Wednesday, December 31, 2008

Register Now for the Inaugural Broadcast from the American University in Cairo's Virtual Newsroom


Second Life avatar of US Undersecretary of State for Public Diplomacy and Public Affairs James Glassman in the virtual newsroom of the American University in Cairo in Second Life.


[Ed. Note Update: We've posted archived video of this event here and here.]

On Monday, January 12, 2009, at 11 am Eastern Time, 6 pm Cairo Time, 8 am Second Life Time, Dancing Ink Productions will host a live event from the American University in Cairo's Virtual Newsroom in the virtual world of Second Life featuring James Glassman, US Undersecretary of State for Public Diplomacy and Public Affairs in conversation with a group of Egyptian political bloggers who covered the 2008 US presidential campaign. Do you have questions for Under Secretary Glassman or the bloggers? Tune in at www.dancinginkproductions.com and be a part of the conversation.

CLICK HERE to register.

HOW IT WORKS: The event will be streamed live to the web and will be viewable on the Dancing Ink Productions website by clicking on the Live Events tab. Viewers do not need to have a Second Life account to watch the live webcast from the virtual world, but will need to complete a simple, basic registration in order to view. Register to watch and participate here: http://dancinginkproductions.com/?page_id=361

This project is directed by Lawrence Pintak and the event is sponsored by the Adham Center for Journalism Training and Research at the American University in Cairo, funded by USAID and produced by Dancing Ink Productions. It will include real-time chat between a live Internet audience and event participants in the virtual world of Second Life. The US State Department collaborated on Undersecretary Glassman's participation in this event.

The live chat-stream including the live Internet audience will be moderated by Rita J. King, CEO and Creative Director of Dancing Ink Productions and Senior Fellow at the Carnegie Council for Ethics in International Affairs. The live event in Second Life will be moderated by Joshua S. Fouts, Chief Global Strategist of Dancing Ink Productions, Senior Fellow at the Carnegie Council for Ethics in International Affairs, and former founding director of the USC Center on Public Diplomacy.

The event will be a new step for public diplomacy as it will be the first time that a sitting US Undersecretary of State for Public Diplomacy will be participating in a press conference in a virtual world through the use of their own avatar. It is significant both as a new opportunity to explore how 3D immersive spaces can be used toward better understanding between cultures and as way of examining new tools for journalism.

If you have any questions about the event, please contact below. We can also be followed or direct messaged about this event in Twitter. Follow us at: @josholalia and @eurekadejavu. If you have any questions or comments in Twitter please add the Twitter hashtag #DIP to the end of any tweets that you post so that we can be sure to find the question.

See you all on January 12.

Monday, December 29, 2008

Israeli Consulate to host Twitter Press Conference on Gaza



We've been working on a blogpost about some creative, timely and strategic uses of Twitter. This one, however, begs immediate attention.

As we blogged about earlier, people around the world have been gathering in Second Life since Saturday to protest the attacks in Gaza. And we've received a number of emails as well as blog responses to that post.

Earlier today, however, I discovered that the Israeli Consulate in New York City had launched two Twitter accounts @israelconsulate and @DavidSaranga ... And I immediately started following them. David Saranga is the Consul of Media and Public Affairs -- essentially the public diplomacy person at the consulate. Notably, he is the person behind the so-called "beer n' babes" campaign of 2007 that ran in Maxim Magazine in which Maxim sent photographers to Israel for an Israeli women photo shoot.

After following them on Twitter, I discovered this: Tomorrow, Tuesday December 30 from 1-3pm Eastern, the Consulate General of Israel in New York will be hosting a 'Citizens "Press" Conference' to discuss the conflict in Gaza IN TWITTER! (On January 30 we are planning to do a Twitter press conference for the Understanding Islam through Virtual Worlds project following our formal event on January 29.)

The Israeli Consulate's effort is an excellent study in Public Diplomacy 2.0 and an even more interesting use of tactical and nimble public affairs using our ever evolving social networking ecosystem. I've been consistently impressed with the Israeli government's agility and ease of using newer technology tools to communicate their message. And this effort is one that I am looking forward to participating in with great interest.

[Update: Some great observations and links on this in the comments section of BoingBoing. Commenter Takuan in particular.]

Dozens Gather in Second Life to Protest Gaza Attacks






[Editor's Note: Second Life's Crap Mariner offers this response to the protests. He's not the only one who has gotten in touch to ask us where the other perspective is.]

Dozens of people have been gathering since Saturday in Second Life at a protest of the recent attacks in the Gaza Strip. The Egypt and Qatar-based news site, IslamOnline.net, has built a Palestine Holocaust Memorial Museum with scores of pictures of the attacks and people wounded in the attacks drawn news sources around the world. The museum was previously named the Gaza Holocaust Museum, about which we blogged in March 2008. Those who identified themselves who attended the gathering were mostly in Egypt, but also included people in Morocco, Italy, Portugal, Saudi Arabia, France and the United States.

The gathering is an example of the rich, textured opportunity that 3D immersive spaces like Second Life offer for people to express their concerns about present day issues.

Breathe Swindlehurst from IslamOnline.net offered these words to the attendees:
This is a statement for all the children who died in Palestine. Regardless of our political opinions, I'm sure we all agree that we don't want those children dying. There is no place here for arguments on which country is helping or which country is harming. Lets just agree that we want to send out a unified message to the whole world through SL that we are against what is happening here, and lets show them the pics of everything happening so the world knows the disaster from our side.

Tuesday, December 23, 2008

A Blaze of Light in Every Word

Self-portrait in my old office.

"There's a blaze of light in every word, it doesn't matter which you heard, the holy, or the broken hallelujah..."

Leonard Cohen

Wednesday, December 17, 2008

Being in Common: Seeking Pioneers of Pie in the Sky

This came in the mail today. The mysterious and beautiful envelope was only the opening salvo to a stream of endless delights contained within! To participate in the project, please upload your images of "common space" to Flickr and tag them beingincommonDIP.

This summer, I took part in a discussion 'Redefining Common Space' at the Design Museum of London, but I had no idea that it would lead to the spectacular fun that I am having right now at this very moment.

One of the other participants, Karen Martin of the artist group Proboscis (check them out to see why I'm so excited about it) sent me an invitation last month to participate in the 'Art of Common Space' series of events that will take place in Gunpowder Park in March 2009.

"I'm writing to you now about the work we're doing for that commission and to ask if you would be interested in participating in the research for it," Karen wrote. "For this we are exploring what 'common space' means to people around the world and I thought you might have an interesting, and different, perspective on this because of your work in Second Life communities."

20 people have been invited to take part. I have a map of the world and I have to fill in information about the place I call home and send it on to the next person on the list: Gill Croft of London, so we can learn a bit about each other. I wonder if the Gill Croft I discovered here might be the same person. Gill Croft, if you read this: is it you?

Gill practises Shiatsu, Tuina, Acupuncture and Reiki. Having taught Shiatsu and Chi Gong for The European Shiatsu School since 1993, Gill has worked with some of the most powerful and respected teachers, and created courses for retreat settings, Healing Camps and intensive 10 day bodywork courses in Europe, India, and the UK.

Gill combines treatments to suit each client, according to which mediums are most appropriate, from the gentlest Reiki touch to full-on meridian stretches, cross fibre techniques and skeletal realignments. While working in Rehab, she has devised group setting Chi Gong and Ear Acupuncture sessions, which are especially beneficial to those clients who may be suffering from jet lag. When in the UK Gill lives and practises in West London.


Karen's invitation concluded: The Art of Common Space series of events, which the work will be a part, of is looking at the basic premise of 'public' space and asking if there still exist spaces which we can call 'common'. There's a little more info here.


