Tim Berners-Lee invented the web — now he has an idea to rein it back

Tim Berners-Lee, inventor of the World Wide Web: “An engine of inequity and division, swayed by powerful forces who use it for their own agendas.” (AFP)
Updated 09 October 2018
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Tim Berners-Lee invented the web — now he has an idea to rein it back

  • This month the creator admitted that it had become “an engine of inequity and division”
  • He’s designed a new online platform called Solid to help internet users take back control of their personal data

LONDON:  In 1984, five years before the Internet began to throw its tentacles around the world, who could have guessed that a low-budget science-fiction film that made a Hollywood star out of an Austrian bodybuilder was a prophetic cautionary tale? 

In 1989, five years after Arnold Schwarzenegger’s “The Terminator” hit cinema screens, a 34-year-old British computer scientist called Tim Berners-Lee invented the World Wide Web, an information-sharing system that allowed documents and other digital elements to be linked over a network of computers. That network became known as the Internet, and it was the invention of the web — the horse to its cart — that made its explosive global expansion not only possible, but also inevitable. 

Berners-Lee was probably too busy inventing to watch “The Terminator.” Had he done so perhaps the plot — involving an artificially intelligent defense computer network called Skynet that decides human beings are a threat to its future and triggers a nuclear apocalypse — might have given him pause for thought. 

This month Berners-Lee, now 63, admitted that his invention, which he had intended as an egalitarian device for uniting and improving humanity, had instead become a divisive monster, “an engine of inequity and division, swayed by powerful forces who use it for their own agendas.”

The naivety is almost touching. You build a free road, then you have no control over the sort of people who drive on it, the way they drive, the vehicles they use or the destinations they choose.

Artificial intelligence, a rapidly developing concept irresistible to everyone, from industrialists keen to delete human jobs to tech-obsessed early adopters who would rather tell their house lights to come on rather than go to the bother of flicking a switch, is a perfect partner in crime for a network that is already deeply embedded in every aspect of modern human life.

The recent revelations about the activities of Russian agents, prowling the world and hacking into supposedly secure operations such as international chemical weapons watchdog the OPCW, a US nuclear power company and Britain’s Porton Down defense laboratory, serve as a reminder of just how vulnerable the Internet really is.

As for the Internet of Things, well, would you really feel happy in a hospital where your medication is administered not by a nurse, but by a device responding to instructions from a remote server, an unnerving scenario that is already unfolding in some hospitals around the world? 

If that sounds like a far-fetched threat, consider that America’s Department of Homeland Security is currently investigating revelations that the latest generation of remotely programmable pacemakers are vulnerable to hackers who could assassinate targets by simply instructing the device to induce a cardiac arrest. 

The wealthier parts of the Middle East — a burgeoning region for all devices connected and smart — are currently more vulnerable than more mature markets. A study last year by IBM looked at 410 companies in 13 countries in the region and found that data breaches in Saudi Arabia and the UAE resulted in the highest per-capita cost, adding up to an annual bill of $4.94 million — up 6.9 percent from the year before. Criminal attacks were the most common cause of such breaches, with perpetrators chiefly taking advantage of the security headaches posed by the widespread use in the region of mobile devices.

Businesses have been keen to jump on the technology bandwagon, but less adept at making sure the wheels don’t fall off. Just how unprepared many are is highlighted by the fact that organizations in Saudi Arabia and the UAE took on average 245 days to identify a breach, and then a further 80 days to contain it. The two countries are among those that spend the most on cleaning up after data breaches.

Now Berners-Lee has resurfaced, taking time off from his current day job as a professor at the Massachusetts Institute of Technology to launch Solid, a new online platform that, he says, will allow Internet users to take back control of all that personal data stored on private and government servers around the world.

It’s true that each one of us is merely a pixel in the giant and exponentially expanding snapshot of human activity in the 21st century that is Big Data. Almost four billion people now access the Internet, Google handles 40,000 searches every second (half of them from mobile phones), Facebook has more than two billion users posting 500,000 comments every minute, and in those same 60 seconds more than 150 million emails are sent — about one third of them spam.

