Chapter 18 considers how, in general, Russian law does not provide a definition of digital (or electronic) evidence or any particular rules in that respect. However, various laws in the spheres of telecommunications, information technologies and personal data list specific categories of natural and legal persons, empowered to work with data in a digital form, including content data. Russian legal provisions are not always precise, and an important role in their interpretation belongs to both courts and executive bodies (e.g. the Roskomnadzor). Information dissemination managers and many other categories of personal data processors are obliged to use Russian information systems or databases to store data and cooperate with LEAs that are involved in criminal investigation and operative-search activities. Threats to data subjects’ rights especially increase during the latter, because it is almost impossible to find out that certain pieces of data have been transferred to LEAs. Other problems are grounded in the 24-hour access of specific bodies to certain information systems and the low efficiency of judicial orders as a mechanism of human rights protection.

The Introduction to this book establishes Faulkner’s interest in writing materials as both a theme in his work and in his own writing and publishing career. Faulkner began his career not as a fiction writer but as a poet and illustrator, making his own handmade books, some for sale and others for friends and love interests. He maintained this attention throughout his life to the physical forms taken by his books. The Introduction sets forth the stakes of the book as a whole. Over and against a persistent technological determinism in cultural and media studies, William Faulkner and the Materials of Writing shows how Faulkner can help us think through the way in which media can only be understood in the context of its use. The telegraph, for example, works no faster than the mail if a telegram is not delivered to the intended recipient or otherwise goes unread. The Introduction also introduces three broad sets of concerns that will be central in the chapters that follow: The relationship of the individual to media forms; the connections of media with race, gender, and intimacy; and an understanding of writing as both text and thing in the world.