ISBN 978-93-82388-03-6
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BANG BANG Re Worked by C:\VEhF\
The constituting element of this piece is just one word – BANG. The artist used his own voice to record the word in a software. The sound file was saved as raw data and a text based hexadecimal chart was then extracted. This chart was reworked by directly moving the codes around, by shifting and deleting some parts of it, finally resulting in a corrupted file. The audio glitch and the visual pattern generated in this data mining process is the essence of this digital artwork. Despite the minimalist nature of the sound, the machine computes an enormous amount of data, analogous to our contemporary world of information where computers manipulate a great amount of code to process the big data circulating around us. [Sound file: Time: 1 second, Size: 46,240 bytes]
CONTENTS
BANG Re Worked C:\VEhF\
i
Projections EDITORIAL COLLECTIVE
x
Section One “Life injected with life” Locating tolerance in Nasreen Mohamedi’s abstraction Robin Simpson Making the Familiar Strange Rohini Devasher Projecting a Bengal Delta Settlement Description of a liquid territory and its development Hans Hortig + Boris Murnig Möglichkeitsformen Expectation and experiment in the work of the Austrian Filmmakers Cooperative, 1968-69 Andrew Weiner Expanding the Possibilities of Painting in Space Fluctuation between timeless and time-based perception Silke Eva Kästner
2 10 16 24 31
Section Two The Digital State of a Moving Image/The Moving State of a Digital Image Barbara Sirieix A Vision of Waste The political imagery of tents Nandita Badami V for What? About the actuality of Walter Benjamin and Bertolt Brecht for contemporary activism Alexander Karschnia Projection and Urban Gluing Thomas Mical Not Written in Stone Deepani Seth + Thomas Crowley (with inputs from Vandita Sharma + Chiranjeet Borah) The Cinema as a Concert Hall Alexis Bhagat + Lauren Rosati
36 40 47 54 58 64
Section Three Curatorial Governmentality Air design and the atmospheres of community in contemporary India Anirban Gupta-Nigam Walking a Furlong Kiran Chandra + Douglas Murray Theorising Art Interventions: Manifesta 6 and Occupy 38 Andrea Liu Crime, Power and Violence The new ‘anti-urban’ in Gangs of Wasseypur Divya Vishwanathan Back to the Future! Re-visioning 21st century public libraries via a journey through time and space The Seven Ages of the Librarian in graphic novel style Alice Corble + Sara Wingate Gray Reading The German Ideology ‘Here’ and ‘Now’ Runa Das Chaudhuri Living in Virtual Lands Some reflections on virtual geography Meera Baindur
72 78 88 98 102
110 117
Section Four Space Blankets and Emergency Weaves Eline McGeorge Heman Chong: Calendars 2020-2096 David Teh Agha Shahid Ali as Krishna The limits of the secular in Kashmir Akhil Katyal From Networks to the Street Global connections and local issues Aline Carvalho Lanchonete Todd Lester Rio Cidade Olímpica Yuri Queiroz Abreu Torres + Lucia Maria Sá Antunes Costa Watching Indian Cinema in South Africa Saba Sharma
126 132 142 149 156 162 167
Section Five Drawing as a Mental Exercise Gagandeep Singh Gurgaon Utopia Anisa Rahim Ruin Atreyee Majumder The Logics and Realms of Small Town Territory The story of Tiruchengode Bhuvaneswari Raman Projections of an Urban Revolution Myrto Tsilimpounidi + Aylwyn Walsh The Unknown Citizen Chandan Gomes Built to Lapse The new transpiring of an old time in architecture Venugopal Maddipati Subject: Exhibition Without Objects Sadia Shirazi The First Kurdish Cinema Conference and the National Question Ali F. Sengul
174 184 190 200 210 216 226 231 240
Section Six Landing Imaginaries An interview with Geeta Kapur Sabih Ahmed Embodied Constructions Banaras through Satyajit Ray’s Aparajito Rohit Raj Mehndiratta Thinking Art in India: A Semi-Virtual Lab Manuela Ciotti + Gigi Scaria Digital Constellation in the ‘Contemporary’ Srinivas Aditya Mopidevi Projecting Tambaku Chaakila Oob Ali Reflections towards a versatile archive of political cinemas Nicole Wolf For the City Yet to Come Planning’s new visual culture Joshua Neves How About We Meet and I Tell You About Music Notation? Mehreen Murtaza + Shehzad Noor Butt
248 257 267 274 284 291 298
Section Seven Apocalypse Akash Gaur Misprojections Self in the age of technoscientific culture Shiju Sam Varughese What Does the Moving Image Desire? Ayesha Hameed Taking Flight Perspectives from the depths of an ideas factory Janine Ramlochan When Ghosts Come Calling Re-‘projecting’ the disappeared muses of Malayalam cinema Darshana Sreedhar + Vinu Abraham
308 317 323 331 336
Section Eight Error | Glitch | Noise Observations on aesthetic forms of failure Charu Maithani Enhancement or Distortion? From the Claude Glass to Instagram Robert Willim Of Civics Fiction and Fictional Civics Sisir C. Anand Representations of Sovereignty at the Boundaries An ode to Elinor Ostrom Anitha Suseelan + Rajeev Kathpalia The Prognosis Monkey Kavya Murthy
346 353 360 366 374
Section Nine Sarai Reader 09: Art as a Place
381
Notes on Contributors
405
Projections: 01 / 1
Projections: 02 / 35
Projections: 03 / 71
Projections: 04 / 125
156 / Sarai Reader 09
Lanchonete Todd Lester
O
ver a series of short visits and long stays in São Paulo, Brazil, since 2005, I observed that the lanchonete (lunch counter) due to its ubiquitous presence and porous, open-front or open-corner design remains a place where the upper and lower economic classes share middle ground – if only to take a cafezinho and pao de queijo standing at the same counter – in an otherwise swiftly stratifying and fortifying city.
Lanchonete is a time and sitespecific artist residency project, with an underlying focus on alternative economy, modes of exchange and societal witnessing in a neighbourhood in the centre of São Paulo, an area home to economic migrants from across South America and undergoing
rapid gentrification. As Latin American cities go, São Paulo is the big, tough kid on the block. With over 20 million inhabitants, São Paulo, a.k.a. Sampa or Cidade da Garoa (City of Drizzle), is perhaps best characterised by its Latin motto Non ducor, duco, which translates as “I am not led, I lead”.
