Since its founding in 2007, the Mumbai-based collaborative studio CAMP has used surveillance, TV networks, and digital archives to examine how we move through and record the world. In addition to their film and video projects, the wildly prolific studio runs a rooftop cinema in Mumbai and maintains several online video archives, including the largest digital archive of Indian film.
Technology
What can a 100-pixel video teach us about storytelling around the world?
CAMP’s first major US museum exhibition is on view now at the Museum of Modern Art in New York through July 20th and includes three video projects spanning two decades of work. The exhibit’s three films repurposed private television sets into interactive neighborhood portrayals, collected cellphone footage recorded by sailors navigating the Indian Ocean, and reimagined how a CCTV camera could be utilized for exploration rather than control. In one film, CAMP collected cellphone videos that sailors shared at ports via bluetooth; in another, passersby on street level control a surveillance camera 35 stories above.
I chatted with two of CAMP’s founders, Shaina Anand and Ashok Sukumaran, about the importance of maintaining an open digital archive, the slippery definition of piracy, and how footage that never makes it into a finished film is often the most illuminating.
This interview has been edited for length and clarity.
Your film, From Gulf to Gulf to Gulf, offers a portrait of sailors navigating the Indian Ocean, using cellphone videos to document their journeys and daily lives. Can you talk about how that project came to be and how this partnership with the sailors began?
Ashok Sukumaran: Around the global financial crisis, in 2009, we were walking around the city of Sharjah in the UAE. Sharjah is a creek city, like Dubai. Before oil was discovered, the creeks were the main city center focus. And these boats were these kind of weird, out-of-time wooden ships, and many of them were going to Somali ports. So, we asked them, “How come there were no issues with pirates?” Because everything we were hearing about Somalia at that time was about piracy. They said, “No, no, there’s a difference between going to the Somali town carrying everything they need and driving past it with a ton of oil.”
Shaina Anand: Almost all of these giant wooden boats were built in these twin towns in the Gulf of Kutch, in Gujarat, and they were massive. They were 800–2,000-ton giant wooden crafts.
AS: There’s a kind of language of the port. The Iranians, the UAE folks, the Somali, and of course, Indians and Pakistanis speak a kind of common language, which is close to a Hindustani mix of Farsi and Urdu. So, we were able to talk to everyone, to some extent, and we discovered a kind of music video genre that was really inspiring. This was the 2000s, with early Nokia phones, and sailors would shoot video and add music to it. Then their memory cards would run out [and they’d get deleted]. Some of the videos were 100 by 200 pixels.
SA: It was really important to us to try to trace the genealogy of the cellphone video, and it obviously was changing so fast. [The videos were] 10 frames a second, or 13 frames a second, in odd, square formats. It was rapidly changing.
For us, what was striking was that this image emerged in the middle of nowhere, out at sea, when a brethren boat or a comrade boat was filming on a phone. When our film had its festival run at the National Theatre in London, one of the film programmers came and told me, “It gives us such joy to see those images on the best screen in London.” And it gave us the same joy, too. That there is an equality, then.
Many people misread this “low-res image” and [call it] “a poor image,” and we’re like, that is not what it is at all.
How were the videos originally transferred and shared among sailors?
SA: It was a very physical process because these were not found on the internet. We were physically sitting down with people and saying, “What’s on your phone? Can I have a look at it? What did you film?” These [videos] were exchanged over Bluetooth, so they were not uploaded to YouTube, but they were literally transferred by putting the phones together.
AS: [When the boats] anchor for a bit at these smaller islands along the Gulf of Aden or Gulf of Persia, they’re still always in pairs or threes. They travel together for safety. That’s also the time for leisure and piping in those songs.
There’s something sweet about this moment of being bored at sea and using that space to create something.
SA: In a lot of our work, you see this idea that the subject of the film is usually behind the camera. They’re usually running the thing, and they are looking out at whatever interests them. At sea, you have a lot of time, even though it’s busy when it’s loading and unloading. But at sea, a lot of people are basically hanging out and taking pictures of the things that they can see. Then the music adds the emotional tenor. All the music in the film was found with the video; we didn’t add any music ourselves.