When I opened the package to see what was inside I was beside myself with the scope of materials (not only mixed media from pencils to glue but also a DVD for video and other files, an e-notebook, and matchbox for COLLECTING SOMETHING!)

I was asked to participate because of my experience with digital, immersive virtual environments. (I am the CEO and Creative Director of a strategy, research and mixed-media creative content company, Dancing Ink Productions). The entire Internet is one virtual world, one "common space," segmented as it is, that allows us to collaborate on shifting systems in the physical world. How do you interpret the concept of "common space" in relation to a changing global culture that has a physical and a virtual component?

PARTICIPATE IN THE FLICKR EXPERIMENT FROM NOW UNTIL JANUARY 10: I am doing a mixed-media Flickr campaign as part of my submission for the project. Please submit images of places in your physical-world or virtual-world community that represent what you consider to be a common space. Tag them: beingincommonDIP. Some or all of the images with this tag will be included in a machinima video that I will submit to Proboscis.

Brilliant DIP artist-in-residence John Fillwalk, an associate professor of electronic art at Ball State University and director of the Institute for Digital Intermedia Arts and Animation, recently installed one of the most inventive and beautiful magic wands I've ever seen for tapping into the collective consciousness--a "Flickr Gettr"--at the site of one of our current projects, the Virtual Newsroom of the American University in Cairo. (Note: On 11 am EST, Monday, January 12, we are hosting a live webcast from this space to the Internet with featured guests Under Secretary of Public Diplomacy and Public Affairs James Glassman and eight Egyptian political bloggers who covered the American presidential election which, I am proud to say, was won by this guy, who's running a quite a remarkable mixed-media campaign. To be a participant, please register here).

The Flickr Gettr projects images from all around the world that are tagged with search words. To participate in the project, please upload your images of "common space" to Flickr and tag them beingincommonDIP before January 10.

Twitter hashtag: #DIP

If you are an artist working on this project or a member of Proboscis, please comment below so we can learn more about you.

Thursday, December 11, 2008

Time Travel to Virtual Kristallnacht

Crap Mariner does an incredible job with this iReport on virtual Kristallnacht. We are looking forward to taking a tour with Involve tomorrow.

DIP is in the midst of building the Virtual Newsroom for the American University in Cairo, and we are especially impressed that visitors to the Second Life project have the opportunity to observe and record, as journalists, what happened on the tragic Night of Broken Glass: November 9-10, 1938.

Understanding Islam through Virtual Worlds: Muxlim

Rose Springvale, the sultana of the experimental Islamic community Al Andalus in Second Life, is a Methodist from Indiana who is now an attorney in Texas.

UPDATE: Muxlim Pal's virtual world component appears to have been temporarily shut down because of griefers. We had signed up for the beta, but were unable to access the virtual world component. I haven't gotten any updates yet about the nature of the griefing. Anybody know?


Tish Shute (@ugotrade) tweeted to ask me if we were planning to blog about Muxlim, a new virtual world for Muslims but without the charged atmosphere of Second Life.

Just this week, we finished the final drafts for our machinima video, graphic book and policy recommendation report for the Understanding Islam through Virtual Worlds project. Originally, the plan was to host a series of events in Second Life to discuss Islam. While conducting initial research for the project, however, we realized that the Muslim population across the virtual world of the Internet (and in particular, the immersive three-dimensional user-created platform Second Life) was already creating a compelling narrative about what it means to be Muslim in 2008. They pulled us into their stories, and in documenting this intriguing new dimension in the global culture, we created a story of our own. Reuters pulled out of Second Life recently, ostensibly due to a lack of material, but this project ended up being the most surprising investigation of my career. Every time we thought we might be finished, some compelling new individual or group arose, or news broke of yet another related story. Muslim culture is thriving on the Internet.

Mahdis Keshavarz of the MAKE Agency, a public relations firm focused on the Middle East, was one of the many Muslims we interviewed in the physical world across four continents while working on this project. She was introduced to us by DJ Spooky, whom we met over sushi with Cory Doctorow and Jeff Newelt in NYC. When Jeff handed me a stack of graphic novels I realized that the Understanding Islam through Virtual Worlds project needed a graphic report. I don't believe in coincidences, but Mahdis Keshavarz, who was fasting for Ramadan the day we met her in Brooklyn, is quoted in this article about Muxlim:

"One of the benefits of the Internet in the Muslim world, which is a generally closed society, is this ability to interact and connect in a way that isn't improper," she said. "It means that people in more secular societies are in contact with the more traditional, planting new ideas in places where that exposure hasn't traditionally existed."

This idea is at the heart of what we discovered, which is that three-dimensional digital environments are creating new discussions. I became fascinated by Second Life instantly when I met a Muslim woman in a virtual Jewish synagogue and she told me she'd wanted to attend prayer services all her life but feared persecution or making others uncomfortable.

A platform inhabited by people with diverse beliefs means that different individuals and cultures have a chance to shine and transform in unexpected ways. This is the value of a platform like Second Life, where people are often segregated by language or custom--but not always. And it is in those moments of unexpected overlap where transformation occurs.

The deepening from two dimensions to three in the digital Muslim culture is arriving at the perfect time, which we cover in our policy recommendation report. But here's an example from The Los Angeles Times, on September 19, 2008, Jeffrey Fleishman’s article, "Facebook Reflects Growing Struggle Over Islam's Role."

"His fingers tapping like a tiny army over laptop keys, Waleed Korayem, a university student," Fleischman wrote, "skims the Internet in a noisy cafe and opens his Facebook group, the one that drives Islamists into fits of rage: Yeah, We Are Seculars and We Are Proud!"

Fleischman reported that the student was sweating as he clicked through "cyberspace venom and passionate screeds," of Muslims debating Islam and democracy in the Middle East. This electronic "parallel world," he wrote has "given young Muslims a voice beyond their mosques and repressive governments."

“This is not just a technical war, but a moral one," Korayem told Fleishman. "Facebook is reflecting what's happening in Muslim society. I'm engaged in dialogue between Islamists and secularists. But there's too much tension. No one wants to revise his opinions. It's turned into a screaming war."

Korayem, Fleischman wrote, "believes he's living in a transformative time in Islamic history, when a new generation can express whatever it wants on screens that can hold infinite numbers of words. It's exciting, but he wonders where it's going. Is it chatter and discourse in a vacuum, provocative but not powerful enough to overturn oppressive governments or contemporize religious thought?"

Unlike two dimensional platforms, virtual worlds include--but are not limited to--dialogue. Participants can interact in real time, across language barriers, to discuss and explore critical issues. I strongly believe that peace is not the absence of conflict, and that the pain of opposing views is in large part what drives human progress. Violence is an escalation of conflict, not a certain result. The fact that the Internet provides a venue for such conversations is a cause for hope and a source of new energy. As millions of Muslims become immersed in virtual environments, I believe that the addition of a third dimension is a powerful medium for a culture that is richly steeped in the narrative tradition. Writing was invented in ancient Mesopotamia, which is now present-day Iraq. This is one of the many adventures included in our study, along with a virtual hajj to Mecca, attendance at a Second Life fatwa with a Muslim scholar and residence in an experimental virtual Islamic community. We had experiences in the virtual world with people that simply would not have taken place in the physical world (this essay provides an example).