Projections: 04 / 157
Precarity is a term being popularised within the arts community as the state of being dispossessed, with conditions varying from having one’s labour disassociated from intellect; exploitative working conditions; alternative collective forms lacking legitimacy; and the deleterious effect of capitalistic fantasies – e.g., zero-sum game, post-fordism, pareto optimality – on livelihood and general security. Influenced by these same conditions, the notion of an artist residency becomes unmoored and stops being the inhabiting of a space for the sake of solidarity on the one hand, and hospitality in the service of nurturing avant-garde ideas on the other... a bilateral agreement between community and guest, and thus a joint aspiration to empower creativity. Similarly, those desirous of mobility may distinguish – and thus exempt – themselves from those for whom the reality of economic migration is levied as a penalty by an opaque system of global capital… a burgeoning contemporary polis, tens of thousands of people who arrive daily as newcomers – termed wretched (Fanon), homo sacer (Agamben), subaltern (Spivak) – from zones of conflict or economic crisis to relatively calmer milieus where they achieve ostensible safety while often losing their right to have rights (Arendt) as a consequence.
158 / Sarai Reader 09
The project, these images and this text all fall under the title of Lanchonete, but titles are given to books, usually after they are completed. So, to cast Lanchonete as a projection or as a generative vision of the future lowers the scrim of project management and invites a frank analysis of risk-taking and inherent uncertainty. I recently landed in São Paulo for a week-long research residency
(15-21 October 2012). I use the ‘artist residency’ moniker to name (and describe) this period as well as the overall Lanchonete project, while also explicitly questioning the role of newcoming artists as temporary, short-term inhabitants, drawn to fastchanging urban communities through similar circumstances as those that hold a tractor beam between me and the centre of São Paulo.
Projections: 04 / 159
Whereas I am unable to think about artist mobility as anything more or less than a subset of human mobility left unchecked, the notion of ‘artist residency’ attaches itself to capital (and vice versa) via non-profit funding streams, and thus enters a neoliberal economic vernacular – alongside cultural diplomacy – at the crosshairs
of culture funding and nation-statism. As both trope and meme, artist residency becomes a placebo of artist inclusion that simultaneously downplays the need for deep thinking by artists on critical issues, and the idea that innovation resulting from such critical engagement is the primary justification for artist mobility in the first place.
On the other hand, artists are often instrumentalised through compliance with a deployment mentality of state cultural exchange programmes, which are tantalising (and more easily deflect analysis) in the under-resourced space of artists working for social change, irrespective of national borders and foreign policy agendas.
160 / Sarai Reader 09
Lanchonete is a five-year journey that culminates in and around a typical lanchonete in the centre of São Paulo. The first half of the project is for creating an administration and documenting the unfolding bureaucratic process of starting a business in Brazil as an outsider, as well as becoming known and building trust in the community in which the restaurant is situated. The first years will be characterised by site prospecting; asking everything in a phenomenological spirit and weaving new inputs into programme design; explaining myself publically until it feels right; and – ultimately – asking to join a community that is not yet my own. The second half of that period will be running the business (contiguous performance) and the neighbourhood artist residency (series of vignettes) for which the lanchonete is a physical and conceptual anchor… in its design, one performance does not work
without the other. Business as Trojan horse, Lanchonete learns from, plays with and rigorously interrogates the utopic template of artist residency. The lanchonete will have a staff and operate as a bottom line-oriented business; international residents will be invited to live in a suite of adjacent apartments for periods of four to six months; local artists and cultural organisers will join the project in other ways. Whereas I will oversee the restaurant as a business, I can only referee artists’ engagement with the surrounding community – lightly chalking out parameters for its participants – and in that role, strive to engender an atmosphere in which distinctions between worker and guest, international and local will blur as the project, a time-release capsule, dissolves into the city. The open call for artists does not seek a film screening within the space of the restaurant nor a traditional exhibition on its walls, but asks artists to engage the vernacular architecture and practices of its environs, and in so doing invite its customers to – or include them in – something new or seeing something old differently... an overlay to quotidian patterns... moving from imagery to imaginary. Some artists will join Lanchonete through a bartering and pre-booking approach, influenced by projects such as New Life Copenhagen, the Homebase Project (NYC) and the Berlin Office,
which has already begun and will gradually populate up to 50 percent of the residency capacity for the period 2015-2017; however the open call for ideas and expressions of interest is as simple as reacting to this text at saopaulolanchonete@gmail.com. Boiled down, Lanchonete is a constructive critique of the growing/ vague-ing residency sector; a contemplation on gentrification as a way of life (one that is related to other ‘-ations’, for e.g. globalisation, brazilianification,1 commodification); a workplace and station of witness... the panopticon remixed. *** The images used here are from a meandering walk I took through São Paulo’s Centro with local photographer, Pedro Marques. *** The kickoff of Lanchonete happened on Saturday, 20 October 2012, with the research and production support of Casa das Caldeiras,2 through artistic consultation and event production by Ghawazee Coletivo,3 and was hosted at Pivô4 at Edificio Copan, the most beautiful building in the world. Follow the Lanchonete from projection to realisation on the Residency Unlimited5 dialogue platform. n
Projections: 04 / 161
Notes
the creation of an experimental language
contributing to the revitalisation process
1 Brazilianification is defined as the process
[and] practice that forges temporary,
of downtown São Paulo, with emphasis
by which the middle class disappears,
transgressive disruptions in the order
on the uniqueness of Copan building and
and the gulf between the upper and lower
of everyday life through artistic actions,
its surroundings. http://www.pivo.org.
classes widens.
intended mostly for the local, found
br/ (last accessed 15 February 2013).
2 Casa das Caldeiras is a cultural space
and unforeseen public. https://www.
5 Residency Unlimited (RU) creates tailored
in the Matarazzo basin near the centre
facebook.com/ghawaseecoletivo/info
environments of network/technical and
of
(last accessed 15 February 2013).
logistical support for artists and curators
São
Paulo.
http://www.
