The internet, social media, and the war in Ukraine

Retroville Mall was hit after the Russians said it was being used to store military vehicles.
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Updated 29 April 2022
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The internet, social media, and the war in Ukraine

  • On the whole, online platforms are proving to be more helpful than harmful for Ukrainians during these distressing times

DUBAI: As the war between Russia and Ukraine continues, many around the world, and even in Ukraine, are experiencing it on the front lines of social media.

The use of the internet during this conflict has been unprecedented, from the Ukrainians who are using it to reveal the truth to the world and who depend on it for accurate information and even basic necessities such as food and shelter, to the Russians using it to spread propaganda and fake news.

“The internet has indeed become another battlefield between the warring countries, full of misinformation, fakes, deepfakes, cyberattacks taking place on both sides, online censorship, the disruptions to the internet in Ukrainian territories where missiles fall, and many more,” Vira Slyvinska, head of global business development at AIR Media-Tech, told Arab News.

On the other hand, she added, “social networks have become the fastest way to receive necessary information or help, even from unknown people, be it food deliveries for aged people who stay in their homes, finding transportation for evacuation from hot spots, finding shelters for refugees, collecting requests from hospitals, or crowdfunding the acquisition of drones and thermal imagers for the Ukrainian army, and so on.”

Moreover, Slyvinska said, the Ukrainian government and official organizations are making effective use of social media to keep the population informed about the latest developments, such as air raid alerts and curfew hours.

Ukrainian president Volodymyr Zelensky has overtaken British band Coldplay in terms of popularity on Instagram, racking up more than 16.5 million followers. His use of social media has brought him closer not only to his own citizens but people around the world.

On Instagram, the hashtags #zelensky and #zelenskyyy can be found on more than 100,000 posts. On TikTok, posts featuring the hashtags #zelensky and #zelenskiy have more than 1.6 billion and 1 billion views respectively.

Other Ukrainian political figures, including Oleksiy Arestovych, a presidential adviser, and Vitaly Kim, the governor of Mykolaiv regional administration, have also come to prominence on social media as they use it to keep their citizens informed and motivated.

Arestovych, for instance, has more than 1 million followers on Instagram. Kim’s personal channel on instant messaging service Telegram has more than 879,000 subscribers and his speeches have garnered more than 50 million mentions on TikTok, said Slyvinska.

Most city administrations and official organizations in Ukraine use social media to distribute critical information and have even created dedicated channels on Telegram. Mykhailo Fedorov, the country’s minister of digital transformation, keeps citizens updated on Ukrainian victories through his Telegram channel, for example. The country’s armed forces also use Telegram to share updates on the situations in various parts of the country.

Closer to home, technology and social media have played a significant role in times of peril in the Middle East. During the Arab Spring, for instance, much of the traditional media in many countries was controlled by dictatorships that traditionally restrict access to information.

Platforms such as Twitter, YouTube and Facebook allow “people in these Arab countries to circumvent these dictatorships and their traditional means of controlling information,” said CNN journalist Ivan Watson, now a senior international correspondent, at an SXSW conference in 2012.

In Ukraine, it is not only the government and official organizations that are using social media to distribute the latest information about the war; citizens are joining in, too. Many have taken to platforms such as Instagram and TikTok to post videos of windowless bomb shelters or cities rocked by explosions — in stark contrast to the usual upbeat content of those platforms.

For example, this young girl from Mariupol posted a seven-minute video recording her “two weeks of hell.”

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by (@alena_zagreba)

“Civilian journalism is important, because receiving first-hand information on the situation from ordinary people helps to create sympathy for the plight of Ukrainians among people throughout the world,” said Slyvinska.

“On the other hand, such activities can pose a threat if the extra information goes public because the enemy can receive information about the location of the Ukrainian army and equipment, adjust their fire, and much more,” she cautioned.

Last month, a Ukrainian TikTok user was arrested after posting a video of military vehicles parked near a shopping mall, which was subsequently bombed by the Russians. The day after the attack, in which eight people were killed, the Security Service of Ukraine posted a video of the man apologizing.