AS: And then if your phone has 2GB memory, that’s the ephemera bit. The video gets deleted, but it’s found on another boat on someone else’s phone.
SA: And within these communities, the videos are quite traceable because the boats are known. There are a thousand boats, but people would instantly recognize, “That’s so and so.” Even by looking at the shape of the boat in a 100-pixel video, they would know which boat it was.
You talked a little bit about how these videos were really ephemeral; they got erased very quickly. So much of your work seems to be about a commitment to maintaining an archive.
AS: We set up CAMP in 2007, with our collaborators who were lawyers and coders and cinephiles, and then, all of us together, good friends. We set up Pad.ma, our first online archive, and the lawyers were working around copyright law and trying to challenge them legally, pushing fair use. We didn’t want to valorize piracy, but we realized how, for countries in Asia, piracy was vital.
You didn’t even think of [buying software from] Microsoft. You bought the parts of a computer with help from the person selling them, saying, “Okay, so much RAM, this motherboard,” and so on, and then loaded what you wanted.
SA: The whole Indian tech sector was built on piracy, or what’s called piracy. People were not able to pay the fees. With Pad.ma, we basically initiated this idea of a footage archive or a collection of material that was not films, but things that were shot by people during film projects that never made it into the cut. For political reasons, for economic reasons, for the reasons that the films were only 30 or 60 minutes long and they had filmed for years, all those kinds of things. The idea was that Pad.ma was a footage archive that allowed you to deeply access that material.
So it’s an archive of scraps — the things around the edges that maybe weren’t shown elsewhere.
SA: Yeah, but here, the scraps are 20 times the size of the finished thing.
AS: I think that’s the important thing. You had 100 hours of footage for a 60-minute film. That was really the reason for building a non-state archive, and we’re the custodians and collaborators who think the 99 hours may be more important. It’s not those old remnant scraps.
It’s the other way around.
AS: It’s the other way around. I mean, you have a one-hour interview, and two minutes might make it into a film.
SA: You had all these examples of European avant-garde filmmakers coming to India making films and then doing these edits of what they thought they were seeing. But the footage is saying much more than their particular edit at the time. It can be very revealing of what was actually going on and how they filmed.
So the archives contain a huge amount of data.
SA: I mean, we have committed to that. We raised money from various sources for the projects. Indiancine.ma, which is a sister project, that’s like the whole of Indian cinema as a metadata archive. AS: There were magical things in 2008 on the platform. One was that the timeline had cut detection. So, you can actually go to a cut just by using your left and right arrow keys. And you don’t have that even in [Adobe] Premiere. You could also densely annotate. So you have researchers working, you have activists, you have film scholars, and they may take from the archive. But in that process, they’ve given back their expertise or their views of the archive.
Can you talk more about your work with participatory filmmaking?
AS: On one level, what had been occupying my head space was this critique of how documentary images are taken, or why this relationship between subject, author, and technology is so dumb.
I would keep saying, “look at the image,” and we can say a white guy filmed it, or we can know this really important Indian filmmaker filmed it, or you can say a top feminist filmmaker filmed it, or a queer person filmed it or a person from that community. But something’s a bit off in that form as well. Not just [in terms of] who’s speaking for who and all of that.
Another of your projects in the exhibit, Khirkeeyaan, which created video portals between neighbors and community centers using CCTV, seems like a place where the subject has a lot of authority over their image.
AS: Between 2005 and 2006, CCTV cameras started to proliferate all over. And they were cheap. So, the electronic market where we’d go to buy computer stuff now had become a CCTV market.
It was $10 for those static cameras. You could get that quad box, like a four-channel mixer. They were everywhere really fast: the grocery store, the dive bar, the beauty salon, the abortion clinic. Wherever I went, I was seeing these tiny things.