4 Pivô is an independent platform dedicated
in all disciplines and at all stages of their
to the investigation of contemporary
practice. RU facilitates artists’ visions by
processes of cultural creation. It intends
activating meaningful connections and
made
to promote critical thinking on art,
supporting the realisation of projects on
up of women with different artistic
architecture, urbanism, as well as other
a case-to-case basis.
backgrounds, which investigates the
contemporary manifestations by enticing
Dialogue can be found at http://www.
expressions of the feminine through
a dialogue between creators, producers,
re s i d e n c y u n l i m i t e d . o rg / c a t e g o r y /
artistic actions presented in public
scholars, students and the general
dialogues/lanchonete/ (last accessed 15
spaces. The collective is searching for
public. Within its set of strategies, Pivô is
February 2013).
casadascaldeiras.com.br/ (last accessed 15 February 2013). 3 Ghawazee performance
is
a
action
transdisciplinary collective
The Lanchonete
Projections: 05 / 173
210 / Sarai Reader 09
PROJECTIONS OF AN URBAN REVOLUTION Aylwyn Walsh + Myrto Tsilimpounidi* *M I N I S T R Y
S
ophie Nield provides a detailed characterisation of protests as ‘theatre’ – remarking on the limitations of the term as somehow distinguishing between what is ‘real’ and what is not real (Nield, 2006:54). The performance of protest and revolt is then tested by its own incursions into the ‘real’, when symbolic actions (such as marching, shouting slogans, waving banners) are adumbrated by violence, arrests and rioting. Nield suggests, following Lefebvre, that alternative spaces and times are produced, shifted and determined by radical performances of dissent. In this paper, we engage with the ways protesters ‘project’ potential new ways of being together by mapping a city space through solidarity and in opposition to oppressive forces, by projecting images of Athens, a city facing unprecedented social mobilisation in response to crippling cuts in economic and social programmes.
OF UNTOLD STORIES
The singular compelling imagery of ‘occupying’ as a form of resistance is its multiplicity of voices – the collective mobilisation of the ‘multitude’. Yet the force and urgency of a collective resistance lies in the individual untold stories of its proponents. Rather than glorify the movement as a faceless entity, we embrace the daily stories, struggles and wounds of occupation. ‘Occupation’ is not a risk-free activity; it is underscored by the need for resistance to counter multiple forms of domination and exploitation. Yet resistance must acknowledge the need for personal transformations in order to make a claim for wider social change. We ask you to join us on an embodied trip to discover the streets and squares of Athens and how everyday moments of resistance are performed. There are many forms of occupation and different pathways to social change. Nothing exists in an absolute state. Yet, through small gatherings and everyday gestures,
Projections: 05 / 211
A European protester expresses solidarity with all oppressed peoples during a march in Athens, 2012
we hold the power to destroy the hegemonic blueprint of social order. It is the dynamic of such social projections on the urban fabric that the paper attempts to capture. We do not argue that these projections will lead to an emancipatory promised land; they do not operate as prophecies, but rather they open up new spaces of dialogue and creativity. Theatres of Protest 01 For Nield, there is an important argument to be made about a spatial perspective which “positions protests as activities along a porous border of representation and reality” (Nield, 2006:57), but which also makes a distinction between worldviews that are distinct. In other words, the vehemence with which ‘order’ on the streets and ‘public safety’ are defended are in direct opposition to the mobilised public who gather together precisely in order to claim civic spaces as part of the public realm. Dissent, the right to gather peacefully and the right to protest are spatially mapped. In retaliation, in recent massive gatherings (when German head of state Angela Merkel visited Athens) the Greek police stated 24 hours before the pre-planned gathering that gatherings of more than three people near Constitutional Square would be seen as complicit in the riots. In defiance, protesters assembled there by the thousands, as a means of resisting petty classification. Perhaps this is what Lefebvre might see as a ‘legible’ resistance – a projection of multitudes in city streets that insist on their right to the city. In doing so, new spaces have opened up, in which ‘the outraged’ (aganaktismenoi) have interrupted day-to-day life and the power struggles that it brings forth.
Lefebvre highlights how every emancipatory and empowering politic must have a spatial strategy: “a struggle not in but for a space”, a remapping of spaces and lived experiences, etc. (Lefebvre, 1991). The public space of a city has long been a terrain for struggles, protests and encounters. Roads of hope and multiple belonging parallel the functional cityscapes in an eternal dynamic of liberating potentials. Nield points out that oppositional movements that make use of protest strategies or tactics are not merely ‘performative’, but also hold radical potential in the ways they project shifts in how we occupy spaces (Nield, 2006:53).
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As our first image demonstrates, a collective protest mobilises the public in ways that trouble the dichotomies between local/global, real and representational. The protester, swathed in a range of flags, disturbs assumptions that oppression is only confined to nation states, and reminds us of the wider context of mobilisation across the globe. The protester is at the same time an individual and is also standing in for all individuals in all the localities he references by the national flags draped across his body. He is both himself and not himself, a projection of ‘outside’ in the central square of Athens. Central squares are transformed into meeting places for assemblies, and walls occupied by street artists become visual reporting forums on public display, projecting an imagery of an active civil society. It is compelling to see the ‘Occupy’ movement as theatrical – we have witnessed people assemble around the symbolic – choosing to congregate in meaning-laden places. We might further scrutinise the ‘stage-management’ of Occupy movements around the world. Joining hands and voices with the protesters, experiencing police brutality in a peculiar choreography of the occupation of public space. All have the aim of subverting the hegemonic uses of space, by re-appropriating the notion of citizenship. These moments of rupture can open up new possibilities and forge paths of solidarity. These are strange and compelling dances of solidarity, the new ways of being together in spaces where bonds of care are forged not through political affiliations, but through proximity and common experiences. These are performances of civic participation; some theorists have called it direct democracy, some have become enthusiastic about the agora, similar to the general assemblies of Occupy, where instead of shouting slogans, people gather together to discuss issues.
A masked figure as a saint, painted by street artists JNOR/NDA
But it is our assertion that we can use performance in another way as a means of interrogating the collective experiences of people who gather in streets and squares. Much of the media coverage of protests in Athens positioned activists and protesters as ‘protagonists’ fighting for their cause – or ‘antagonists’ of the status quo. Such a view positions the implied media consumer as somehow other to these gatherings – as a distant viewer watching the projections of protest and revolt via the screens of sanctioned media. Instead we might even position these gatherings as the audience, who are themselves scrutinising the projections of their realities on the city streets, and who have begun to transgress the divide between projection/reality; audience/participant.