Retroville Mall before the Russian attack, military vehicles appear to be parked.

Following the incident, Kyiv Mayor Vitali Klitschko urged residents not to share footage “of the movement of military equipment, checkpoints, strategic objects.”

“Therefore, in Ukraine, filming and publication of the movements of the military, weapons and equipment has been banned, causing criminal liability if violated,” said Slyvinska.

Meanwhile, social media influencers in the country have switched from posting their usual fashion and travel advice to uploading bleak images of themselves wrapped in blankets as they huddle in underground bunkers, and of army tanks trundling down residential streets, Reuters reported. Some have asked their followers to pray for Ukraine, donate to efforts to support the Ukrainian military, and called on Russian fans to join in anti-war protests.

AIR Media-Tech, which has offices around the world including one in Kyiv, has launched a campaign called #YellowForPeace in partnership with Instagram and TikTok influencers, local influencer marketing agencies and Ukraine’s Ministry of Digital Transformation.

“Targeted at Russian citizens, the goal (of the campaign) is to shed light on the actual situation in Ukraine and to call on Russians to participate in anti-war meetings in their cities,” said Slyvinska.

In the early days of the war, AIR Media-Tech created internal groups on Telegram to coordinate the company’s efforts in relation to the conflict. Evacuation was the top priority and so the company created a chat group in which requests for help could be posted.

“Social media channels, predominantly Facebook, Instagram and dedicated groups on Telegram, became the space where we could find actual information from people about safe routes for evacuation from Kyiv and other hot spots, possibilities of sharing transport, information about petrol availability at gas stations, available shelters on the way,” among other things, said Slyvinska.

“Social media is a place to ask for help and also offer our free resources to others when we have it,” she added.

The company also launched email and social media campaigns to inform partner creators about the situation in Ukraine and call on influencers to spread the word and raise funds. A group of employees created a humanitarian hub in Kyiv called Over Help that relies on social media to collect requests for help, find partners and raise donations.

Another company, Epom, which specializes in ad servers, has collected the stories of more than 100 Ukrainians as it builds a confidential database at www.uabrave.org, where journalists can read about people’s experiences and request interviews from them.

Lina Lugova, Epom’s chief marketing officer, said that on the “first day of the full-scale Russian invasion,” PR managers and journalists were searching for eyewitness accounts from people across Ukraine.

Epom’s efforts have helped to amplify the truth and share it with the world, she said, with eyewitnesses giving more than 500 interviews to international media outlets.

“Ukrainians in the bombed cities of Kharkiv, Chernigiv, Mariupol and others who shared their living conditions on Instagram quickly became famous as their sincere stories gave a real understanding of Russian aggression against civilians,” Lugova added.

Konstantin Vasuk, executive director of the IT Ukraine Association, said that social media has been the silver lining in an otherwise desperate situation. He describes it as “a well-known case of how social media makes the impossible possible.”

In February, for example, digital transformation minister Fedorov Tweeted a request asking Tesla CEO Elon Musk, now also the new owner of Twitter, to launch his satellite internet system, Starlink, in Ukraine.

“We ask you to provide Ukraine with Starlink stations and to address sane Russians to stand.”

Within 24 hours, Musk responded: “Starlink service is now active in Ukraine. More terminals en route.

The power of Twitter was also evident during the 2011 revolution in Egypt, which resulted in President Hosni Mubarak being overthrown after just over two weeks of protests.

Killian Clarke, an assistant professor at the Edmund A. Walsh School of Foreign Service at Georgetown University, which is affiliated with the university’s Center for Contemporary Arab Studies, and Korhan Kocak, an assistant professor of political science at NYU Abu Dhabi, published a paper analyzing the role of Facebook and Twitter in the Egyptian uprising.

They found that Facebook had been crucial in organizing the protest and mobilizing demonstrators, while Twitter was used on the day of the protests to share updates about where the protesters were going and which areas to avoid. Such updates facilitated the spontaneous convergence of marches across Cairo on Tahrir Square, which was not part of the original plan.