Photo by Amelia Holowaty Krales / The Verge
Photo by Amelia Holowaty Krales / The Verge
Photo by Amelia Holowaty Krales / The Verge
Photo by Amelia Holowaty Krales / The Verge
SA: When you put the camera on top of the TV and you allow the two systems to meet, you can just look into the television, and then that’s part of the cable television network. By default, these systems are kind of oppositional. One is a broadcast system, or one is a sucking and one is a closed thing, and if you join them together, they start to talk to each other or—
Download and upload simultaneously.
AS: Exactly, which was the key property of video. That there was feedback. It was immediate.
SA: It was live, and unlike film, you don’t have to process it. They were ambient. They would go on for 24 hours. You were able to say that your household TV is now a portal.
AS: The key thing was that this wasn’t the internet. The cables were all 100 meters each. For a long time, until it got replaced by dish antennas, coaxial cable just used to snake across our cities. The cable would come to your house from the window sill, where the coax would be wrapped around, and there’d be a little booster. It would go from neighborhood to neighborhood, building to building, terrace to terrace. [With Khirkeeyaan], the network was neighborly, but these neighbors were meeting each other for the first time.
Was there anything that kind of surprised you about the way that this network was used?
AS: What always surprises me, and continues to, is that when you set up your own kind of collaboration with the subjects, and then you exit, you’re not asking those leading questions of, “Tell me about your life,” or “Which village do you come from?” And poetry happens. I think, what was very affirmative for me, was just the confidence with which people sat and looked at their TV sets. You sit and look at your TV set all the time, but the TV set now had a hole in it, and it was looking back at you.
Another of your videos in the show, Bombay Tilts Down, uses a CCTV camera. Can you talk more about your work utilizing surveillance?
SA: CCTV, in a way, changes how we behave. It sort of infects, depending on who is watching us and how.
In Bombay Tilts Down, it was the simple idea that this gaze of the camera is already there. In the city, there are 5,000 of exactly the same kind of camera, and probably many more.
They’re all at least 4K, and now they’re 8K, but they are robotic controllable cameras that are designed to do facial recognition at a distance. Instead of being a guard, waiting for something to happen, we used it to film the city. And the range is incredible; it goes way beyond the property line of the thing it’s trying to protect. You can see 15 kilometers away with it, from the 35th floor.
So you installed the camera yourself.
SA: This one, yes. The people you see in Bombay Tilts Down are looking up at the camera because people could see the stream downstairs, and some of them were moving the camera around, calling the shots.
Lenovo put a foldable display on a gaming handheld. The Legion Go Fold Concept is a Windows-based handheld with a flexible POLED display, detachable Joy-Con-like controllers, and a folio case to turn the whole thing into a mini laptop.
You can use it as a standard Steam Deck-esque handheld with the display folded down to 7.7 inches and controllers attached at its sides, or you can unfold it for a bigger experience. When unfolded, the controllers can be repositioned to all four sides, allowing you to play with the screen in vertical or horizontal orientations.
In vertical splitscreen mode, you can put your game on one half of the screen and a second window (like your chat or game guide) on the other half. Horizontal fullscreen mode gives your game the full 11.6 inches of real estate in a 16:10 aspect ratio. To go into laptop mode, you remove the controllers and mount the handheld into a folio case with a stand, built-in keyboard, and trackpad. The controllers can be put into a separate grip mount to unify them as one gamepad.
There are a lot of ways you can use this folding handheld, including turning one of its controllers into a vertical mouse like on other Legion Go handhelds, but there’s one thing it doesn’t do: fold down to close and protect its screen. The Go Fold only folds outwards, so don’t expect a Nintendo DS or GameBoy Advance-like clamshell that closes for portability. Instead, it’s all about getting bigger than your average gaming handheld and offering more. (Though we’ve tried bigger before.)
The Legion Go Fold has some formidable specs: an Intel Core Ultra 7 258V Lunar Lake processor, 32GB of RAM, 1TB of storage, and a 48Whr battery. The plastic-covered OLED has a resolution of 2435 x 1712 and 165Hz refresh rate. And there’s even a second, circular toushscreen on the right controller, under the face buttons. It doubles as a touchpad and can be a support display, allowing you to swipe between extracted UI elements from a game (which I wouldn’t expect to be widely supported), a clock, system monitoring, or an animated GIF (just for fun).