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Nield states that: The space of resistance is a dis-location, rather than an opposition. Other worlds, other spaces, are implicated in it. It can invoke spaces which may not exist yet; which may only exist for the duration of the event, but which, being materialised there, become possible (Nield, 2006:61). According to Henri Lefebvre, the city is always related to society in totality: its history, main elements, functions and the synthesis thereof. Thus, the city changes whenever society shifts. However the transformation of the city is not the passive result of social cycles. It is also dependent on the direct connections between persons and groups that form society (Lefebvre, 1977:63). The central Athens of previous years is now a terrain of conflict and metamorphosis. Urban identity has been inevitably affected by the current socio-political transformations, as can be witnessed in daily performances of resistance, particularly in the uncanny and imaginative ways people occupy city spaces. We are arguing that resistance is a space of radical openness, in which the self is re-imagined in relation to its landscape – and, in turn, the landscape too is remapped. Theatres of Protest 02 Myrto (addressing the projections of Athens. She unfolds a letter she has written to Athens and begins to speak back to the city, projected onto the walls and screens): “Athens, you urban bitch of cement dreams, we have been apart for so long but still I call you ‘home’. “I grew up in your shadows, or more correctly, I grew up with you – so our relationship follows the Freudian notion of family ties: I’ve embraced you, only to reject you a few years later. Now, from a distance, I am in danger
of becoming nostalgic. Bear with me. Sometimes, I could see myself reflected within your cityscapes, and I think now we’re in the process of resolving the Oedipus complex between us. But let me be a bit more explicit. “Throughout my first steps, you breastfed me with your urban grand narratives, and in turn I was spellbound by the ‘birthplace of democracy and civilisation’. I sat on marble steps overlooking the Acropolis, reading Plato and Socrates, overwhelmed by an idealistic assurance that this was part of my history. “It is true that every form of nation-building evokes the sentiments of a glorious past, but you, Athens, believed you had the admiration and acceptance of the whole world. Who was I to question such a great heritage? My urban playground of broken marble pillars and identities. “It took me some years to read the small letters and the invisible footnotes to this grand story: the Acropolis was the product of slavery; in the great Athenian democracy, only upper-class males had the right to vote; in short, whoever was not an Athenian was a barbarian. You xenophobic snob! During my adolescent urban explorations, I understood that, like many capital cities, you are a city of strangers. Refugees, survivors, displaced people and revolutionaries came to call you home. Stories from the civil war and the dictatorship were commonplace in family gatherings. So many war stories and different names for ‘the barbarians’ – I’ve lost count. In modern Greek history, we were the first generation to not experience war – whether as civil war or military coup. Thirty-five years of peace – enough to create a dream of la dolce vita. “But, Athens, cities are like living organisms; they do not explicitly tell their past, but contain it in the small alleys
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and cracks on the buildings. And your maps signify a thousand stories: not all of them glorious and genteel. Anyone could have predicted something like the social crisis you have experienced over the last two years, if they just understood the bubble. For the last 15 years, Athenians have experienced the Cinderella phenomenon: a sense of prosperity, an expanding job market related to the Olympic Games of 2004, new infrastructure. People were lulled into a sense of financial security, driving fancy cars; this was a generation of Ray Bans, nightlife, opa! “We lived our myth of Europeanisation and the Western lifestyle to the extreme. We had achieved our pumpkin chariot: a European profile and a happily-ever-after capitalistic lifestyle. And the clock struck midnight… and Cinderella transformed… “Us: a generation implicated in bribery, clientelism, corruption and mismanagement. “You: a city still looking for the Barbarians – like a mythic heroine blinded by hubris, yet to wake up to the realities of your present situation”. The projections begin to fade. Athens is no longer a steadfast image of a glorious capital city, but a site of conflict and renegotiation. A city of multiple projections and desires. The ‘occupations’ are neither crushed nor quelled; they are transformed into new ways of being in the city, with a new mode of examining the frames governing our behaviours. There is a call, then, in navigating street politics and performances of resistance, to rework ‘the right to the city’ as the ability to transform the self and imagine the city to come. The existing order is not something which can be destroyed by a revolution; it is a condition, a certain
relationship between human beings, a mode of behaviour; we destroy it by contracting other relationships, by behaving differently (Landauer 2005:165). By encountering flickers and stories of urban change through media, images and this brief paper, we are ourselves projected into the spaces of change. Together, we may conquer the current space of economic austerity and produce spaces in which new potential can emerge. n
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Protesters and fire projecting each other PHOTOS: MYRTO TSILIMPOUNIDI COURTESY MINISTRY OF UNTOLD STORIES
Bibliography • Landauer, Gustav. “Weak Statesmen, Weaker People”. In (ed.) Robert Graham, Anarchism: A Documentary History of Libertarian Ideas, Volume One: From Anarchy to Anarchism (Black Rose Books, 2005, Montreal). • Lefebvre, Henri. The Production of Space, (trans.) Donald Nicholson Smith (Blackwell, 1991, London). • Nield, Sophie. “There is Another World: Space, Theatre and Global Anti-Capitalism”. In Contemporary Theatre Review 16(1), pp. 51-61 (2006). • Tsilimpounidi, Myrto and Aylwyn Walsh. “It’s a Beautiful Thing, the Destruction of Wor(l)ds”. Unpublished Script from Performance by Ministry of Untold Stories (2012).
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THE UNKNOWN CITIZEN Chandan Gomes
I
9:15 pm, 16 December 2012 I made a photograph of my dear friend S in a nearly empty bus. We were on our way to a colleague’s flat for a get together. Around the same time, not far from where we were, a 23-year-old paramedic student was being brutally assaulted in a nearly empty bus, just like ours. Her friend was also not spared. The next day I woke up to the news of her ordeal and the presence of that photograph.
too took to the streets, like the many young women and men of this city, in a bid to get rid of our collective helplessness. We wanted to reclaim a city that we had lost to our apathy and indifference. Thousands of us occupied Rajpath, the most powerful corridor in our country. Tear gas shells were fired and water cannons were deployed to disperse us, to scare us. Many were heartlessly beaten. We tried to protect each other by forming human chains. We shared water and Parle G biscuits; we shared stories and memories. We held our ground for we knew we were bound to each other by compassion. Slowly but steadily the movement found its way in every neighbourhood, every alleyway of Delhi. Similar protests were triggered across the country. Ordinary citizens, faceless citizens, unknown citizens came out onto the streets; they were not called upon by a political or a religious outfit – they came out on their own to occupy a space that rightfully belonged to them, to confront their passiveness and of those around them.
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On the 22nd and 23rd of December 2012, we felt the pain and the insult that fellow countrymen in Manipur, Kashmir and Koodankulam have been bearing for quite some time now.
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I took this photograph just after being dragged by the collar by a policeman. I too would have been beaten up if it were not for the camera in my hand.
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Over 350 tear gas shells were fired at India Gate on the 23rd of December.
Water cannons were also employed every now and then.
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The poster reads ‘We are ashamed’.
She passed away on 29th December, 2012. We knew we had let her down. We knew she, like many others before her, had fallen victim to our apathy and passiveness.