“Overall, then, social media seems to be as helpful for organizing protests today as it was in Egypt eight years ago,” Clarke and Kocak wrote in a 2019 article for the Washington Post.

“The development of technologies and the internet opens many opportunities for people but can also be a threat when used for destructive purposes,” said Slyvinska.

“All Russian propaganda messages, facts, statistics and expert opinions are blatant lies but they are so well orchestrated in all possible media that not only Russian citizens, but also some people in other countries can believe them.”

Last month, for example, a deepfake video that claimed to show President Zelensky went viral online. TV news channel Ukraine 24 confirmed that the hackers responsible for it succeeded in getting the fake footage featured on some live TV broadcasts and, briefly, on the channel’s website.

More recently, a NewsGuard study found that within 40 minutes of joining TikTok, new users could receive recommendations that included articles containing false information about Ukraine.

Another study, by the Institute for Strategic Dialogue, found that 27.5 percent of the Facebook posts it analyzed “cast doubt on the legitimacy of images from Bucha used by Western mainstream media,” and, even more importantly, gained “significantly more traction online than those that did not question the mainstream narrative.”

Slyvinska said: “Misinformation from Russia is distributed through every possible tool on the internet, from local Russian platforms such as VKontakte and Yandex to global platforms such as YouTube, Facebook, Instagram, TikTok, and even Google Maps, where Russians put fake marks to intimidate Ukrainian citizens.

“They (Russians) also launch dedicated campaigns via influencers who repeat the same text, word-by-word, written by propaganda technologists.”

And yet she pointed out that during wars fought in the pre-internet days, “enemies could spread misinformation through leaflets without fear of being exposed.” She added that this is in contrast to current times, “when internet users have instant access to necessary information, and those who want to can find plenty of guides to determine fakes and get reliable information from trusted officials.”

Moreover, she said, despite Russia’s use of the internet to spread propaganda, it is not dependent on it.

“TV remains a very powerful media channel in Russia, with the majority of channels under state control where they can build whatever surrealistic reality perception for their population,” Slyvinska said.

Despite all the fake news, misinformation and propaganda that spreads rapidly on social media, it nevertheless provides a powerful, and sometimes safe, space for people in war-ravaged nations.

“(Thanks to) the internet, crimes committed by Russia and its soldiers against the civilian population in Ukraine cannot be hidden,” said Slyvinska. “For Ukraine, in its current situation, the internet adds more power.”


Britain’s Arab-focused SAFAR Film Festival to feature stories from 15 countries

Updated 10 May 2024
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Britain’s Arab-focused SAFAR Film Festival to feature stories from 15 countries

  • Biggest festival to date will include 60 screenings and events across four London venues, plus screenings in 8 other UK venues

LONDON: This year’s SAFAR Film Festival will be held from June 18-30 in nine British cities, making it the largest and longest-running Arab cinema event in the UK, according to the Arab British Center.

Curated by long-time SAFAR and Arab British Center collaborator Rabih El-Khoury, the 2024 program will explore the themes of dreams, hopes, and realities through stories from 15 Arab countries.

The festival’s program features 60 screenings and events across four London venues, as well as cinemas in Birmingham, Cardiff, Glasgow, Hull, Liverpool, Manchester, Oxford and Plymouth.

El-Khoury said the festival will include Sudanese and Palestinian cinema, and promised audiences “themes spanning family dynamics, loss, love, migration, and the harsh truths of war and politics.”

He said: “Within these stories, and through challenging and captivating cinema, we aim to facilitate exchange, reflection and share strength in solidarity.”

In its ninth year, SAFAR is viewed as the leading platform for showcasing Arab cinema in the UK.

The program features new releases, classics, archive film, and family-friendly screenings.

Highlights include the documentary “Life is Beautiful” by Mohamed Jalaby, which examines European solidarity, and the rigidity of borders, both physical and bureaucratic, amid the Gaza war in 2014.

