Blog posting written by Sam Gregory, Program Director, WITNESS, and Patricia R. Zimmermann, professor of Cinema, Photography and Media Arts and codirector of the Finger Lakes Environmental Film Festival

For the last two years, we (Sam Gregory and Patricia R. Zimmermann) have been collaborating on theoretical and analytical research, protocols, and best practices  in the burgeoning world of international human rights social media.  We've  published some essays, we've organized panels at the Visible Evidence Conferences on Documentary,  we've written several papers, and we've participated as featured guests on the <Empyre> new media art listserv, moderated by digital theorist Tim Murray and digital artist Renate Ferro.  

In our current project (recently presented at Visible Evidence in Istanbul, Turkey), we are interested in upacking the ethical engagements of human rights social media in international networks.  We ask, are these forms spreadable, contagious,  viral, malleable, fluid, ubiquitous, dangerous? Or all of the above?

Our work here is organized in three parts as an opening up and exploration of the topographies and ethical issues of witnessing with mutable, spreadable, viral, and/or contagious media. In the hopes of generating a more international conversation, we've decided to post our recent work on the Open Spaces blog, to crowdsource ideas, debates, and best practices in the international human rights and documentary communities about social media formations and practices.

Part One develops a definition of social media and human rights, outlining our assumptions, and mapping some significant shifts. Part Two provides some international examples from the variegated topography of social media for human rights in terms of a set of potential ‘responsibilities’. Part Three elaborates a provisional set of working principles and protocols for ethical practices of human rights social media, where production, distribution and exhibition are collapsed into new formations. We share this last part in the hopes of inviting all of you into sharing your ideas into the ethics of circulatory networks and human rights.

Part One: Definitions, Shifts and Assumptions

Everyday witnessing and documentation of human rights violations around the globe are increasingly commonplace along a continuum of amateur to professional, casual to committed. Much is shared within a context of social media. We define social media as work that integrates Web 2.0 technology with social interaction, user participation, dissemination, sharing and feedback discussion. It incorporates a range of technologies such as social networks, blogs, and peer-to-peer modes as well as the cell-phone, in a world where there is now one cell phone account for every 1.5 persons.

The following significant and salient historical shifts have prompted our investigation into the issues of social media, human rights documentary, and viral witnessing. These include:

• A move from a fixed, singular media object to more circulatory, generative, remixed works that multiply in many forms and iterations, and where analysis is required of patterns of circulation
   
• Shifts from specific images moving to memes circulating
   
• A move from montage of different images remixed within the frame to remix outside the frame via the multiplication of comments and ideas, engagements and consequent endless and contingent reframings of context, meaning, use, histories
   
• A move from push out media practices (make it and the audience will see the light) to pull-in media practices of aggregation, curation and sense-making that function more as convenings and collaborations for generative engagement
   
• A challenging shift from a documentary work offering a specific, fixed, argument or politics to the work as part of a dynamic process between issue, work and audience, shifting day-to-day - for example in the constant discursive re-framing of a YouTube comments section.
   
• A shift from the ethics of the filmmaker/subjects/audience to an ethics of networks and malleable contexts, i.e., a networked ethics. In documentary studies, we accept the triangle of filmmaker/subject/audience, but now, with social media, we are confronted with a three dimensional sphere that is rotating, layering, and constantly realigned.
   
• A shift from the witness as a position assuming empathy to the witness in the social media landscape as chronicler, remixer, networker, viral seeder, often within a global middle class that has reengineered the construct of the digital divide into a digital dimension comprised of uneven power, layers of practice, nodes and paranodes, flows and stoppages. This is a shift from a notion of the empathetic first-person witness to empathetic engagement.

This topography constitutes  a new, exciting, contradictory landscape for human rights documentary and documentation work. On the one hand, dissemination and engagement offer ways around limited access to information and images and engage new publics, on the other hand, their malleability, accessibility and fluidity can be dangerous.

At the same time as many of the participatory engagements of social media are contained within consumerism and state agendas so, in their more bottom up, localized, pull-in forms, these user-generated social media forms have propelled an abundance of both raw and produced social change media. With spreadability, malleability, and fluidity their operative modalities, these social media multiply opportunities for transparency, participation and action, but also provoke concerns about authenticity, factual accuracy, point-of-view, and how images transform into action, outcomes, as well as danger.

These contradictions of social media continue traditional documentary and activist documentary debates about the ethics of image making and interaction with subjects (and here we acknowledge the important writing of Brian Winston, Tom Waugh, and Bill Nichols) and open up new areas of exploration into the questions of circulatory networks, and repurposing

As visual media is reworked, remixed and re-circulated by many more people (amateur, professional, and prosumer), what responsibilities do we have as producers, circulators, curators, advocates, aggregators, re-mixers and viewers?

Stay tuned for Part II and Part III.  Until then, we hope you'll join the conversation here on Open Spaces.