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We pledged not to remain silent; we pledged to reclaim our lives, our freedom. This city of ‘silent’ beings has transformed into a city of spirits. They reclaimed this city on the 22nd. They did it again on the 23rd.
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And on the 31st, they reclaimed our nights – desolate bus stops and abandoned roads were transformed into pockets of hope, courage and empathy. These spirits are faceless. Like you and me. Thousands have witnessed these protests – some while waiting for their buses, some from their balconies, some in crowded market places. Maybe only a few thousands candles have been lit, but there are millions who carry their light in their hearts, in their minds.
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Raat mein bhi Azaadi. Din mein bhi Azaadi. Pyaar karne ki Azaadi. Dosti karne ki Azaadi. Moral Policing se Azaadi. Pehnave ki Azaadi. ‘Denting-Painting’ ki Azaadi. Is rape culture se Azaadi. In gaaliyon se Azaadi. Jeet ke lengey Azaadi. Pyar se lengey Azaadi. Hum le-ke rahengey Azaadi. Naye Saal mein Azaadi. Kal se lengey Azaadi. Ab se lengey Azaadi. Freedom at night. Freedom during the day. Freedom to love. Freedom to form friendships. Freedom from moral policing. Freedom in what we wear. Freedom to be ‘Dented-Painted’. Freedom from this culture of rape. Freedom to not be called names. We’ll win our freedom. With love, we’ll take our freedom. Whatever happens, we’ll snatch our freedom. In the new year, there will be freedom. From tomorrow, we will seize our freedom. From now on, we will seize our freedom.
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Let us not forget, let us not rest in peace.
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Thinking Art in India: A Semi-Virtual Lab Manuela Ciotti + Gigi Scaria
Encounters • Manuela: Live encounter with Gigi on Easter Day 2012 in New Delhi. Chasing artists who exhibited at the India Pavilion at the Venice Art Biennale the previous year.1 I saw the art works; I now wanted to see who made them. I wanted to trace the connection from the object back to the maker, and look at what happens along the way. I entered that elevator, I went up and down.2 Visualising home interiors, eating South Indian food, meeting Gigi’s family and being shown art works in catalogues and on the computer. Surrealism at its best, time passing unnoticed and a lot of laughter. Wanting to know more about what art-making in India means today, where it is going, who is (un) making what, how ‘India’ features in artistic production and, above all, why. With Gigi in mind, I was curious to know what moves a Delhi-based artist, what that ‘based’ is all about, how he ends up making the things he makes, how he talks about ‘India’ without putting it into the picture, or putting it in the way
others don’t. Oh, too difficult, I need to know more. • Gigi: Yes, Manuela came to visit me last Easter in Rohini. There is no specific significance attached to last year’s Easter except for the fact that it was ‘Resurrection Day’ for a new set of laughter. We talked a lot and joked a lot. I was surprised by the pure Hindi coming from an Italian tongue. The only other Italian woman I know who speaks Hindi in Delhi is Sonia Gandhi. But Manuela’s Hindi was far ‘superior’, with proper accent and grammar. I have no clue on how to start and where to start with my adventures in the capital city. But when I landed in Delhi in 1995 – straight from another capital city called Trivandrum (now Thiruvananthapuram) – I was really struck by the similarities between the two. Difference of language aside, I smelt the power, the starched white collars and the laziness in the air. But Delhi changed a lot over the past 15 years. Things such as malls, the metro and CNG appeared. Over these years,
I witnessed change not just in Delhi, but in Kerala and in other parts of India too as I kept on travelling. Change took place in India like a bush fire, a kind of ‘uniformity’ descended upon us, and has been witnessed by all of us, all over India. As with the economic boom, this came as a real surprise. All of a sudden people started to think alike. They thought about the same brand, the same lifestyle, and had the same body language, tinted with the same arrogance. India’s dramatic change was like a new layer of debris glittering on old trash. One thing was clear though: we began to assert our position on the ‘white globe’. We no longer wanted to be known as the ‘third world’. We began to call ourselves ‘the world of strategy’. • Manuela: Coincidentally, I began my inquiry into things ‘Indian’ around the time you moved to Delhi. However, unlike you, Gigi, the metropolis was not to become my compass. The village did, and that in north India. There was where my ‘Hindi school’
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happened. Over the years, I recorded a different change, not the self-evident one which marks the built environment – like that which became very visible in Indian metropolises – rather that change visible in the ways subaltern communities carried themselves, talked back to a system which had long neglected them but also got on with their lives, as part of Indian society. Malls, hotels, ATM machines and other impending signs of ‘the world of strategy’, and the overall construction fever, appeared in the urban space closest to the village too, and their presence became as ‘totemic’ as the pre-existing array of temples and old buildings in the city. But do changes in the built environment reflect changes in social relations? Hmmm, I doubt. Perhaps you, Gigi, have an ‘urban’ answer to this. • Gigi: Perhaps it all started by observing changes in everyday life. Metro cities in India are a microcosm of the country. Sometimes we knowingly apply the ‘rule of universality’ to such microcosms, and it often works. Many layers of contrast within a society open up the possibility for new encounters at every moment. I started mapping the city. I went into thick and thin gullies in Old and New Delhi. I saw the drainage system broken all over, and the heap of human waste stuck in the middle of traffic jams. My first
encounter with Madangir and Laxmi Nagar neighbourhoods made me rethink the logic of civilisation. Maybe Kerala was too clean a place to live in. But I placed myself in the middle of a crowded junction. I moved in and out to different gullies and again went back to the same junction. My approach slowly developed its characteristics. I found myself observing as well as reacting ‘aesthetically’ to the visuals around me. Maybe aesthetics is too big a term to deal with, especially for someone like me who has Marxian blood in his veins. But life goes on, and now I don’t shy off using the term ‘aesthetics’ at all. After all, we talk about visuals and appearance, whether it is about the city or social behaviour. • Manuela: See, Gigi, I reacted to what I saw in writing; the visual dimension has been absent in my village-based reflections, and I found it difficult to reproduce it in a text. One just needs the thing. For some reasons, people’s words and mine occupied a prominent place in my efforts to try to understand India’s transformation through the eyes of those subaltern communities. Later on, another symptom of change (or symbol of change?) captured my attention: art, the market behind it, the people who make/buy/look at art – and it is difficult not to go visual there! And I too have deployed the term ‘aesthetics’, although in a different
way from you. I used it as something generated by art production but referring not to it, but to Indian society. I am in fact trying to understand how “the relationship between art and market has engendered an aesthetic of social and economic change”.3 You react and make (and write about your own making); I react and write about others’ making, buying, appreciating, and produce my own explanatory narrative. And now we talk about them! Wings of Perception • Manuela: I grew up in a place with a strong museum culture, saturated with art and with art history in the school curricula. I often wonder: how do the built-environment and the aesthetics of it influence the way one perceives/ understands/relates to art? It is quite difficult to talk about what has surely become part of my cognitive make-up but has never become the subject for self-reflection. It is a question which came up when I began to write about art, and I am sure it will accompany me for quite some time. What if I had grown up in a tropical forest? Gigi, how was this for you? • Gigi: Given that you mentioned a tropical forest, mine is a classic example of that. I grew up in Kerala but had a basic understanding of what was happening in the visual arts.