During my brief in-person demo I didn’t get to play any graphically-intense games — just Balatro, which can practically play on a potato. The screen looked plenty sharp, but like any foldable there’s a crease down the middle; it’s very visible, but you learn to look past it and ignore it after just a bit. The build and feel of the whole thing felt a little fragile, and detaching and reattaching the controllers was definitely janky. Build quality will hopefully be improved if this device ever actually makes it to market.
The laptop mode was a pleasant surprise for me though. I did not expect a gaming handheld to double as a conventional computer you could get work done on. The Legion Go Fold’s case took quite a bit of fumbling before I set it up correctly, but it shouldn’t take too long to get used to if you actually lived with it.
Then again, I don’t know if anyone is going to be able to live with this thing — ever. I’d love for the Legion Go Fold to go from concept to real product like other out-there Lenovo ideas, but I shudder to think what it might cost. The Legion Go 2 is already priced well over $1,000. And with the ongoing RAMageddon crisis we’re living through, there’s no telling how much more expensive an actual Legion Go Fold would be if it came out in a year or more.
But even if it’s not the kind of foldable I expected, and even though it may never come out, it’s certainly cool. Now somebody please make a folding PC handheld that goes from kinda-big to really small. I think that’d be the one for me.
Photography by Antonio G. Di Benedetto / The Verge
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When missiles fly, we expect explosions. We expect smoke, sirens and satellite images. What we do not expect is silence.
On February 28, 2026, as fighter jets and cruise missiles struck Iranian Revolutionary Guard command centers during Operation Roar of the Lion, a parallel assault reportedly unfolded in cyberspace.
Official news sites and key media platforms went offline, government digital services and local apps failed across major cities, and security communications systems reportedly stopped functioning, plunging Iran into a near-total digital blackout.
According to NetBlocks, a global internet monitoring organization that tracks connectivity disruptions, nationwide internet traffic in Iran plunged to just 4 percent of normal levels.
That level of collapse suggests either a deliberate state-ordered shutdown or a large-scale cyberattack designed to paralyze critical infrastructure. Western intelligence sources later indicated the digital offensive aimed to disrupt IRGC command and control systems and limit coordination of counterattacks.
For the United States and its allies, the episode offers a stark reminder that modern conflict now blends airstrikes with digital warfare in ways that can ripple far beyond the battlefield.
In a matter of hours, modern conflict looked less like tanks and more like a blinking cursor.
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Iran’s national symbols stand in contrast to reports of a sweeping digital blackout that reportedly disrupted communications and critical systems across the country. (Kurt “CyberGuy” Knutsson)
Iran internet shutdown: A country offline in real time
Reports described widespread outages across Iran. Official news sites stopped functioning. IRNA, Iran’s state-run news agency, went offline.
Tasnim, a semi-official news outlet closely aligned with the Islamic Revolutionary Guard Corps, reportedly displayed subversive messages targeting Supreme Leader Ali Khamenei.
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The IRGC, Iran’s powerful military and intelligence force, plays a central role in national security and regional operations. At the same time, local apps and government digital services failed in cities like Tehran, Isfahan and Shiraz.
This was not one website defaced for headlines. It appeared systemic. Electronic warfare reportedly disrupted navigation and communications systems.
Distributed denial of service attacks, often called DDoS attacks, flooded networks with traffic to overwhelm and disable them.
Deep intrusions targeted energy and aviation systems. Even Iran’s isolated national internet struggled under pressure.
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For a regime that tightly controls information, losing digital command creates both operational and political risk.
Why cyber warfare matters in the Iran conflict
Cyber operations offer something missiles cannot. They disrupt without always killing. They send a signal without immediately triggering full-scale war. That matters in a region where escalation can spiral fast.
History shows Iran understands this logic. Between 2012 and 2014, Iranian actors targeted U.S. financial institutions in Operation Ababil. Saudi Aramco also suffered a major cyberattack.