In the wake of scandals such as Cambridge Analytica’s abuse of Facebook users’ data, Solid certainly sounds like a good idea.

Push past the startup hyperbole — “I will be guiding the next stage of the web in a very direct way ... its mission is to provide commercial energy and an ecosystem to help protect the integrity and quality of the new web” — and the Berners-Lee solution boils down to this: Solid will enable a user’s personal data to be held not on remote servers by the likes of Google and Facebook, but on ... remote servers operated by Inrupt, the company Berners-Lee has formed.

The contents of, and access to, this so-called “data pod” will be controlled by the user — via yet another app, naturally — who will be able to decide which other apps and services can have access to which bits of it. 

But is this a solution to the problem of an Internet that is out of control, awash with private data that we, wittingly or unwittingly, have released into the wild for the benefit of commercial and other, more sinister, players? Or is it merely another portal through which “they” will gain access to the digital “us,” and another opportunity to forget yet another password?




The early days of the Internet on an Apple Macintosh. (Shutterstock)

Solid faces an uphill battle. Berners-Lee is going head-to-head with companies such as Google and Facebook. He is, he says, aware that what he is proposing would, if successful, upend their business models overnight. “We are not,” he says with bravado, “asking their permission.”

It seems unlikely that these multibillion-dollar businesses will simply throw up their hands and walk away. And no one so far has been able to control, curtail or otherwise restrict the Internet. As fast as any government moves to block or filter access, sharper and more devious minds are bypassing barriers. As security companies devise “failsafe” protection for online bank accounts, so those same devious minds are exploiting the essentially anarchic nature of the medium and leaping one step ahead of them.

Instead of inviting yet another player and their glossy app into our digital lives, perhaps we should start heeding the warnings of organizations such as the Oxford-based Center for the Study of Existential Risk, set up in 2012 and dedicated to “the study and mitigation of risks that could lead to human extinction or civilizational collapse.”

To the CSER, the Internet, with its proven ability to incite political uprisings, disseminate fake news and propaganda, facilitate cyberattacks and “weaponize” the rise of artificial intelligence, is a threat on a par with catastrophic climate change and a global pandemic triggered by runaway biotechnological developments.

There is, of course, one simple way to prevent the theft and misuse of your personal information, whether by criminals, commercial operators or state players intent on disrupting entire societies: keep it to yourself. Stay off the Internet and trust no one  to manage your data for you.

Of course, in an era where access to the Internet has been elevated by the UN to the status of a human right, and many believe they will cease to exist if they don’t have a presence on social media, getting people to turn their backs on the likes of Facebook, Instagram and Twitter may well require a reboot of the modern mindset that is no longer possible.

In 2016, the British Council celebrated its 80th anniversary by inviting a panel of scientists, technologists, academics, artists, writers, broadcasters and world leaders to choose their most significant moments of the past 80 years. At the top of the final list, placed in order of importance by the votes of 10,000 people, was Berners-Lee’s World Wide Web, ranked ahead of the discovery of penicillin, the UN’s Universal Declaration of Human Rights and the invention of the atomic bomb.

The web, pronounced the British Council, was “the fastest-growing communications medium of all time” and the Internet it facilitated had “changed the shape of modern life forever,” allowing us to “connect with each other instantly, all over the world.” Back in 1989, that probably seemed like a good thing. 

* * *

Jonathan Gornall is a British journalist, formerly with The Times, who has lived and worked in the Middle East and is now based in the UK. Copyright: Syndication Bureau

www.syndicationbureau.com

 


Dave Chappelle to perform at Abu Dhabi Comedy Week

Updated 19 April 2024
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Dave Chappelle to perform at Abu Dhabi Comedy Week

DUBAI: US award-winning comedian Dave Chappelle is set to perform in the UAE at the Abu Dhabi Comedy Week on May 23, organizers announced on Friday.

The capital city’s first-ever comedy festival will run from May 18-26 at Yas Island’s Etihad Arena.