Any platform that offers an opportunity to virtually explore what it means to be Muslim in the word today is beneficial for many reasons, not the least of which being that it offers a physically safe environment in which to have sensitive discussions about difficult subjects as well as a chance to share thoughts, ideas and events with other people, Muslim or not, all around the physical world in real time. Virtual worlds allow people to create something together and in so doing, to find the more nuanced and deeper connections. I look forward to learning more about Muxlim, but in the meantime just wanted to respond to Tish's question: yes, we will blog about it! I don't agree to the contrast presented in the Fox News coverage regarding perceived "constant partying" in Second Life, because the only time I ever saw people who self-identified as Muslim "partying" was when I attended a group for women at a housewarming party.

We are in the process right now of planning a mixed reality launch for Understanding Islam through Virtual Worlds (as well as creating a Virtual Newsroom for the American University in Cairo for a January 12 live webcast..details to follow, but save the date, and please register for live events at DIP) We look forward to sharing news with all of you soon...

Wednesday, December 10, 2008

We be Spammin'


"SPAM!" CC Image credit CursedThing


We want to know what you think about spam across any and all of the social networks and other platforms you use. Please comment below. What is and isn't spam?

A few months ago I needed to hire someone for a special virtual build in Second Life, an ethereal temple that would reflect the spirit of the many in the one and the one in the many without conjuring any of the symbols directly associated with any specific religions practiced in the world today. In group chat, I informed a special community of Second Life builders (known for their thought-provoking and beautiful creations that are not possible in the physical world) that I was looking to hire someone. I was promptly informed by the community leader that it was inappropriate to "spam" the group in chat. When I asked her which method she preferred for offering employment to her group members, she curtly issued a lengthy set of instructions that I was forced to ignore, because I'd rather put my time into finding a great builder than into navigating dense bureaucratic directions. After she caused a spectacle, I received a frenzy of instant messages from members of the group. They wanted to know how they could they get paid for what many of them were already doing as a labor of love, for free.

I'm not saying spam isn't a problem. But what is spam, and what isn't? It isn't just as easy as saying that an unsolicited commercial offer is spam, when people are now making a living via the Internet, and therefore they are, in many cases, the product they're offering. The product is often one's own brain and the thoughts it contains--whether for coding, or content creation, or research, or any of the other countless revenue streams gaining strength in the digital culture.

Let's take Twitter as an example. Tweets unfold along the fault lines of the soul of wit. If you can say whatever it is you need to say in 140 characters with an embedded link, you can get the attention of some of the world's most sophisticated thinkers and active participants in the society of global nomads. This level of access is changing the context in which collaborations unfold. The same way the ice caps melt faster because water attracts the sun, rapidly self-organizing groups are faster to action than any geographically isolated workforce could ever be, and that trend will only increase.

What is the role of spam in this paradigm?

One of the common complaints tweeters often post about is the way other tweeters use the platform for self-promotion. This raises a very compelling issue about creative elitism, which I believe is the most disruptive (and delightful) aspect of an increasingly digital nomadic workforce. Elites are always in charge of shaping public perception. That is what makes an individual or an institution powerful--the ability to cast a spell over the collective consciousness by framing reality. All spells break eventually and a new set of influencers emerge. Those people, whether bound by wealth (or, we are quickly learning, the appearance of wealth) or birthright, are the ruling elite. Membership in the up and coming ruling "elite" will be defined by one's capacity for creativity, organization and authentic devotion to the greater good.

I've noticed tweeters understandably complaining about marketers posting adverts in the comments section of their own commercial blogs and websites, just to turn around a few posts later and pitch their own products (further, such tweets require mention of one's own products in order to highlight the tactics of the marketers). It is not always clear where the line is between pitching one's own interests and sharing information, especially as interests converge.

I'm not talking here about people peddling pills, sex with "attractive singles in your area," "expert advice" and/or other obvious spam delivered in a completely inappropriate and socially offensive way. I'm talking about the distinction between sharing one's work for the sake of finding collaborators and remaining a part of the social and professional tapestry but not bombarding people.

When "spam" was defined, it was mostly an effort to keep unwelcome clogs, pitches and scams from our in-boxes (and keep our grandmothers from turning hundreds of sappy forwards into a bloodsport), not to inadvertently hobble the evolution of the global workforce by silencing participants into submission through fear of appearing socially exploitative. Where's the line? Please comment below.

Tuesday, December 09, 2008

US Army Invades Second Life



I have a new blog post on the Carnegie Council for Ethics in International Affairs blog, "Policy Innovations" about the US Army in Second Life, public diplomacy and virtual worlds, and an interesting connection between Wired's Noah Shachtman and the playwright Josh Fox.

Monday, December 08, 2008

Surrender


The following is a review of the play “Surrender,” which we attended on Halloween night. The play will have a limited run from January 7-12, 2009 and I strongly recommend getting tickets and considering very carefully which you'd rather be: an observer, or a participant. Both will immerse you, in much the same way an avatar is immersed into a virtual world, into a dreamscape of mixed reality. As an observer, you won't simulate execution, but you'll become a voyeur while your friends learn to kill without mercy in under an hour. Spoiler alert: this review spares no detail, right down to the dirty feet of the Iraqi woman who locked eyes with me as the American soldiers flooded in...

A devil in red spandex holds a red-glitter pitchfork and an angel in stilettos with a feathered halo wired to her head block our path then move into the costumed crowd while we race past.

“We're not going to make it on time,” I say.

The Halloween parade densely draws a formation on Sixth Avenue, attendance bolstered by beautiful weather and the fact that it's Friday night. Fairies eat cupcakes with pink icing. The inevitable pimp in purple velvet smokes a cigarette as a secret service agent nearly gets mowed down by cops on motorcycles while staring at a man in dark shades wearing a sandwich board that shows the dwindling value of his 401K. Sarah Palin impersonators appear on every corner. Finally, we reach Wooster and Broome.

“You're late,” says a man in fatigues and combat boots. “Who is the observer and who is the participant?”

“Observer,” I instantly volunteer as Josh , the participant, steps forward.

Josh is asked to sign forms to verify that he believes himself to be healthy enough physically to deal with what's going to happen to him in the next three and a half hours. A man in combat fatigues explains that there's a safe word, if he needs to be removed from the action: MEDEVAC.

“Repeat it back to me,” he says, looking Josh dead in the eyes. Josh repeats it. I am dressed as a time traveler, for the party we are planning to attend after completing field research on conflict. We are all in various states of disguise. A civilian takes me into the theatre to observe Josh Fox's Surrender, co-written with Sergeant Jason Christopher Hartley, who now stands before us with two lines of people who have already been costumed for the show. Briefly, everyone looks at me when I sit on a gray bench along the wall in my layered dress, the silvery white tulle under a transparent sheet of black mesh. Hidden rooms flank the perimeter.

The sergeant demands that the soldiers do push-ups while waiting for “changing room” to finish up. I know Josh can hear him and I wonder if he's panicked as a result. Some of these people are actors and some are skittish or enthusiastic participants. In some cases it is easy to tell one from the other. A man with arm tattoos and a woman with yellow shoes sit on the bench with me. We are the only spectators. Josh appears in full military ensemble and only his round black glasses, which he pushes up on his nose, give him away as a non-military type. Even his hair appears to have been cropped with military precision, but surely this is the work of his Iranian Scotch-drinking barber and not some trickery recently accomplished backstage. He looks my way nervously and I start to take notes as the soldiers are trained in how to handle a weapon.

“Call me Sergeant Hartley, but never sir. All of us here work for a living. You will move as a group,” he says. “I know we're all New Yorkers, good at being individuals, but...”
Private Fouts

The actors become a squad in training with red-tipped black plastic guns. First lesson: never call them guns. By now they know that the weapons have three settings: safe, semi and auto. Because they are never to “flag their buddies” they are to keep their fingers off the triggers and barrels pointed at the ground. Always. Unless they plan to kill someone, in which case the weapon's setting will be shifted from safe to semi, never auto, because auto is a spray of bullets and they're not supposed to flag their buddies. Besides, it's unsportsmanlike, and against the Geneva conventions.