Other works include “Bye Bye Tiberias” by Lina Soualem, a poignant exploration of four generations of Palestinian women; “The Burdened” by Yemeni director Amr Gamal, which follows Isra’a and Ahmed who struggle to provide a sense of normalcy for their three young children; and “Inshallah a Boy” by Amjad Al Rasheed.

“The festival forms a key part of our work to further understanding of the Arab world in the UK,” said Nadia El-Sebai, executive director of the Arab British Center.

“This year we are honored to work once more with Rabih El-Khoury and our guest curators and partners across the UK to present our biggest festival to date.

“Despite the shadows cast by the difficult realities faced across the region, SAFAR invites us to come together and find solace, hopes and dreams, in the universal language of cinema,” she said.


Taliban warn journalists and experts against cooperating with Afghanistan International TV

Updated 10 May 2024
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Taliban warn journalists and experts against cooperating with Afghanistan International TV

  • Cooperating with the London-based media outfit is a crime, says Taliban information ministry
  • During their previous rule in the late 1990s, the Taliban barred most TV, radio and newspapers

KABUL, Afghanistan: The Taliban on Thursday warned journalists and experts against working with Afghanistan International TV, saying they would be committing a crime if they cooperated with the station. It’s the first time they have told people not to cooperate with a specific outlet.

Afghanistan International TV, which is headquartered in London, is accessible through satellite, cable and social media.
A spokesman for the Taliban-controlled Ministry of Information and Culture alleged the station was committing professional violations and violating moral and legal boundaries.

Taliban security personnel sit along a street in Faryab province on March 10, 2024. (AFP)

The Media Violations Commission wanted all journalists and experts in Afghanistan to cease their collaboration with the station, said ministry spokesman Habib Ghofran.
“At the commission’s meeting held yesterday (Wednesday), it was decided that participating in discussions and facilitating the broadcast of this media outlet in public places is prohibited,” added Ghofran.
The deputy minister for broadcasting Zia ul Haq Haqmal said people would be committing a crime if they cooperated with the station.
He cited 10 reasons to avoid working with Afghanistan International TV, including its alleged distortion or falsification of information and campaigning against the ruling system.
“If someone does not cooperate on the basis of all these 10 reasons, then it’s the court’s job to give a punishment,” said Haqmal.

 

The director of Afghanistan International TV, Harun Najafizada, said the commission’s decision would not affect the channel because it had no employees or freelancers in the country.
“We don’t have anyone on the ground and rely on the reporting of Afghan citizens,” said Najafizada. “That’s more challenging, but we have tough verification. It’s a threat to free media, to other media, and to put pressure on us to forgo our professional standards. It’s not going to work.”
Afghanistan fares abysmally in terms of press freedom. The latest index from Reporters without Borders ranked the country 178 out of 180. It ranked 152 last year.
The organization said three radio reporters were arrested in April for broadcasting music and receiving calls from female listeners during shows. Local authorities weren’t available to confirm the arrests.
Also last month, the Taliban suspended two TV stations for failing to “consider national and Islamic values.”
The director for one of the suspended stations, Barya TV, rejected the Taliban’s allegations. The station is still off air.
Latif Sadiq said the station wasn’t informed about the suspension. “The reports that they repeatedly warned (Barya) are absolute lies,” Sadiq said Thursday. “They have decided on their own that (Barya) television is off, broadcasting is off, and they said the case will go to court.”
Many journalists lost their jobs after the Taliban takeover in 2021, with media outlets closing over a lack of funds or because their staff left the country. Women journalists face additional hardships because of work bans and travel restrictions.
During their previous rule in the late 1990s, the Taliban barred most television, radio and newspapers.


170 speakers and 1,000+ delegates gather for Gulf Creatives Conference at Harvard University

Updated 10 May 2024
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170 speakers and 1,000+ delegates gather for Gulf Creatives Conference at Harvard University

  • The 3-day event aims to be ‘the premier gathering for creative minds from the Gulf in the US,’ and to ‘empower, inspire and support Gulf creatives to drive positive change’
  • It is organized by The Diwan, a student-run organization intended to provide a platform for discussion of topics relevant to the Arab world, and particularly the Gulf region

BOSTON: A Gulf Creatives Conference will begin on May 10 at Harvard University, bringing together more than 170 speakers and over 1,000 delegates from sectors such as arts and culture, business and innovation, nonprofits and public policy, healthcare, and science and technology.

