Publication Project II: Censorship, Online Media, and Digital Culture

As stated in an earlier post, I am currently working on a number of research projects alongside my PhD. In the first of these ventures I collaborate with Tomi Oladepo from Warwick University for an analysis of transnational online public spheres in Africa and Europe. A second one will deal with forms of and conditions for censorship in digital culture.  This second project will be conducted in cooperation with my colleague Jennifer Eickelmann from the Ruhr-University Bochum (Germany). She is also a PhD student (as well as lecturer) and currently works on (postmodern) modes and techniques of content production on the Internet. Before that, she finished her MA in 2010 with a high quality thesis on performance, resistance, and Youtube. You can read one of her articles here (in German).

We will discuss in our article contemporary forms of censorship in cyberspace –  i.e. the multidimensional practice of information control that often combines social, cultural, and political modes of sanctioning content production as well as -distribution. It will focus on the disciplining of the expression of utterances as a mode of power, so to say. Forms of ‘censorship’ need thereby to be assessed against their specific cultural and historical (i.e. discursive) background since they emerge in various different contexts and are subject to constant change; the same goes of course for the definition of concepts like ‘classified information’ or ‘political correctness’. As Wikileaks and the follow-up discussion it caused have shown, the issue of controlling what can be made publicly available and what not is an urgent matter today – not only as regards criticism on totalitarian regimes but especially when it comes to assess the extents of freedom in liberal democracies. However, one has not necessarily to discuss extraordinary political events to address and discuss the issue. In fact, censorship is an inherent part of our everyday live and determines our communicative behaviour both off- and online in multiple ways. Each culture displays it own laws and rules to control what an individual can say and which utterances have to be sanctioned. The historical background and actual context of a statement (as an umbrella term for any sort of text) is in this respect often the determining factor for the implementation/non-implementation of censorship. Regarding contemporary practices of postmodern content production, censorship -as an instrument of monopolising ideas- can also thwart and impede the creation of the “new” by artists, users etc. To create something new, the practice of quoting and reassembling the already available is indispensable (Mathy/Dietrich 1998). Yet many professional content producers try to protect their ‘intellectual property’, sometimes with relatively harsh measures. Hence,  censorship is also a powerful tool for established hegemonies to diminish the creative (subversive) potential of the “networked information economy” (Benkler 2006).

We will provide a taxonomy of modes of censorship and discuss to what extent the Web actually provides the means for genuine social, cultural, and political resistance. Some of the main questions we have to address are: Who does exert control on the Web? What technological and what cultural sanctions exist? What legitimations and justifications do governments (or corporations) refer to when they attempt to apply forms of censorship (i.e. under what circumstances does it emerge)? What factors determine the current notion of ‘political correctness’ in societal discourses? The project is still in a very early stage and the theoretical framework, methodology, as well as actual subject-matter-of-consideration still need to be defined.


Benkler, Yochai (2006): The Wealth of Networks. New Haven & London: Yale University Press.

Mathy, Dietrich (1998): “Vorab ergänzend”, in: Hilmes, Carola/Mathy, Dientrich (eds.): Dasselbe noch einmal: Die Ästehtik der Wiederholung. Westdeutscher Verlag.


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