Chappelle will join a long list of comedians performing at the event, including Chris Tucker, Aziz Ansari, Tom Segura, Jo Koy, Tommy Tiernan, Kevin Bridges, Andrew Santino, Bobby Lee, Andrew Schulz, Bassem Youssef and Maz Jobrani.

With numerous accolades and awards to his name, including multiple Grammy Awards and Emmy Awards, Chappelle is renowned for his wit and fearless commentary on contemporary issues.

While May 23 will mark Chappelle’s inaugural performance in Abu Dhabi, he has previously captivated audiences with two sold-out shows in Dubai.


Manal AlDowayan on her work for the Venice Biennale 

Updated 19 April 2024
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Manal AlDowayan on her work for the Venice Biennale 

  • The acclaimed artist is representing Saudi Arabia at this year’s ‘Olympics of the art world’ 

DUBAI: The acclaimed Saudi artist Manal AlDowayan is on a roll. Earlier this year, she opened two well-received exhibitions in AlUla, where she is also working on an ambitious land art commission for the upcoming Wadi AlFann cultural destination. And this week, AlDowayan will represent her country at the 60th iteration of the Venice Biennale — dubbed “the Olympics of the art world,” consisting as it does of multiple national pavilions — which runs until Nov. 24. She will be presenting what she describes as “two of my most major works in my career at this point.” 

AlDowayan has participated at Venice before. In 2009, she showed her work in an onsite exhibition organized by the Saudi art-focused initiative Edge of Arabia, alongside fellow Saudi artists including Maha Malluh and Ahmed Mater.  

AlDowayan will represent her country at the 60th iteration of the Venice Biennale. (Supplied)

“I’ve been going to Venice for about 12 years,” AlDowayan tells Arab News. “The first time I showed there, I knew in my heart that I would be coming back to represent Saudi Arabia; I would do everything in my power to come to this moment and prepare myself. It’s something very important for an artist: to participate in the Venice Biennale.” 

It was only last August that she was visited in her UK studio by Dina Amin, the CEO of the Visual Arts Commission, and cultural advisor Abdullah Al-Turki, and told she had been selected to represent the Kingdom in 2024.  

“My first thoughts were: ‘There’s no time,’” she says with a laugh. “To come up with a concept, complete the research, execute the concept, build it, and install it, is really complex. But my team, my studios, and I were ready. I already knew what I wanted to present, and within one week I had put together my proposal and it was approved. The artwork is a continuation of my language, my research and my forms that I work with.”

Participatory workshops for 'Shifting Sands - A Battle Song' by Manal AlDowayan. (Supplied)

The Saudi pavilion’s theme at Venice this year is “Shifting Sands—A Battle Song.” It is curated by a trio of female art experts, Jessica Cerasi, Maya El-Khalil, and Shadin AlBulaihed. In AlDowayan’s sound-meets-sculpture installation, she brings together much of what she has explored in her practice over the past two decades — community engagement, participatory art, media (mis)representation, and the visibility, or lack of it, of women in Saudi culture. The work is also about the momentous changes taking place in the Kingdom today, and her response to them.  

The work comprises two key parts: sound and soft sculptures. Saudi and Arab women’s voices are front and center; AlDowayan allowing them to reclaim their narrative, which she believes has consistently been misrepresented.  

“If you’re always told that you’re oppressed, repressed, depressed… you sort of lose the sense of yourself,” she adds. “And this artwork talks about this sort of constant hounding by Western media — and local media — speaking about the Arab woman; her body, her space, the rules of her behavior, and how she should exist in the public space.” 

Manal AlDowayan's 'Shifting Sands - A Battle Song.' (Supplied)

For this section, AlDowayan put out an open call inviting women to take part in workshops. They proved very popular, attended by all ages, professions and backgrounds.  

“In Riyadh, within three hours, 350 women registered,” she says. “We had to block the registration link because I don’t know how to control 350 women. I’m just one.” In the sessions, participants reacted to negative press headlines and media clippings, and AlDowayan recorded those reactions.  