The three-day event is organized by The Diwan, a student-run organization at the university in Cambridge, Massachusetts.

Abdulla Almarzooqi, chairperson of the organization’s UAE Committee, and a graduate student at Harvard, told Arab News the aim is for the conference to “become the premier gathering for creative minds from the Gulf in the US,” and to “empower, inspire and support Gulf creatives to drive positive change.”

The Diwan was founded in the fall of 2023 as a platform for experts, academics, policymakers and students to discuss topics relevant to the Arab world, and particularly the Gulf region, including entrepreneurship, the empowerment of women and young people, and education, he added.

It organized a conference in November last year titled “Shaping the Arab World: Navigating Opportunities and Challenges” that addressed the geopolitics of the region and the ongoing war in Gaza. Almarzooqi said it was the largest gathering of Arab ambassadors in the history of Harvard University.

Now the organization is hosting the Gulf Creatives Conference, at a time when emotions are running high on many college campuses in the US amid protests against the conflict in Gaza by students and, in some cases, faculty members. However, the Harvard event will focus on “creativity and showcasing the region’s most promising talents,” said Almarzooqi.

“Amid the rising tensions on US college campuses, we believe firmly in the power of creativity and the arts in healing wounds and bridging divides,” he added.

The conference will include 24 discussion sessions and five workshops, covering topics such as public policy, innovation strategies, and the future of healthcare, in which all delegates are encouraged to actively participate, organizers said.

The speakers include prominent figures such as: Dr. Mahmoud Al-Yamany, sector head of health and well-being at the NEOM urban development megaproject in Saudi Arabia; Majid Ibrahim Al-Fayyadh, CEO of the King Faisal Specialist Hospital and Research Center in Riyadh; and Deemah Al-Yahya, secretary-general of the Digital Cooperation Organization.

The Gulf Creatives Conference will take place from May 10 to 12 at Harvard University.


‘Vision 2030 has set a blueprint for the future of the Kingdom,’ says TBWA\RAAD’s Saudi MD

Updated 09 May 2024
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‘Vision 2030 has set a blueprint for the future of the Kingdom,’ says TBWA\RAAD’s Saudi MD

  • Ad agency’s new Riyadh office to serve as a central hub for local, regional, global brands looking to succeed in Saudi Arabia

DUBAI: Advertising agency TBWA\RAAD appointed Dan Leach as its managing director for operations in Saudi Arabia following the establishment of a new office in Riyadh earlier this year. It is now bidding to cement its presence in the Kingdom.

The agency has been working with clients such as KFC, NEOM, and Nissan in the Kingdom for 20 years and now, with its new office, it aims to strengthen and serve as “a central hub for local, regional, and global brands looking to make their mark in the country,” Leach said.

He told Arab News: “The Middle East is renowned for its leadership and bold ambition, and Saudi Arabia exemplifies these qualities. But what I believe makes the Kingdom stand out further is its single-minded approach to disrupting the status quo … of everything.

“From building the largest vertical city in the world in NEOM; redefining luxury in the Red Sea; bringing the world’s sporting events to the country and more, there is no blueprint for what Saudi Arabia is doing.”

Staffing the new office is a “critical aspect of our expansion strategy” and the company is currently focusing on making “strategic hires,” including a new local senior management team, with the objective of ensuring “we have the right talent in place to meet the dynamic needs of our clients, driving our success not only in Riyadh, but across Saudi as a whole,” Leach said.

Saudi’s Vision 2030 has accelerated the growth of multiple industries, as well as technology and innovation, presenting new opportunities for advertising agencies like TBWA\RAAD.

Leach added: “Saudi’s story now belongs on the world stage, which implies that storytelling must be characterized by award-winning strategic and creative thinking.”