My view from the gray bench as the firing squad advances as a unit, is of one particular woman. By now, Josh has stopped nervously trying to catch my eye because he's avoiding being singled out for push-ups and is, I suspect, more than a bit uncomfortable about handling the weapon. This woman, however, with her dominant blue eye focused unflinchingly on me, does not angle the barrel away from my body cavity the way the people pointing at the other two spectators do. Is she part of the production, trained to make the observers a part of the action, or is she, like Josh, completely new to this and perhaps drawn to it for reasons that might or might not be revealed? This is only Act One. It reminds me of Second Life: a simulation that feels real. She is an avatar, and the actions in which she is now engaged, whether she's a paid professional or not, are reflective of some part of herself. Surely, this is not real, I keep reminding myself. The guns—the weapons—are plastic. But he just said, “Never to point a gun at anyone unless you plan to engage, which means kill.” And she's pointing, and engaged, and she knows that I just heard what he said and is therefore trying to send a message: I could kill you, and I would. I stare back at her. In my leather bag there's a kaleidoscope, a viewfinder with slides that show exhibits from the Museum of Jurassic Technology and a laser kit that comes with sets of rainbow and 3D glasses. I want to look away from her. I can't. The moment feels like a dream crash, that fleeting space between awareness and explosion.

“Why shoot someone once when you can shoot them twice?” Hartley asks. “There are two types of infantrymen—the quick and the dead. You're going to want to stop and think about what you're doing along the way. Don't stop. Shoot, move, communicate. No flagging your buddies. Slow is smooth, smooth is fast. Get that mantra burned into your brain. Security, security, security. Look everywhere for threats.”

“Houses” are formed from cheap aluminum beams and planks on the floor. The squads stack up and learn how to clear a room. They stand in a tight formation, an unquestioned hierarchy of four bodies each with a different role in the group. I wonder what will happen if anyone is killed in battle. The troop surge in Iraq must have consisted of many new fourth wheels. Watching them learn how to function as a team is like watching a table of small children learn from blocks about colors, shapes and letters. There are no foreign alphabets when one is learning to interpret a particular set of symbols that form words. Language is the currency of the human experience. Written history is what makes us real. This is a play, I remind myself--a created experience that involves not just watching, but becoming immersed.

“The number one man chooses the path of least resistance,” said Jason Hartley, meaning, I think, that the squad leader is responsible for guiding the squad through the room clearing by swiftly identifying enemies (people with weapons) and civilians (people with no weapons). “You want to stay in contact,” he says of the squad, “not so much that you lose balance, but enough to know they're there.”

It occurs to me that this is a valuable lesson of war that should be put into practice more during times of peace. In fact, there are many such lessons, such as the ability to surrender to a process of collaboration and to overcome the ego's desire for extreme individualism in order to see beyond the limitations of entrenched social systems.

“We usually protect our personal space and all,” Jason Hartley continues, “we're Americans. But it's good to see we're getting over that.”

In virtual worlds, as in theatres, it often becomes impossible to separate fact from fantasy (it all becomes experience), which makes it more likely that immersive participants will let themselves go more deeply into the moment. When the squads start clearing the makeshift rooms with invisible walls, it becomes more apparent who the actors are and who, like Private Fouts, is completely new to this.

“The doorway is the fatal funnel,” Hartley continues. “If you're going to get killed, that's where it's going to be. Your squad leaders are god...the team leader in the infantry is the hardest job in the Army...double-tap...it's a grey area as per the Geneva conventions to shoot someone who is unarmed, it's a war crime...this isn't Halo. We're not doing any headshots. Hit them in the liver, the lung, the body cavity...”

An enemy is then introduced into the room. The demonstration squad emerges from among the participants to demonstrate his execution very matter-of-factly.

“Quick,” Sergeant Hartley says. “You can get in multiple shots before he hits the ground...or you can capture someone you want to tame.”

As he runs his hands along the dead enemy's body, he shares methods of searching for intelligence while I continue to toss that sentence around in my mind: or you can capture someone you want to tame.

A squad leader's job is to make sure the search for intelligence (in Vietnam, my father told me, the intelligence he discovered consisted mostly of cash, rice, photographs and drugs) is conducted by someone other than the shooter. Firing a weapon is altogether a different story from searching the body. But here's what I mean about the steadfast devotion created within a squad—dedication so intense that you can actually kill a real live person in front of your squad and the people in it will unflappably continue to move as a unit. Allegiance so intense forges a sense of unity and interdependence that fail to reach their full potential in modern societies in peaceful times.

In the infancy and adolescence of humanity, combat has offered an opportunity for extremely complex collaboration, while the work of creativity has been marginalized and left to individuals or those working in concert with relatively small groups. The paradigm is shifting because the Internet encourages, for the first time in recorded history, a major upgrade over collaborative destruction: collaborative creativity. As a result, eventually, destruction can become the marginalized act of isolated individuals. I imagine that this is a necessary next step on the long journey toward recognition of the paint-stroke of infinity in Rumi's lines:

Out beyond ideas of good and evil, there is field. I'll meet you there. When the soul lies down in that grass, the world is too full to talk about. Ideas, language, even the phrase each other doesn't make any sense....


“Don't step on the body,” Sergeant Hartley says. “We don't want to disgrace the dead.”

I can't tell if he means it.

After the soldiers are taught how to lock arms and carry the walking wounded, he breaks off and helps each of the two groups. One of the participants, who is very clearly not a part of the production because she has been giggling nervously on and off since accepting the weapon, wants to know if she's supposed to “understand the whole going-in-and-killing-someone thing.”

“This is all about killing,” Sergeant Hartley says plainly, without giggling back as an empty courtesy to match her nerves. “We're going into a small, poor town looking for insurgents. There are only three types on the battlefield. Friendlies, enemies and civilians.”

The soldiers disappear in the sudden loud darkness. The sound of gunfire begins immediately. Josh Fox appears on the bench next to me. He smells like time travel—cold air and smoke.

“You can go look in on them wherever you want,” he says, pointing at the wall behind me, which contains a hidden room where a silver mesh screen partially obscures a scene: a robed man with a gun, shaking, rocking on his heels as he crouches on the floor, barrel trained on the door. His fixation is so intense that he doesn't look up to see us standing there, but his praying wife does, and she locks eyes with us as if she's caught the gaze of god and we can prevent what's about to happen. It's so real, right down to the dirty feet, that for an instant I'm scared that these people are actual war hostages, spared the insanity of Gitmo or Abu Ghraib by agreeing to take their show on the road like circus tigers. Suddenly the dark room is filled with American troops. As soon as the man—the enemy—raises his gun, he is instantly snuffed out by newly-trained executioners. His body falls and the woman falls weeping on top of him after his body is searched for intelligence. The soldiers clear the room and move on.

“We just taught them to kill without mercy in under an hour,” Josh Fox said. “Josh did it.”

I follow him across the theatre to another silver screen, behind which sits a woman in a headscarf, holding a baby, her eyes lined in black. The other woman in the room is holding a gun, waiting. No, this is not a real war. She will not die, tonight, and I am only an observer. But we don't look away. Elsewhere, bullets are fired and someone screams. Between us hovers a mutual awareness of eventuality interpreted two different ways and yet, there's so much of a connection between us in that moment that it doesn't matter who either of us are. Being an avatar in an immersive virtual environment is similar to this feeling. Who is she, really? Who am I? In this moment, it doesn't matter. She is an Iraqi woman with a baby. I am an American journalist watching through a silver screen as troops flood the room and I think back to my father telling me about Vietnam.