“I always say that people are trying to define what a Saudi woman is,” explains AlDowayan. “We researched thousands and thousands of articles in my studios, in seven languages, and there were some very dark things written. I showed the women these articles and said, ‘Do you really feel these articles are really speaking your truth?’”  

She also asked them to write and/or draw their own stories. Examples included: “Two women equal one man.” “Thanks love, we don’t want to be saved.” And “Surrendering doesn’t look good on us, for we are wars.”  

Detail from Manal AlDowayan's 'Shifting Sands - A Battle Song.' (Supplied)

A selection of the written quotes were then read out loud by participants. While reading, they had headphones on, listening to, and harmonizing with, the eerie humming sounds made by sand dunes, which AlDowayan had previously recorded.  

“It was beautiful and meditative. You will see women with their eyes closed, their arms stretched out. It was a very spiritual moment,” AlDowayan recalls. The whole ‘performance’ was inspired by ‘Dahha,’ a ritual in which warriors celebrated victory with music and dance.  

Inside the pavilion, where the women’s recordings play, stand three soft black-and-brown sculptures, full of folds, shaped like the sand crystals known as desert roses — a recurring motif in AlDowayan’s work.  

“The rose is a very weak and delicate (thing),” she says. “But this crystal is born in extreme circumstances. First, it needs to be pouring rain, then there needs to be high temperatures and that’s how it crystalizes. I feel like I’ve adopted this form as a body and I deal with it like skin.”  

The folds of the enlarged sculptures are imprinted with “a cacophony of what Western media has written: the veil, repressed, oppressed, women, sexuality… All the words that always float over our heads,” says AlDowayan. They also include some of the women’s positive messages, as well as their drawings.  

“While you’re taking this journey you will hear the sound, and sound is sculptural in my opinion: It occupies but you can’t see it,” she says. “I feel the invisibility of sound, and its ‘presence’ is like the Arab woman. She’s strong, she’s there; it’s undeniable. Just because you don’t see her, it doesn’t mean she doesn’t exist.” 

As for how visitors will react to her work, AlDowayan hopes to provoke conversations.  

“I want questions. I want extreme emotions. They can hate it, they can love it, they can cry. But, I can’t do neutral,” she says. “Neutral means I did not succeed. If they have questions, then I’ve succeeded. If they talk about it after one day, I’ve succeeded.” 


US Kuwaiti artist Latifa Alajlan — ‘I used to compare myself to other artists’ 

Updated 19 April 2024
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US Kuwaiti artist Latifa Alajlan — ‘I used to compare myself to other artists’ 

  • The third in this year’s series focusing on contemporary Arab-American artists in honor of Arab-American Heritage Month

DUBAI: Kuwaiti artist Latifa Alajlan moved to America in 2016 to study art at Grossmont College in San Diego, followed by a Master of Fine Arts program at the School of the Art Institute of Chicago, where alumni include major American artists Georgia O’Keeffe, Joan Mitchell and Grant Wood.  

Now, Alajlan is based in New York, where she is represented by Franklin Parrasch Gallery. “New York is the Makkah of the art world,” she tells Arab News. “You have so many galleries and institutions — that’s what I do every Friday. It’s very meditative for me and I enjoy walking around the city.”    

Alajlan, Latifa, Ishq, 2024. (Supplied)

But she is also aware of the competition in such an established artistic environment. “In New York, when you’re a young artist what’s dangerous about it is that you compare yourself to other artists,” she says. “I used to do that a lot and I had to take a step back and realize it was unhealthy. Everyone has their own journey.” 

Hers began in Kuwait, where her parents, especially her strict father, would “force” Alajlan and her siblings to visit museums and write essays on artworks. “I just didn’t understand. People were enjoying their summer, and we were going to museums,” she says. “That was boring.”  

Now, however, Alajlan can look back on her childhood and understand her parents’ intentions. “That’s what I appreciate: the fact that they kept pushing me,” she says. 

Lilith's Garden, 2024. (Supplied)

As for her creative practice, Alajlan has experimented with ceramics, glass-blowing, blacksmithing and sculpting. But such labor-intensive mediums weren’t for her. “I almost lost my fingers,” she says. “It’s intense. . . I’ve realized painting is my thing.” 