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After Israeli strikes in 2025, cyberattacks targeting Israel surged dramatically within days.
Cyber retaliation lets leaders respond while limiting direct military confrontation. It buys leverage in negotiations. It creates pressure without necessarily crossing a red line.
But there is a catch. Every cyber strike risks miscalculation. And digital damage can spill into the real world fast if critical infrastructure is hit.
As military strikes targeted IRGC command centers, internet traffic inside Iran reportedly plunged to just 4 percent of normal levels. (Kurt “CyberGuy” Knutsson)
If the blackout and strikes mark a turning point, Tehran has options. None are simple.
1) Cyberattacks against U.S. or allied infrastructure
Cyber retaliation remains one of Iran’s most flexible tools. It can range from disruptive attacks and influence campaigns to more targeted intrusions that pressure critical services. Recent expert commentary warns that U.S. cyber defenses and the private sector could face sustained testing.
2) Targeting U.S. drones and unmanned systems
Iran has used drones and electronic interference as signals before. Analysts continue to flag jamming, spoofing and harassment of unmanned systems as a way to raise costs without immediately striking large numbers of personnel.
3) Maritime attacks in the Strait of Hormuz
This risk is rising fast. An EU naval mission official reportedly said IRGC radio transmissions warned ships that passage through Hormuz was “not allowed”. Greece has also urged ships to avoid high-risk routes and warned about electronic interference that can disrupt navigation. Insurers are already repricing the danger, with reports of war-risk policies being canceled or sharply increased.
4) Support for allied or informal armed groups
Iran has long worked with allied forces and militias in the region, and some of those groups could step up attacks on U.S. interests or allied partners in retaliation, widening the clash without direct state-to-state engagement.
5) Limited ballistic missile strikes
Missile strikes remain a high-impact option, but they raise the odds of rapid escalation. Recent expert analysis continues to frame them as a tool Iran may use for signaling, especially if leadership feels cornered.
Tehran’s skyline, including the Azadi Tower, became the backdrop to a crisis shaped as much by cyber disruption as by missiles in the sky. (Kurt “CyberGuy” Knutsson)
The escalation risk between the U.S. and Iran
Here is the uncomfortable truth. Neither Washington nor Tehran likely wants a full-scale regional war. In moments like this, military strikes rarely stand alone.
They often move alongside diplomacy. Leaders send signals. They apply pressure. At the same time, they try to leave room for talks.
But escalation has momentum. Each missile changes the equation. Each casualty raises the stakes. The more damage done, the harder it becomes to step back.
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Fear plays a role. So does pride. Domestic audiences demand strength. Leaders feel pressure to respond in kind. That is how limited strikes can spiral into something much larger.
What the Iran cyberattack blackout means for global cybersecurity
This episode highlights something bigger than regional tension. Nation-states now pair kinetic strikes with digital offensives.
Cyberattacks can blind communications, freeze infrastructure and disrupt financial systems before the world even processes the first explosion.
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For businesses and individuals, that reality matters. Modern conflict no longer stays confined to battlefields.
Supply chains, energy grids and online platforms can feel the ripple effects. The blackout in Iran serves as a reminder that digital resilience is now a national security issue.
How to stay safe during rising cyber tensions
When a country’s internet can plunge to just 4 percent of normal traffic in hours, it is a reminder that cyber conflict can escalate quickly.
Even if the disruption happens overseas, global networks are interconnected. Financial systems, supply chains and online platforms can feel the ripple effects.
You cannot control geopolitics. You can control your digital hygiene. Here are practical steps to reduce your personal risk during periods of heightened cyber activity:
Install strong antivirus software to guard against state-linked phishing and malware campaigns that often spike during geopolitical conflicts.
Nation-state actors frequently exploit breaking news and global instability to spread malicious links and ransomware. Get my picks for the best 2026 antivirus protection winners for your Windows, Mac, Android & iOS devices at Cyberguy.com
Keep devices updated so security patches close vulnerabilities that attackers often exploit during global cyber spikes.