Did you kill anyone in Vietnam?” I ask. I am eight.

“What do you think we were doing over there?” he asks, laughing nervously the way the woman with the weapon laughed even though it was plastic and nobody can die from a fake gunshot wound.

He snaps his fingers in the air to tell me what it sounded like when bullets missed his head. The soldiers disappear. The woman still holds the baby, watching with the same dead-eyed stare over the dead body, which lies for the appropriate amount of time before a miraculous resurrection to await the next invasion. This reminds me of snakes I once discovered in the virtual world of Second Life. My avatar, Eureka Dejavu, plays a pungi in the desert while two black snakes slither and hiss and then loop around and start the process again, over and over. Experiencing "Surrender" is almost like being surrounded by robots programmed flawlessly to impart an accurate snapshot of the current state of human evolution. This is hard to understand, which is why I look forward to reading P.W. Singer's book Wired for War as soon as possible.

One room holds a man in a silver hood as an American soldier circles nervously, so much so that I start to wonder why she is alone and if she might scream MEDEVAC at any moment. Eavesdropping on her plight, I begin to feel the full weight of the absence of her squad. The troops burst into the room and the squad leader demands an explanation for the hooded man, whose hands are tied behind his back and whose neck is limp as a hanging corpse. Josh Fox is beside me again.

“Does Sergeant Jason Christopher Hartley have any confirmed kills?” I ask. He shakes his head.

“I can't talk about that. He's open about it but you have to get to know him first. He wrote a book. People are used to straight narratives,” he says. “Novels, TV, those are narratives that go from A-Z. But this is more like the Internet. You have to find your way through it. Do you want to see the hospital?”

Two smiling women push what appears to be a bar out into the center of the room. They are dressed as flight attendants, which reinforces the feeling that this is a simulation full of avatars. They smile widely, as if they have no idea they've landed in a war zone. For every role, there's someone willing to fill it. Josh Fox and I walk past them, down a small flight of steps to four nurses in pale blue scrubs hovering over a soldier on a cot, a sheet pulled up to her neck as last-ditch lifesaving measures are enacted.

“They keep trying to get her back in but if they can't, there's a death room back there,” says Josh Fox as one of the nurses enforces the suspension of disbelief by pulling a bloody rag out from under the sheet.

The nurses mumble about the end of the war like a choir of hushed whispering angels stuck in purgatory, the thin white curtain off the death room glowing ghostly behind them. Josh Fox and I watch the woman die. The sheet is lifted over a face that will disintegrate in the ground long before it will fade from memory. Light glazes her features momentarily and then she is a specter.

The Lord brought her to us...bring an end to this terrible war...you did what you could...

“Would you like a beer?” one of the flight attendants, a chipper blonde, hands me a can of Pabst Blue Ribbon as I walk back into the main room of the theatre. The soldiers are all there at Kuwait International Airport, drinking beer from small blue plastic cups and listening to music. Private Fouts and his squad leader were recounting the battle.

“I was just so grounded by your voice,” he says. “I was afraid I was going to mess it up. I didn't know if I was supposed to go right or left. At first it didn't look as if he had a weapon but then he looked away from the window and pulled it out from his robe and I fired.”

“I'm a big Geneva convention breaker,” the squad leader responds. She has delicate blue eyes like cornflower paint on transparent teacups. “If a girl has a weapon she's not a woman anymore as far as I'm concerned but that's not the law.”

I'm almost surprised that they can see me. Is the squad leader an actress with no war experience? I want to ask, but either way, she's still in character for the “intermission.” Jason Christopher Hartley approaches.

“I have questions for you,” I say, “but Josh Fox says I should wait until I get to know you better. So I'd like to know you better. I'd like to read your book.”

“What publication are you writing this for?” asks the squad leader.

My notebook is more than halfway full now with notes on war and peace, life and death. People always want to know who I'm writing what for, and I almost never know yet. Am I being perceived as a real journalist or an actress at the Kuwait International Airport, where the bleachers that once sat in darkness are now illuminated.

“You're happy out there,” Jason Hartley said, “for someone to tell you what to do.”

Military precision leaves no room for guesswork. Imagine what would happen if we could harness that power through the Internet, which requires people to generate content from their own lives in order to remain relevant and interesting but also requires the approval of the global digital culture in the form of links, support and action. It isn't just about numbers, but the devotion and interest of one's followers, each of whom are also at the center of his or her own movement. This is the first time that we've had both an opportunity to express authentic individuality and the infrastructure for organizing with military precision that requires the ability to give over to the riptide of the greater good, governed by the opinion of the world's people as we gain more information and develop a constantly improving sense of productive collaboration. President-Elect Barack Obama has already indicated that we aren't doing enough to create jobs through the Internet, which is nothing more or less complicated than one virtual world that allows us to reflect on the “real” world and have fun while solving complicated problems. That's how Sergeant Hartley got started—with a blog about his experiences as a soldier that was shut down by his superiors and eventually turned into a book, “Just Another Soldier,” published by HarperCollins.

Another squad leader slams his chest into Private Fouts and shouts, “best room clearer in the infantry!” as we are asked to take our seats on the airplane together for the reintegration into society. This, my father once told me, is where the military most fails the homeward bound soldiers (and their families) after they've been trained to respond to conflict with lethal combat.

On the airplane, an episode of the television show “Friends” is shown. Ambassador Cynthia P. Schneider often says that the main reason why people in the Middle East perceive Americans as friendly is because of that program. I wonder if it has been chosen tonight for that reason or because sprightly Rachel Green (at the spa, her buttery blonde highlights shining) is the perfect backdrop against which to splice footage of dead people. Iraqis, specifically, with their faces blown off, heads blown apart, bodies burnt and limbs torn to shreds.

“It's about corporate greed,” says Rachel Green's friend Phoebe Snow as the flight attendants take shape at the foot of the bleachers. One has a microphone and starts to gush about duty-free luxury goods. One holds a book called “Who is Picking the President?” Suddenly, a man with a gun is upon her, and I'm not even sure where he came from or how he got there. He smears blood on her face but she doesn't notice because she's completely absorbed in the task of selling totally useless items.

“You can no longer hear your own heartbeat in the shower,” an American soldier says. “The escape is fantasy, so what choices are you going to make now?”

Behind him, a row of troops in uniform become high school cheerleaders. We. Are. The. Mus. Tangs. Wel. Come. Home. To. You. Go. Red. Go. White. Go. Blue! Stepping over the body of the stewardess, they beam as a screen above their heads prompts the crowd to applaud. The soldiers clap as if it really is their homecoming party and they are safe in the bosom of the alma mater, complete with fading floorboards and cold air because heating oil is too expensive.

The cheerleaders begin to call the heroes to the stage. They are thanked for their heroism, one at a time until one of the soldiers is called to the podium to deliver a prepared eulogy for her fallen buddy. The participants had not been informed ahead of time that they would be singled out for any solo acting, and I wonder if Private Fouts will end up with a scene or if he'll be among those who are thanked and sent on home to try and adapt to society again as if nothing has changed.

“It is a special quality to be so dissatisfied,” she says of the body now resting on a bench near the slain stewardess. “I think that's what drove her to the military...None of us will ever have our fill of life.”

The folded flag is presented to a weeping woman and Private Fouts is called to the stage as a wheelchair is rolled his way.
In the infirmary.