Through her abstract work, Alajlan addresses political, cultural and architectural attributes of her homeland. But she finds inspiration everywhere, she says — from her friends to conversations with strangers. There is an element of mystery to her canvases; she might hide certain parts of her composition with splodges of paint, filling them with gentle gestural strokes and motifs from mosques.  

“To me, painting is very therapeutic,” she says. “It’s my way of praying.” 


Recipes for success: Chef Lorenzo Buccarini offers advice and a pasta and caviar recipe 

Updated 19 April 2024
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Recipes for success: Chef Lorenzo Buccarini offers advice and a pasta and caviar recipe 

DUBAI: “I discovered my passion for cooking at a young age, being drawn to the sights and smells from my family’s kitchen,” Zenon Dubai’s executive chef Lorenzo Buccarini tells Arab News. “My earliest memory of cooking is helping my grandmother prepare lasagna. Those moments ignited a lifelong love affair with the culinary arts.”. 

Zenon, located at Kempinski Central Avenue in the heart of Downtown Dubai, offers Mediterranean and Asian cuisine. 

“Working with Zenon Dubai has been an enriching experience filled with creativity and collaboration, allowing me to push boundaries,” said Buccarini. 

Zenon is located at Kempinski Central Avenue in the heart of Downtown Dubai. (Supplied)

From the vibrant culinary scene of London in 2012 to Istanbul in 2014, Bali in 2016, and Morocco in 2018, Buccarini has dabbled in an array of cuisines over the years. Here, he discusses his go-to dish, favorite cuisine and most challenging dish to prepare. 

Q: When you started out, what was the most common mistake you made? 

A: Underestimating the importance of proper seasoning. Achieving the perfect balance of flavors is essential in every dish, and mastering seasoning techniques was a valuable lesson early in my career. 

What’s your top tip for amateur chefs? 

Invest in quality ingredients and don’t be afraid to experiment. Additionally, learn fundamental cooking techniques such as knife skills and proper seasoning, as they form the foundation of any great dish. 

Zenon offers Mediterranean and Asian cuisine. (Supplied)

What one ingredient can instantly improve any dish? 

Fresh herbs — whether it’s parsley, basil, cilantro, or thyme, incorporating fresh herbs adds depth and complexity to your cooking. They elevate the flavor of any dish. 

When you go out to eat, do you find yourself critiquing the food?  

Naturally, as a chef, I pay attention to the details if I’m dining out. 

What’s the most common issue that you find in other restaurants? 

Something I often notice is inconsistency in execution — whether it’s undercooked proteins, over-seasoned dishes, or lackluster presentation. Consistency is key to delivering memorable dining experiences. 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Zenon Dubai (@zenondubai)

And what’s your favorite cuisine when you go out? 

I do enjoy exploring different cuisines, but if I had to choose a favorite, it would have to be classic Italian cuisine. There’s something inherently comforting and soul-satisfying about dishes like homemade pasta or a perfectly cooked risotto that never fails to delight the palate. 

What’s your go-to dish if you have to cook something quickly at home? 

Spaghetti aglio e olio. It’s a simple yet flavorful pasta dish made with garlic, olive oil, chili flakes, and parsley. It’s quick to prepare and showcases the beauty of minimalistic Italian cooking. 

What customer behavior most annoys you? 

It can be frustrating when customers request significant modifications to a dish without considering the integrity of the recipe. While accommodating dietary restrictions is important, excessive alterations can compromise the intended flavors and balance of the dish. 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Zenon Dubai (@zenondubai)

What’s your favorite dish to cook? 

One of them is osso buco. It’s a classic Italian dish made with braised veal shanks, aromatic vegetables, and a rich tomato-based sauce. The slow cooking process allows the flavors to meld together beautifully, resulting in a dish that’s hearty, flavorful, and deeply satisfying. 

What’s the most difficult dish for you to get right? 