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Each region of India is exposed to the art of that region, with its unique understanding and perspective. The idea of the museum and the classical, modern and contemporary art world may not be immediately available to the people living in a given region. But each society – no matter how ‘primitive’ – understands the power of the visual and the narrative structure which it has carried over generations, and enjoys the pleasure and the happiness the visual generates among individuals and collectives. I don’t want to discuss the usual subject of tradition and modernity when I talk about our understanding of art. It is not because that subject has no relevance in the current times, but I am bored of it. I must say I understand art inside the museum as well as outside it. At the same time, my understanding of art does not come from the notion and the function of the museum and the gallery alone. My understanding is shaped by a series of doubts and observations on life in general, and many curious encounters with certain thinking logics, and by efforts of making sense or nonsense of my current existence as opposed to my previous births and incarnations. Culture contributes in great degree to your thinking habits. Often one tries to break that. But, I must admit, culture is a creature, a monster, which swallows up whoever speaks against it. This is the tricky part
that all of us are struggling with. We use the tools of culture to break its logic by creating another culture, and then we get consumed by the same culture against which we were fighting in the first place. It is another vicious circle of death and rebirth. So let me put it very simply: my understanding of art actually does not come from art. • Manuela: Ah, I think we share the engagement with structures (and strictures) of knowledge which shape everything we wish to make an intervention upon. This is a tough job as those structures are resilient! As for my understanding of art, this is shaped by the awareness that art lives both in the museum and outside it. I often associate art to the museum because that is what has been its repository par excellence in my culture. But my research interest on art has another source: it was the materiality of it, the agency of the making and the why of the making, which drew me to it. It has to do with my anthropological genes. And as we are both interpreters of Indian society through different media, what I am currently exploring is what art stands for right now, in particular contemporary art. Why, at this very historical juncture, is India producing contemporary art, and what kind of society is this art talking about? Even when I think of art produced in the diaspora: the
umbilical cord to India has not been severed, rather the contrary. There must be a reason why art produced by artists of Indian descent is presented as ‘Indian’. • Gigi: If we are aiming to pin down the ‘Indian-ness’ of Indian art, this is a very complex issue. India has always been producing contemporary art, but it has been noticed by the ‘western’ world only recently. They only understood India through the lens of the world of ancient wisdom and Hindu civilisation. I understand that we lack a modernity which resulted from the industrial revolution and the planned urbanisation of this part of the world. We don’t have a fully developed modern era in order to connect to the ‘post-modern’ or to the contemporary. But at the same time, we made a huge leap from a preIndependence to a post-Independence world. Though time is a linear concept, we live in parallel times, where one could experience multiple time-zones within the same geographical zone. So, contemporary art lives in parallel to traditional art as long as we are aware of the existence of these parallel time zones. The art produced from this geographical zone will obviously have certain qualities of the land and its thinking structures, as in the case of Europe, South America, Asia and the Pacific. If you call it Indianness, that is unavoidable.
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The Market of India • Manuela: Sure, there is a profound link between art and the geographical region in which it is produced, and when it is produced. On this, one interesting aspect of contemporary art from India is, as Kavita Singh has argued, the ways in which private enterprise acts as a substitute for the public, and given the government-run museums’ limitations in collecting contemporary art, a private collection might be the most important repository for art produced over the past decade.4 The role of the private together with that of the market affects significantly the relation between the symbolic and material value of art. And given that the rise of contemporary art has taken place in the context of rising mass-consumerism in India, this too is important. But the market is not the only driving force behind the wave of contemporary art in India today, right? In fact, a great deal of what of you do, Gigi, is not market-funded, as there are museums and foundations involved. And many are abroad. Abroad and not abroad. I have seen a lot of contemporary art from India out of India. That’s how my interest in contemporary art – which as I said earlier, I view as a symbol (or symptom) of change – began, with an exhibition in London.5 How did the art get there, by whom and why, and why should people be interested? Give me a reason or two, or more. And thinking more
of the role of the market I mentioned above, I am also reflecting on the tension between the art world’s trends of inclusiveness (increasing museum access, educational programmes, and the process of democratisation of art more generally) and exclusiveness (the elitist nature of the art market and its own inclusive modes such as affordable art fairs and galleries in malls amongst the others – which nevertheless remain out of the purview of the masses): how does the public and private axis inform these trends in India? At this point, I can no longer distinguish between public and private. But I think I should be able to. Help? • Gigi: I think the role of India within the global economy was the initial motivation for the western world to look at the art being produced there. A very similar story to that of China but which, in the case of India, happened much later. India has been once again a curious place for investors to look into. However, this time the snake charmers and the great old tradition have taken the backseat. The world was curious to watch how ‘traditional’ India copes with ‘modern’ India – though both these terms were contributed by the ‘great old western tradition’. They somehow observed how contemporary life thrives in newly developed urban spaces which are ‘devoid of tradition’ and now hold a confused market
value system. Curators invited Indian artists to explore the emerging and more spectacular aspects of urban change linked to mass consumerism. The outcome was a series of Indian art shows in the western world. Some made a successful contribution towards introducing contemporary India to the world. But many fell into the exoticismfilled-new-bottles mode. I sadly realised India could never come out of its exotic existence from the moment its name is spelt. We live with many contradictions: western observations of India could be the finest of all. • Manuela: I have also wondered about India’s re- or de-exoticisation through contemporary art.6 That’s why I raised the question of ‘Indianness’ earlier on: there is a fine line between drawing from one’s own regional background and re-exoticising practices. And speaking of names, as you just mentioned, the very label ‘Indian’ attached to art engenders a whole set of expectations on audiences who might want to be shown ‘Indian’ motifs, iconography and traits they are familiar with. You’ve got to see an elephant, a god and a lot of colours. • Gigi: Also, I do always distinguish between the public and the private. Our country is the best place in the world to see these differences. Public here is filthy, chaotic, noisy, contaminated
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and survives by the will of God. It is where the traps appear in the shape of a manhole. It is where the cracks in the middle of the road lead to eternity. But private is different. It exists within the gated communities among the debris. It mingles with the rest of the world as a curious outsider. Unfortunately, art made its space there. Even if it goes out from that space in the name of an out-reach programme, it invites its own communities to be viewed in a dislocated space. So the question of who art is for has no confusing answers. It is always for the artist who makes it and for the immediate world which connects to him or her. So far, I haven’t come across a system of alternative practice in India – that is one which opens up one’s creative energy to a wider audience than the existing one. • Manuela: Perhaps it is because of the lack of contemporary art museums and public spaces for art that these alternative practices have not found their way to India? It is undeniable that the ‘fever of the contemporary’ is still to spread – especially in terms of infrastructure. And as you mentioned China earlier on, just the other day I visited the 9th Shanghai Biennale, ‘Reactivation’, hosted in a restored power station soon-to-be-turned into the Shanghai Contemporary Museum. A free-admission impressive space.