“You have been severely wounded,” says the doctor, who earlier was his squad leader. The details of the operation are scant and punctuated by the threat of spreading gangrene. The amputation of his left leg is scheduled for after visiting hours.

“Don't say anything incriminating on your site,” a fellow inmate at the hospital tells him. “Even if you're feeling crazy, don't tell. You can lose your benefits.”

The actors around him, patients who have lost their limbs or minds or both, are dressed in animal costumes. He is clad as a dog but doesn't realize it until later, when I show him my pictures. He is stunned to know that two nurses had remained by his side—he never saw their faces. But he did see the face of a woman who sang like an angel. A real angel. Not an actress or a soldier or a mother.

On the floor, human bodies slither toward the chopping block, personifying cows in the slaughterhouse. A soldier's first day on the job, he learns how to slit the animal's throats and hang them while their blood drains.

An angel sings to the wounded soldier

“I don't want to be a faker,” says a co-worker who pretends that he got his leg crushed in Iraq instead of by a cow, because the lie, he claims, attracts more attention from women. “We've all got to be as real as we can be.”

A man hangs at the front of the slaughterhouse, his hands in chains, his torso filthy. It is unclear, even as meat is removed from his body, whether he's supposed to be a man or a cow. Perhaps he is beyond both.

“How did I get here?” he asks. “Why can't I ever get back? I could destroy the entire universe before I could get myself to stop loving this. I could never go back to the way I was before.”

Chefs on both sides of the stage have been heating electric burners. The coils glow red and the meat is placed in the pans. It takes a few minutes for the smell of sizzling meat to permeate the air and by then we are at a wedding rehearsal, watching Jason Christopher Hartley's reintegration into society. Someone is getting married. The angel who sang at the feet of Private Fouts is a mother now, with advice about love.

“You've got to give yourself over to it,” she says, as I realize that the bride is the woman who held me at gunpoint earlier. Her fatigues have been replaced by a black dress and her long loose hair has escaped her tight soldier's bun.

“Last night I had a dream,” someone in the wedding party says. “I said yes to everything, as if my body wanted to give over to something...”

The cooks hang the meat on a wire before us, which can only possibly result in craving or aversion.

After the play, while the soldiers change back into their street clothes I talk to Sanford Wintersberger, who posted the line prompts for the actors to follow on the screens above their heads. His business card has the words Karaoke/Painting/Digital on it. He has glasses and a beard, and a woman comes and stands at his side while he reports statistics on the percentage of slaughtered civilians that have been killed in various wars, starting with ten percent in World War I, fifty percent in World War II, seventy-five percent in Vietnam and now ninety percent in Iraq.

“We are running a holocaust over there,” he says. “Everybody is in denial, either because of what we have been told or because it's too much to handle to think about where our money is going.”

Reality is changing. The global narrative created by the access of the Internet aids and facilitates development in the physical world. The United States military is setting up shop in the virtual world of Second Life. Soldiers are becoming storytellers. Activists are becoming surgically precise as they reach target demographics. Third graders don't just create shoebox dioramas any more—they can become immersed in ancient cities. Peace is not the absence of conflict. Violence is a sign of failure. The new global economy includes the narrative of what it means to be alive, right now, and telling this story in a compelling way, to an immersed audience, creates jobs. The Internet serves the collective ability to survive challenges that are far greater than any of the individuals composing the ever-shifting global population, and yet requires the unique individuality of individual ideas and actions. Immersive experiences such as "Surrender" will become more common in the physical world.

Back out in the night, we become curious observers of another costumed spectacle. The same way I will always remember the first night I went into Second Life and discovered another dimension, I will never forget how it feels to see the physical world so differently, as if for the first time. I am grateful for the opportunity to dress the part with nobody missing a beat. Tonight, avatars rule.

Thursday, December 04, 2008

You Are What You Tweet

In all likelihood, a childless bachelor wouldn't write a column on parenting. A teetotaler would have little to say about wine-tasting. Yet people with absolutely no experience are routinely trusted in international venues to expound on Internet-related issues about which they themselves admit they know absolutely nothing.

Columnist Kathleen Parker admits she hasn't posted "nary a tweet" but that didn't stop her from drawing her own conclusions. With a little get-up-and-go, Parker could have put some effort into following some of the people who are using the platform in remarkably creative ways. At the very least, she could have issued a tweet or two of her own.

Monday, December 01, 2008

Public Diplomacy 2.0


James Glassman, U.S. Under Secretary of State for Public Diplomacy and Public Affairs speaking at the New America Foundation

On the same day President-Elect Obama nominated Senator Hillary Clinton to the highest diplomatic position in the country, Under Secretary of State for Public Diplomacy and Public Affairs James Glassman defined, in a live speech and webcast, what we call "Digital Diplomacy" and he calls "Public Diplomacy 2.0." Event host Steve Clemons of the New America Foundation calls it Facebook/Twitter Diplomacy.

On January 12, DIP will host an event sponsored by the American University in Cairo and funded by a grant from the USAID--a live webcast with Under Secretary Glassman and eight Egyptian political bloggers who have been blogging about the American presidential election and learning about American politics. On December 4, Glassman will speak again at the Alliance for Youth Movements.

Every time we think we're finished with our policy recommendations for the Understanding Islam through Virtual Worlds project, another important speech is given or we encounter another impressive and meaningful project. We've traveled to four continents and interviewed over a hundred people across the internet. Glassman, who gave his speech as we're working on final edits, will have the last word.

While I had been planning to excerpt Glassman's speech, it deserves to be copied in its entirety (and not JUST because my favorite philosopher Albert Camus is quoted). Here goes:

I’ll begin in a surprising place: Colombia. For more than 40 years, Colombia had been in a state of siege from violent extremists of both the left and right, but now it is winning. Since 2002, Colombia has reduced terrorist attacks by more than three-fourths. There are several reasons. Military and intelligence operations are working. So is an ambitious program to demobilize extremists and then reintegrate them into society.

But just as important, the environment that forms the backdrop for terrorism has changed. Once frozen in fear and apathy, Colombians today are fed up with the wanton violence and are standing up.

A powerful counter-movement has emerged that has demoralized the remaining terrorist group, the FARC. The origins of the new force were not in government or civil society. Instead, a young unemployed computer technician named Oscar Morales spontaneously started a Facebook group that grew quickly to more than 400,000 members. The group, called One Million Voices Against the FARC, put 12 million people in the streets in a single day in 190 cities around the world -- just two months after it was set up.

Shortly after I was sworn in, I came here to New America to lay out our strategy for public diplomacy. It included a shift in focus and emphasis – toward the war of ideas.

Much of our public diplomacy effort had been devoted to building a positive image of the United States, mainly through long-term programs like educational and cultural exchanges and efforts to tell America’s story. But there is more to public diplomacy.

In April 2006, the President designated the Under Secretary of State for Public Diplomacy as the government-wide lead in strategic communications, or war of the ideas. I provide leadership and coordination for my colleagues at the Defense Department, the intelligence community, and beyond.

In the war of ideas, our core task in 2008 is to create an environment hostile to violent extremism. We do that in two ways: by undermining extremist ideologies and by encouraging young people to follow productive paths that lead away from terrorism.

The Colombian experience is relevant to both these tracks. It also reminds us that there is nihilistic violence in the world that is built on ideologies that have nothing at all to do with Islam. The intellectual historian Paul Berman puts the case very well in his important book Terror and Liberalism:

“Camus…noticed a modern impulse to rebel, which had come out of the French Revolution and the nineteenth century and had very quickly, in the name of an ideal, mutated into a cult of death. And the ideal was always the same, though each movement gave it a different name. It was not skepticism and doubt. It was the ideal of submission. It was submission to the kind of authority that liberal civilization had slowly undermined, and which the new movements wished to reestablish on a novel basis. It was the ideal of the one, instead of the many. The ideal of something godlike. The total state, the total doctrine, the total movement.”