For me, mastering the perfect risotto has always been a challenge. Achieving the ideal balance of creaminess and texture while ensuring the rice is cooked to perfection requires precision and attention to detail. It’s a dish that demands patience and practice to get just right. 

As a head chef, what are you like? Are you a disciplinarian? Or are you more laidback? 

I try to maintain a balance between discipline and approachability. I do set high standards for my team, and I expect professionalism in the kitchen, but I believe in fostering a supportive and collaborative environment. Effective communication and mutual respect are essential for success in any kitchen. 

Chef Lorenzo’s pasta, cream reduction and caviar 

Chef Lorenzo’s pasta, cream reduction and caviar. (Supplied)

INGREDIENTS 

For the cream reduction: 1L double cream; 500g dried porcini; 1L water 

For the fresh pasta (can be substituted for store-bought pasta): 600g semolina flour; 1400g 00 flour; 8 fresh eggs; 300g water 

INSTRUCTIONS 

1. To reduce the cream, add it to a pan and gradually reduce the heat to a slow boil, stirring frequently. As the water boils off, the cream will be reduced. You want to reduce it by half. Then place the pan to one side. 

2. For mushroom stock, add the dried porcini to a pan with the water and simmer for one hour. Strain immediately. Reduce the stock by ¾. 

3. For the pasta, mix all ingredients together to make a dough. Put in the fridge for one hour. Remove from the fridge and shape it as you like (here at the restaurant we do rigatoni). You can just use standard, store-bought pasta too.  

4. Cook the pasta in boiling water for five or six minutes (or as instructed for store-bought pasta), then drain. 

5. Put 250g of the cream reduction and 20g of reduced mushrooms into a hot shallow pan. Add a pinch of salt. Add the pasta to the sauce. Stir. Add a little parmesan and top with caviar.


REVIEW: Netflix’s ‘Crashing Eid’

Updated 19 April 2024
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REVIEW: Netflix’s ‘Crashing Eid’

Shying away from the traditional, comedy television show “Crashing Eid” presents quite a progressive viewpoint — but certainly not an uncommon one.

The four-episode series follows the story of Razan, an independent young Saudi woman who fled her old life and built a new one in London along with her teenage daughter Lamar — only to find herself in love with a Pakistani Brit, Sameer.

The show opens with a surprise spin as Razan takes it upon herself to initiate a proposal to Sameer, who she has known for two years. She and her daughter then plan to take a short trip back to hometown Jeddah during Ramadan, without her family knowing that she has no plans to move back home — or that she is engaged.

Sameer decides to return the surprise by showing up to her family’s home, only to be met by Razan’s father, who mistakes him for a maintenance worker. This spurs the show into a flurry of misunderstandings and awkward interactions that surface some rather crucial unresolved family issues and traumas.

As Saudi has become more global in its population, in many ways including international marriages, the issues in “Crashing Eid” have become more vital to discuss than ever.

Rather than focusing on the difficulties that come with marrying a foreigner, such as lengthy legal procedures and official marriage approvals, the show hones in on societal acceptance. The aspects of honor and locality of marriage are brought to the surface.

The show also uses the main plot to dig up some underlying issues prevalent in any society, not just in Saudi Arabia. Through Razan’s homecoming, she is forced to revisit the reality of her previous marriage to Lamar’s father, who had been physically abusive. Choosing to leave him and start a new life abroad, she is met with societal condemnation and victim blaming.

While Razan’s brother Sofyan battles divorce and child custody issues, the family reveals the challenges of generational gaps. It also demonstrates the common shift to the globalization of younger generations and the tight hold on traditions within older ones.

The show has a unique way of making difficult or rather taboo topics palatable for a general Saudi audience. It sets the table for conversation, at the very least.

Sure, some of the acting seemed fairly novel, reminiscent of early 2000s sitcoms sans the laugh track, and the show also had a peculiar style of direction and editing.

But certainly, “Crashing Eid” must be applauded for its bold statements, proving that it is not afraid to rock the boat for the chance to tell authentic Saudi stories. For anyone looking to get a deeper sense into the modern-day Saudi household, the show is a must-watch.