At the exhibition’s third floor, I was nicely surprised by three exhibition staff who – when they saw me – began dancing in a circle and sang: “Ooh, this is so contemporary, contemporary, contemporary, this is so contemporary, contemporary, contemporary...” as if the contemporaneity of the whole Biennale wasn’t already enough! Perhaps the contemporary in India has thus far existed in those dislocated (closed-off) spaces that you have mentioned or in private collections. Dialogues and Lab-oratoring • Manuela: Skype throughout, since Delhi encounter. A ‘place’ of thinking in-between encounters. Sometimes, it also serves to exchange material imaginaries: “Have you seen this”, pushing the object or the image against the webcam. “What is it?” Yes, Gigi, but speaking of imaginaries, and also given that you haven’t fallen prey to reexoticising desires, I still want to ask you, what is in your head? Why do you do the things you do? How do you feed your imagination? God, my own head is full now. • Gigi: Skype is a fascinating way to communicate. I always wonder if we tried to get access to the Skype conversations happening all over the world in a fraction of a second, what kind of narrative we would get. Through Skype, we frame ourselves
into a conversation, a conversation which can be directed with the ability of a filmmaker. We sit and chat across different continents and adjust our time with a mental ability to receive the other person’s image or his/her surroundings. Skype is a stage to perform on with a lot of intimacy and passion. Through this mode of conversation, you will be able to frame yourself in the way you want to be viewed by the other person. No other medium of communication will have the power to control your own image. ‘What is in your head?’ is an interesting question. Essentially, it is about observing my own life as well as the ones I am surrounded by. I try to understand the way situations are created or evolve towards a story which has not been told by anyone before. I might frame it visually or make many versions of it in order to challenge my ability to deal with it. While engaging with this narrative, I certainly travel through many other narratives which are not directly linked or have nothing to do with me. There, I see the possibility of ‘history’ being made instantly in front of me. My head spins around behavioural patterns and cultural codes which make me a social being. In short, it would be more appropriate to ask what happens when my head is alert than what is in my head. And, if I stayed back in Kerala, I would have produced very different art, so moving around has enlarged the range of
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experiences I described above. When you are creatively involved, you are engaging with a cultural space which already exists: whether you disagree or agree or want to remain out of it, you are adding another space to the preexisting one. The experience of living is generated out of these actions. But the feeling of ‘living’ is not very easy to experience. The agony and pain one has to go through to realise that one is living can be summed up as a ‘short story of life’. I do what I do just because I want to think that I am living. I do therefore I live. • Manuela: I am not ‘space-driven’ when I do things, but I have a very similar view on the ways our imaginaries are fed by movement and the experience of the elsewhere. This is reflected also by how I have come to conceive my exploration of contemporary art from India: if I looked at it only in India and not out of it, I would produce an account which ignored other important dimensions around it – circulation, for example, just to mention one. And about doing and living, my research and writing on art really made me feel more alive than ever before. Sometimes museums (and exhibitions) have moved me. Earlier this year, I entered the Art Institute in Chicago, and the building brought tears to my eyes. The collections were unimaginably beautiful (and I have seen a lot of art in
my life). I think this is one of the things which ‘public’ should do to people. Gigi, do you want to move people or invoke something else in them?
Notes 1 Manuela Ciotti. “The Nation’s Aesthetic Production:
‘India-out-of-India’,
or
a
National Pavilion at the 54th Venice Art Biennale”. Paper presented at the
• Gigi: If I said I would like to ‘move’ people through my art, I would be overambitious. I would like people to think about what they see or experience at least for a fraction of a second. If I achieved that, I would be happy.
University of Warwick, 25 September 2012. 2 Gigi
from
three-channel
the video
installation with sound, video duration: 10 min (2011). 3 Manuela
Anti-epilogue Beside the ongoing conversations, Manuela and Gigi also share the global predicament of hyper-mobility and interconnectedness. Manuela travels, Gigi travels, questions travel. Places change, questions stay. Answers linger. One example: Gigi is in Australia, Manuela in South Korea. Gigi lived in South Korea, he suggests galleries and palaces. Manuela remembers having being shown works by Gigi about the Seoul metro station.7 Gigi asks, “How was the Gwangzhou Art Biennale”? “Memorable, but installation after installation, I really wanted to see a painting”, Manuela replies – more thinking on genres is required here. Questions only increase in number. “What are you doing there?” Manuela asks. “I am thinking of a solo exhibition I am going to have next year”, he says. Manuela wants to ask, ‘How do you think about an exhibition?’ But then she doesn’t, she’ll do it next year. n
Elevator
Scaria.
Subcontinent,
Ciotti.
“Post-colonial
Renaissance: ‘Indianness’, Contemporary Art and the Market in the Age of Neoliberal Capital”. In Third World Quarterly 33(4), pp. 633-651 (2012). 4 Kavita Singh. “Where in the world” (2010). Available at: http://globalartmuseum.de/ site/guest_author/163 (last accessed 23 December 2012). 5 See the analysis of the exhibition ‘The Empire Strikes Back: Indian Art Today’ in Manuela Ciotti 2012. 6 Ibid. 7 Gigi
Scaria.