That describes the FARC, which emerged from the Colombian Community Party. It describes Al Qaeda and the Taliban. It describes the Iran of ayatollahs and the other threats we face in the 21st century.

Beyond ideology, what most violent extremists around the world have in common is that their leaders hijack impressionable young people to carry out their crimes of terrorism. These young people are exceptionally vulnerable. A terrorist leader fills the hole in the heart of a young person searching for identity with what is sometimes seen as the most alluring game in town, linking adventure with a doctrine of hatred, fantasy, greed, and hysteria.

The reality – as young people who join Al Qaeda and the FARC soon learn – is quite different.

In Saudi Arabia two weeks ago, I met a young man severely disfigured with burns when the fuel truck he was driving for Al Qaeda in Iraq was blown up by his supposed comrades by remote control. He was driving a guided missile and did not know it. Now, after prison and rehabilitation in the Saudis’ remarkable deradicalization program, he serves enthusiastically as a living warning to others of the nature of the Al Qaeda death cult.

In Colombia, I met a young woman named Flor who had joined the FARC at age 12 because she was bored. She soon found she had made a terrible mistake, living in an organization where babies were literally ripped from the wombs of pregnant women fighters. But she was trapped in the jungle for seven years.

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The question that my colleague Jared Cohen and I asked after meeting the leaders of Million Voices movement in Bogota was this: Are there other anti-violence, anti-extremist, anti-oppression organizations out there that were using new online techniques to build movements? Could these young people both undermine pernicious ideologies and find a productive outlet, a way to create positive identities through a global network that promotes peace and freedom rather than death and totalitarianism?

We found 17 for starters – organizing against violence and extremism in South Africa, the UK, India, Cuba, Lebanon, Saudi Arabia, Darfur, and Egypt. And, in partnership with such private-sector institutions as Google, MTV, AT&T, Howcast.com, Access 360 Media, Columbia University, and Facebook itself, we are bringing them to New York for a summit starting on Wednesday. These groups will be joined by about a dozen others that do not have an online presence but want one – from places like Indonesia, Iraq, and Venezuela.

The purpose of the summit is to share best practices, produce a manual and an online hub, and create a giant global conversation about how young people can oppose violence and extremism.

To return to Paul Berman, these young people subscribe to the “ideal of the many,” not “the ideal of the one.”

This project is an example of how we see public diplomacy changing. We have arrived at the view that the best way to achieve our goals in public diplomacy is through a new approach to communicating, an approach that is made far easier because of the emergence of Web 2.0, or social networking, technologies. We call our new approach Public Diplomacy 2.0.

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PD 2.0 is an approach, not a technology. But new technology is absolutely necessary to its success. More than that, new technology gives the United States a significant comparative advantage over the terrorists.

That may sound counter-intuitive. After all, during my Senate confirmation hearings back in January, I said, turning an inelegant phrase, that Al Qaeda was “eating our lunch” on the Internet. That is no longer true.

Yes, Al Qaeda and other violent extremist organizations have exploited the Internet to their advantage, but that advantage has rapidly diminished – and not just because the jihadist message has worn thin with Al Qaeda’s penchant for slaughtering fellow Muslims.

The Internet remains a venue for Al Qaeda to exhort and instruct and even plan attacks. But, as Marc Lynch points out on his Abu Aardvark blog, , new technology has at the same time diminished Al Qaeda’s “ability to spread its ideology, frame public discourse in the Islamic world, [and] assert claims to leadership of Islamic movements.”

Why? Because, as analyst Daniel Kimmage wrote in the New York Times, “the Qaeda media nexus...is old hat. If Web 1.0 was about creating the snazziest official Web resources and Web 2.0 is about letting users run wild with self-created content and interactivity, Al Qaeda and its affiliates are stuck in 1.0.”

The Internet world of Al Qaeda is one of direction: believe this, do that.

The Internet world of today is one of interactivity and conversation: I think this, your ideas are unconvincing, I need more information to make up my mind, let’s meet at 3 p.m. Thursday for a peaceful protest. In fact, the Internet itself is becoming the locus of Civil Society 2.0.

This new virtual world is democratic. It is an agora. It is not a place for a death cult that counts on keeping its ideology sealed off from criticism. The new world is a marketplace of ideas, and it is no coincidence that Al Qaeda blows up marketplaces.

Almost pathetically, the violent extremists are trying to keep up with the new media. Kimmage notes that Al Qaeda statements are sometimes posted to social networking sites, but the reactions, “which range from praise to blanket condemnation, are a far cry from the invariably positive feedback Al Qaeda gets on moderated jihadist forums.”

Meanwhile, Al Qaeda’s attempts at interactivity fall flat. After powerful criticism from Sheikh Awdah and other religious leaders who have turned on the organization, Ayman al-Zawahiri, the number-two, decided to open himself up to online questions in December 2007. The answers, which were labored, dogmatic, and unconvincing, did not appear until April 2008.

Extremists can’t adapt to social networking because it shakes the foundations of their whacked-out, rigid ideology. But what about governments? Aren’t we rigid too? Don’t we want to maintain control of our message?

Perhaps. But in this new world of communications, any government that resists new Internet techniques faces a greater risk: being ignored. Our major target audiences – especially the young – don’t want to listen to us lecture them or tell them what to think or how wonderful we are.

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Certainly, there is a continuing need for clearly explained policies and for copious facts on, for example, the brutal nature of the Taliban. But our broad mandate in public diplomacy is to understand, inform, engage, and influence foreign publics. All of these activities work best by conversation rather than dictation.

Public Diplomacy 2.0 is more than interactivity. It is a holistic approach, an attitude. Monroe E. Price, director of the Stanhope Centre for Communications Policy Research in London, recently wrote about a short book by the French deconstructivist philospher Jacques Derrida called “Of Hospitality.” This is a tome that has nothing at all to do with strategic communications but that vigorously analyzes the term beginning with the idea of the foreigner in Plato, showing that hospitality has two senses. First, to host implies to control or to own. But at the same time, to host means to welcome unconditionally, to open up one’s property.

In Price’s reading, Derrida would argue that public diplomacy should move from being “primarily a means of projecting perceptions of the U.S…to one which would be a platform for cooperation, mediation, and reception – a mode of being informed as well as informing.”

I like this paradigm: from the host as owner to the host as welcomer. The concept goes to the heart of what our research shows is a major reason for animosity toward the United States: the view by others that we don’t respect their opinions, that we do not actively listen and understand.

Derrida’s notion, as filtered through Price, is a good description of Public Diplomacy 2.0. We in government act as a facilitator or convener. The risks inherent here are absolutely necessary if we want to: 1) have our ideas heard and respected, and 2) be seen as what we are – a society that itself hears and respects the views of others.

Let me give you an example.

A few months ago, we formed a partnership – with such private-sector organizations as NBC Universal, the Directors Guild of America, and the Tisch School at NYU -- to launch what’s called the Democracy Video Contest. Entrants make their own three-minute videos, posted to a site on YouTube, with the topic, “Democracy Is…” Winners will be determined by a vote of the public over the Internet. While we did set a few rules – no pro-terrorist or pornographic videos – it is certainly possible that the winner of the contest will espouse views not completely shared by the U.S. Government.

