishing and Translation Commission CEO Dr. Abdullatif Abdulaziz Al-Wasel stated that the Kingdom’s role as Guest of Honor at the Damascus International Book Fair 2026, represented by a high-level cultural delegation led by Minister of Culture Prince Bader bin Abdullah bin Farhan, highlights the depth of Saudi-Syrian cultural relations based on partnership and mutual respect.

He noted that the participation demonstrates the Kingdom’s commitment to enhancing cultural exchange, a key objective of the National Culture Strategy under Saudi Vision 2030. Through this strategy, the commission emphasizes fostering constructive dialogue among peoples, exchanging knowledge and expertise, and consolidating the Kingdom’s active role in the Arab and international cultural landscape.

The Kingdom’s pavilion, led by the commission, attracted strong attendance and active engagement through its cultural activities. It showcased the commission’s programs and initiatives in literature, publishing, and translation, and featured a comprehensive cultural program, including literary seminars, cultural discussions, and poetry evenings with prominent Saudi writers and intellectuals.

These efforts enriched cultural dialogue with fair visitors and strengthened the presence of Saudi literature in the Arab cultural scene.

This edition of the Damascus International Book Fair marks a significant cultural milestone, reaffirming the value of books as carriers of meaning, spaces for dialogue, and starting points for a cultural journey that reflects the aspirations of the Arab cultural landscape toward a more open and aware phase.


Qiddiya City Begins Construction of Landmark Performing Arts Center

The Qiddiya Performing Arts Center supports the city’s positioning as a destination for creativity and cultural expression - SPA
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Qiddiya City Begins Construction of Landmark Performing Arts Center

The Qiddiya Performing Arts Center supports the city’s positioning as a destination for creativity and cultural expression - SPA

Qiddiya Investment Company has announced the commencement of construction works for the Performing Arts Center in Qiddiya City, marking an important milestone in the development of Qiddiya City as a destination for entertainment, sports and culture.

The announcement coincided with the laying of the foundation stone, signaling the start of construction works to be carried out by Nesma and Partners.

During the ceremony, held at the project site perched on the edge of the Tuwaiq Mountains, Managing Director of Qiddiya Investment Company Abdullah Aldawood delivered a speech announcing the official start of construction. He highlighted the importance of the project as a transformative addition that strengthens Qiddiya City’s cultural offering.

The Qiddiya Performing Arts Center supports the city’s positioning as a destination for creativity and cultural expression, while contributing to the development of local talent and attracting international artistic experiences.

The Qiddiya Performing Arts Center has been designed by Tom Wiscombe Architecture, in collaboration with BSBG, and features a futuristic architectural style defined by monumental forms. The design comprises interlocking architectural panels and five illuminated blades that blend harmoniously with the desert landscape, forming a prominent cultural landmark within Qiddiya City.

The start of construction follows the launch of the first phase of Qiddiya City in December 2025, which included the opening of Six Flags Qiddiya City. It’s part of the company’s broader approach to developing integrated destinations that enhance quality of life and deliver distinctive experiences across entertainment, sports and culture.