The country’s ambition to be at the forefront of technology such as artificial intelligence aligns with the agency’s vision.

Leach said: “We need to keep pace with the ambition of the Kingdom in this area and ensure our clients are benefiting from transformative innovation that can reach new customers.”

This ambition is evident in the growth of the creative and media industry, which is already seeing an “influx of bold award-winning campaigns fueling the emergence of incredible, young creative talent that will see the sector thrive for years to come,” he added.

Contrary to the common belief that Saudi lacks creative talent, Leach’s experience has been quite the opposite.

He said: “I have had a number of discussions with young creatives, and there is a genuine passion and hunger from this next generation to be at the forefront of the industry.”

He believes it is important for the industry to foster this talent in order to bolster the growth of the industry. The agency is therefore working with local universities to implement a graduate and internship program to help identify and support creative talent in the Kingdom.

Saudi Arabia’s growth and vision have attracted global attention and investment, with brands stepping up their game in the Kingdom. Leach, however, cautions brands against entering the market with a copy-and-paste approach.

He said: “We’re seeing a lot of brands come into the Kingdom with the approach of simply localizing copy and thinking that is enough to win; it’s not.”

He explained that Saudi consumers are savvy and can distinguish between brands that are being opportunistic and those truly embracing local culture.

Brands can also find success in aligning their story with that of the Kingdom and its leadership, Leach said.

He added: “Brands are entering a country that has near unlimited ambition — they need to match that energy.”

They do so by embracing new technology and aiming big, he said, and this also means brands should experiment and do things differently.

He said: “The Kingdom is an incredibly exciting place where there is room and opportunity to challenge the status quo.”

TBWA\RAAD, for example, has made significant advances in adopting AI — such as partnering with Core42 last year to harness the potential of Arabic large-language model Jais in the creative sector and launching its own ChatGPT-based tool Co-Pirate — to support clients. 

The agency is also working on bringing new products to the Kingdom, including dedicated social media programs, retail initiatives and internal communications platforms.

Leach said: “Our ambition is not to be the largest agency in the Kingdom but creatively the most exciting, and Saudi Arabia presents the perfect canvas upon which we can deliver that ambition.”


TikTok to label AI-generated images, video from OpenAI and elsewhere

Updated 09 May 2024
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TikTok to label AI-generated images, video from OpenAI and elsewhere

  • Content Credentials technology denotes how images were created and edited
  • For the system to work, both AI maker and platform must adhere to use the industry standard

LONDON: TikTok said on Thursday it would start using a technology aimed at helping it label images and video generated by artificial intelligence and uploaded to the video sharing service.

TikTok said it would adopt “Content Credentials,” a digital watermark that denotes how images were created and edited. The Content Credential technology was spearheaded by Adobe but is open for other companies to use and already has been adopted by companies such as ChatGPT creator OpenAI.

Researchers have expressed concerned that AI-generated content could be used as misinformation in an attempt to interfere with US elections this fall. TikTok was already among a group of 20 tech companies that earlier this year signed an accord pledging to fight it.

YouTube, owned by Alphabet’s Google, as well as Meta Platforms, which owns Instagram and Facebook, have also said they plan to use Content Credentials.

For the system to work, both the maker of the generative AI tool used to make content and the platform used to distribute the contents must both agree to use the industry standard.

If a person uses OpenAI’s Dall-E tool to generate an image, for example, OpenAI attaches a watermark to the resulting image. If that marked image is then uploaded to TikTok, it will be automatically labeled as AI-generated.

TikTok, which is owned by China’s ByteDance, has 170 million users in the United States, which recently passed a law requiring ByteDance to divest TikTok or face a ban. TikTok and ByteDance have sued to block the law, arguing it violates the First Amendment.

TikTok already labels AI-generated content made with tools inside the app but the latest move would apply a label to content generated outside of the service.

“We also have policies that prohibit realistic AI that is not labeled, so if realistic AI (generated contents) appears on the platform, then we will remove it as violating our community guidelines,” Adam Presser, head of operations and trust and safety at TikTok, said in an interview.