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Use strong, unique passwords stored in a reputable password manager to protect your accounts if cyber retaliation campaigns expand beyond government targets. Check out the best expert-reviewed password managers of 2026 at Cyberguy.com
Enable two-factor authentication (2FA) on financial, email and social accounts to safeguard access in case stolen credentials circulate during heightened cyber conflict.
Be cautious with urgent headlines or alerts about international conflict, since attackers frequently mimic breaking news.
Monitor financial accounts for unusual activity in case broader disruptions spill into banking systems.
When tensions rise, phishing campaigns often rise with them. Threat actors exploit fear and confusion. Staying disciplined with basic security habits makes you a harder target if malicious traffic increases.
Take my quiz: How safe is your online security?
Think your devices and data are truly protected? Take this quick quiz to see where your digital habits stand. From passwords to Wi-Fi settings, you’ll get a personalized breakdown of what you’re doing right and what needs improvement. Take my Quiz here: Cyberguy.com
Kurt’s key takeaways
The reported cyber blackout inside Iran may signal a new chapter in modern conflict. Jets and missiles still matter. But so do servers, satellites and code. Leaders may try to contain the damage while showing strength.
Still, history shows how quickly careful plans can unravel once pressure builds. War today runs on electricity and bandwidth as much as fuel and ammunition.
When networks go dark, the impact does not stay on a battlefield. It spills into banking systems, airports, hospitals and the phones in our pockets. That is what makes this moment different.
If an entire nation’s digital systems can be disrupted in hours, how prepared is your community if something similar ever hits closer to home? Let us know by writing to us at Cyberguy.com
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We finally have an update to the Soundcore Space One that launched two and a half years ago. At MWC 2026, Soundcore has announced the Space 2, which will be available in the US on April 21st in three colors — linen white, jet black, and seafoam green — for $129.99. That’s $30 more than the Space One’s original price.
According to Soundcore, the Space 2 have had a full-band noise cancellation upgrade with the focus of those improvements on the low-frequency sounds we all generally use ANC headphones to block — things like airplane, train, and bus engine sounds while traveling. The Space 2 use the same number of microphones as the Space One for noise canceling, instead relying on optimized mic placement and structure and materials improvements for the boost in performance.
Redesigned 40mm drivers incorporate dual layers in their design. There’s a silk diaphragm with metal ceramic that supposedly results in faster transient response — the driver’s ability to respond to sudden sound quickly and accurately — with better balanced sound reproduction. The Space One had great sound performance for the price, but I’m all for any improvement to sound performance accuracy. Like the Space One, the Space 2 will support LDAC high-res audio.
The headphones connect wirelessly over Bluetooth 6.1, although they do not support Auracast transmissions — an unfortunate exclusion. There’s also a 3.5mm jack for a wired connection.
Battery life has been increased to up to 50 hours with ANC and 70 hours with ANC off. This is up from 40 hours with ANC and 55 hours without ANC with the Space One headphones. With a five-minute charge the Space 2 get an additional four hours of listening.
The Space 2 will include many of the features found on the Space One. You can use HearID 3.0 to go through a series of sound samples to tune the headphones’ sound to your preferences. It worked well for me on the Space One to get them closer to a sound I liked, with a bit of the edge taken off the higher frequencies. There’s also a sensor that detects when you remove the headphones and stops playback so you don’t miss any of your music or podcast. They once again come with a cloth bag that matches the color of the headphones instead of a case, which is one change I wish Soundcore had made, as the cloth bag doesn’t offer as much protection if you tend to throw your headphones into your backpack or bag.
The Soundcore Space One were among the best budget ANC headphones when they came out, and still hold up to more recent releases. But with the bump in price to over $100 for the Space 2, there’s a bit more expectation on them. ANC performance continues to improve — and products get cheaper — across manufacturers, so the Soundcore Space 2 has some competition from companies like Sony, EarFun, and JLab. If the ANC on the Space 2 stands up to current budget headphones and they still sound as good and are as comfortable as the Space One, you can expect to see the new Soundcore Space 2 on many recommendation lists.
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