And today, our Education and Cultural Affairs Bureau launches a similar video contest, in partnership with the Adobe Foundation, with the theme, “My Culture Plus Your Culture Equals…”

These contests promote two big ideas that are at the heart of public diplomacy – democracy and cultural exchange – and they do so in a manner that is more effective than simply issuing white papers. We are encouraging others to tell us what’s valuable about democracy and exchanges, to think about these subjects, and to share their conclusions. Millions can benefit from the interaction.

We have also urged our main assets in public diplomacy – the people who staff the State Department’s overseas posts – to find ways to serve as PD 2.0 facilitators. Our public affairs officers have helped in the formation of groups, for example, of European Muslim entrepreneurs and of victims of terrorism. A partnership that we catalyzed will be starting the modern analogue to “Problems of Communism,” a Cold War publication of the USIA from 1952 to 1992. The difference is that the new Problems of Extremism won’t be run by a U.S. Government organization but by a foundation supported with both public and private funds and directed by European think tank scholars.

Our embassy in Kuwait is sponsoring a moot court at a local university that will examine Guantanamo – seriously and dispassionately. Rather than sling slogans or ignore a difficult topic altogether, the post is saying, let’s have a conversation – bringing together legal experts (not USG representatives) from all sides of the question of how a nation should detain enemy combatants in an unconventional war.

For those who ask how PD 2.0 relates to image burnishing, our answer is that we want to portray the image of a society that grapples with tough issues, lets millions of voices be heard, and believes that, in the end, the best ideas win. And, by the way, this image comports with American reality, as our recent election reminded the world.

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What else are we doing in PD 2.0?

Our Digital Outreach Team goes onto blogs and websites. In Arabic, Farsi, Urdu, and we hope soon in Russian – its members identify themselves as State Department representatives. They engage in the conversation, gently inform, correct distortions about U.S. policies. Recently, one of our Farsi bloggers engaged in an extended series of interactive posts with the media advisor to Ahmadinejad in Iran. The series ran on the advisor’s site and then was reprinted in full in an Iranian newspaper.

America.gov, our website that tells America’s story in seven languages, has blogs on multiple topics, and our International Information Programs Bureau, which traditionally sends speakers abroad, now conducts more than 300 on-line webchats a year.

Our Education and Cultural Affairs Bureau has two social networking presences, on Facebook and on the platform, Ning.com. This latter site, called ExchangesConnect, is, quite frankly, pushing the envelope -- a social networking dot-gov site.

We are developing an English language-teaching game that will use cell phones for distribution. Targeted toward Mideast audiences, like our other highly successful English-teaching ventures, it also teaches about American society and culture.

IIP has conducted five public diplomacy initiatives in Second Life, the virtual online world. In January, I will participate in a Second Life Virtual Newsroom project that will feature a meeting eight Egyptian bloggers, who have been covering the U.S. election and transition over the past three months in a program run by the American University of Cairo and funded by USAID, featuring internships with the Washington Post and the Huffington Post.

During the election, we made extensive use of social networking, including mobile updates through Facebook and Twitter/SMS. And since I was confirmed, we have held several bloggers-only press conferences, in the belief that bloggers who follow public diplomacy are the real experts and their posts radiate throughout the traditional media.

Finally, my domain as Under Secretary extends to public affairs, which is led by Assistant Secretary Sean McCormack. No public affairs leader in government has been more on the cutting edge of new technology than Sean, who has made DipNote into an exciting interactive venue.

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But let me be clear again: Public Diplomacy 2.0 is a new approach, not a new technology. The technology is an enabler, not an end in itself. Here are the guiding precepts of this approach:

1. Indirection usually works best. Matt Armstrong, in his MountainRunner blog, recently defined public diplomacy as “the direct or indirect engagement of foreign publics to support national security objectives.” I like that. Our embassy in Rabat, which I recently visited, supported a TV production team from a Moroccan network to tour the United States and talk with Moroccan-born Americans about their lives, including their practice of religion. Our greatest obstacle is the belief in many Muslim nations that the U.S. is out to destroy Islam. The Moroccan TV network, working on its own with our support but not our direction, produced a long-running series that showed the U.S. to be a tolerant nation where Moroccan-Americans are thriving. The series didn’t say we were perfect, but by letting Moroccans themselves speak, we achieved aims through indirection that we never could directly. By the way, like many of our posts, Embassy Rabat has its own YouTube site.
2. We convene and facilitate. We encourage and nudge. We put people together. We find people who are doing good things and support them.
3. Expertise resides in the private sector. Our job is to find it and use it and serve as a partner. Earlier this year, we brought in a dozen private sector experts for a Marketing College, to teach the latest techniques, including social networking, to three dozen students from State, DoD, and the intelligence community.
4. Some of the best public diplomacy programs have long been based on PD 2.0 approaches. Take educational exchanges. Our job there is mainly to bring foreigners in direct contact with Americans. Not to tell either what to think.
5. Speed is essential. A world of interactivity requires rapid engagement, an entrepreneurial spirit, and a willingness to take risks. We can’t take four months to respond to questions, the way Zawahiri did. We need to give our diplomats and our surrogates the ability to move quickly and back them up if they make earnest mistakes.
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And here are some cautions:

First, everything we do in public diplomacy must be strategic. We have to keep our eyes on the prize, which is the clearly defined national interest –the reduction of threats and the promotion of freedom, goals that are linked.

Second, tried-and-true traditional methods of public diplomacy – such as exchanges, where we spend most of our money – must be maintained and augmented, while always searching for new ways to do the job better.

In the tried-and-true category, I would also put U.S. international broadcasting, which hews to professional standards of journalism, such as balance and objectivity. The audience for the Broadcasting Board of Governors’ 60 language services has risen from 100 million a week to 175 million during this administration, with most of the gains in Muslim nations.

Third, public diplomacy – whether 1.0 or 2.0 – is only one tool for achieving foreign policy and national security goals. One blogger wrote last week that “starting a Facebook group called 'Terrorism Sucks!' and getting a bunch of people to join it isn't exactly winning the War on Islamic Fundamental Militancy. Google bombing Osama Bin Laden doesn't have the same effectiveness as actually bombing him.” In fact, we never said soft power was a substitute for hard power. It is an essential complement.

But we need proportionality. Secretary of Defense Robert Gates said in July: “In the campaign against terrorist networks and other extremists, we know that direct military force will continue to have a role. But over the long term, we cannot kill or capture our way to victory.”

These sentiments, while surely correct, are not reflected in the distribution of resources. This is not a criticism of the current administration. Frankly, public diplomacy was unprepared for vast increases in resources until recently. Now, we are.

Finally, while I have talked today about the need to give up control, bear in mind that we in government are stewards. Public diplomacy is ultimately our responsibility. At the State Department, there is an important nexus that binds policy formation and analysis, critical input from seasoned professionals at our network of posts, and the tools to engage with foreign publics. We need private-sector partners, but we cannot outsource our basic responsibility.

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Five years ago, I served on a commission, the Djerejian Group, that examined our government’s conduct of public diplomacy. We had just spent more than a decade dismantling our arsenal of persuasion, and the commission worried that there was a lack of will to rebuild it. The will now exists.

Across both parties, throughout government, and in the private sector, there is a fierce and conscientious desire to restore our strength in soft power. But to restore is not enough. What I have laid out today is a new approach to soft power, one both in keeping with our age and, I believe, with the strengths of the incoming administration of Barack Obama.

A month ago, I had the privilege of briefing President Bush on the state of the war of ideas. I said that when he came to office in January 2001, because of the bipartisan and unilateral disarmament that the Djerejian Group talked about, there was no war-of-ideas infrastructure, no strategy, and few programs.

He will leave with a platform, a strategy, and many programs – all augmented by the Public Diplomacy 2.0 approach.

Thank you.