‘Triviality
Existence’, 2008.
of
Everyday
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What Does the Moving Image Desire? Ayesha Hameed
I
am thinking about residues and afterlives. It is over a year since the death of Muammar Gaddafi, and this event has been superseded by so much more in Libya and by so many other violent events. Right now the news is saturated the world over with the recent rape and murder of a woman on a bus in Delhi, and the blogosphere and social media are full of the most incisive accounts and photographs of demonstrations, vigils and militant men and women up in arms, in an attempt to come to terms with the horror and outrage shared among so many. So why talk about the images surrounding the death of an antagonist who was so contentious to begin with and whose death isn’t even recent news? What I think is that the residual images of a slightly aged news story might reveal the architectonics of how moving images as news circulate and gain meaning and resonance. This follows Walter Benjamin’s method of looking at the decay of the Paris Arcades as a clue to his own time. We see our present moment through images recently passed that have lost the gloss of the new. Speaking about the death of Gaddafi confronts an event so violent and images so difficult to watch that it forces me to make a distinction between the event itself and its representation. And to cross that threshold is to tempt fate and to become complicit with the profane violence that these images record. But of course it is impossible not to cross that limit as that limit is where it all happens. Shortly after Gaddafi’s death, British journalist Jeremy Paxman interviewed filmmaker David Cronenberg on 26 October 2011, and asked him what he thought of the cell phone images that captured the moments leading up to the death of Gaddafi.
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Jeremy Paxman: What did you think when you saw these images of Gaddafi? David Cronenberg: What surprised me was that Gaddafi, who was never a favourite of mine, I was suddenly feeling quite sorry for him. I felt huge empathy, and it was quite striking to me that I felt that way. It surprised me, and I think it was because I felt at that moment he had been stripped of all context, and he was a human being who was suffering and being, you know, assaulted. JP: Do you think that the instant availability of that sort of footage, and it is now instantly available (and we didn’t show most of it there), it is pretty horrific. Do you think it affects us? How does it affect us? DC: Well, as I say you can make a case for it enhancing our sense of empathy for people, you know. I mean, it’s easy to say we are being desensitised because we see a lot of it, but I don’t really think that is the function. You know, that’s something that’s been mentioned to me because my earlier films were all horror films, and people would say, “Well, do your films desensitise people?” and I think not, because I think people really understand there is a difference when you are seeing a fictional context. JP: Absolutely. They understand the artifice involved in cinema. That is not artifice. DC: It is not artifice, and it draws forth a completely different reaction, I think, from us. I remember looking up on the Internet and watching a beheading, and I wish I hadn’t seen it. I mean, it was so disturbing. JP: Why did you do it? DC: You know, I felt I needed to confront the reality of what was going on. JP: But you didn’t need to... DC: …and what really disturbed me about it was the perpetrators of this beheading were incredibly self righteous. I mean, you could see they thought they were doing a wonderful, sacred, holy thing, whereas on the human level, it was absolutely hideous. JP: But you were drawn to it. DC: I wasn’t, no, I actually had to compel myself to watch it, almost feeling that I needed to confront what was going on in the world at the time. I never watched another one. JP: Why did you feel like you needed to confront it? DC: Um, because you read about it, but no written description can really deliver to you the full texture of it. JP: But you know exactly what happens just from the word ‘beheading’. You know what happens when someone is beheaded. DC: No, you don’t... JP: I suggest you do. Their head is cut off, and they’re dead. It’s a horrible thing to do to someone. DC: No, no, no, but you know, when you think of the guillotine, and you think oh you’ve seen it in movies, and you’ve never seen it because there was no film at the time of the French Revolution, the guillotine comes down, schoonk! And the head falls off, and we’ve seen it... in movies. This beheading took ages, it took half an hour and it was agonising, it was not even like a slaughter house, it was much more efficient. It was a ritual...1 When I first watched this interview, my first thought was: Why ask the director of films like Crash and A History of Violence about this? What could he possibly add to this discussion? The interview reveals the complicity of desires created in fiction and news. There is a cinematic desire of the news which shatters the expectation of reality created by film. In the interview, Cronenberg initially distinguishes between fictional violence and real violence, but later on, when he talks about the beheading he saw on the Internet, he argues that schoonk! our expectations of how violence plays out in the real world are created by the cinema.
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But more striking in this conversation is Cronenberg’s ethical compulsion to witness the beheading. What does it mean for him to be compelled to see these videos rather than be drawn to them? What makes him a special kind of witness? And what is the nature of the desire of a fiction film director for these other images? Does how we read these images through one another translate into the need of one kind of image for another? Desire can be seen as a kind of projection of one image onto another. According to WJT Mitchell, we confer more power to images than they actually have.2 Images, in his conception, function from a subaltern position that desires rather than dominates. What images desire varies, I am sure, but in this context, I would contend that they desire one another and through this create a circuitry, an economy of meaning. What links them together, the thin matter of desire, is a form of projection where fictional images covet news and vice versa, and viewers blur the distinction between both in order to create a chain of intelligible meaning of a world made uncanny through violent events. What would an image’s projection look like? Lorraine Daston describes the history of the concept of projection as a quest for a purely receptive object that would take on the imprint of the projecting subject.3 The normal course of projection is when there is a clear distinction between projecting (active) subject and receptive (passive) object. When these distinctions are blurred and the receptive object begins to spill its own projections outwards, then all hell breaks loose to a most pathological and wondrous effect – so that subject and object connect to and penetrate one another. Images that project onto one another constitute such a reversal. Rather than simply being the repository or passive matter projected on by their viewer, their subaltern desire spans news images and fiction and wondering viewers, and from these arise a constellation of projections and monstrous affects that are all the more delineated in the violent imagery in the images of Gaddafi’s death. Lots has been said about the images and videos that have circulated on Gaddafi’s death, so in a way, what is there to add? Except that these images and those subsequent images used to take stock of this event still have an uneasy afterlife. What many of the editorials in The Guardian and the BBC and elsewhere share is a sense that there is a ‘too much’ to the violence of the images, as they enter into ambivalent debates on what the ethics of showing these images are. There is a ‘too much’ to the violence, this is ‘pornography’, this is excessive. But I want to unpack this word, pornographic, when it is attached to violence. I think it’s too easy. What lies in this excess, what do we do with this excess, how do we narrativise this excess? Who is this excess for? Or really, who are these images for? In a Guardian editorial days after, Jonathan Jones writes: When I look at this photograph, what do I see? War. War and nothing else. How many times do we need to be told that war is hell? The phrase has lost all meaning for us. Think about what hell is. Hell, in paintings by Bosch, is chaos. It is meaningless, monstrous and lacks any place of safety or redemption. This picture of Gaddafi dead is a day in the life of hell, also known as war: a corpse photographed for souvenirs, displayed to satisfy the oppressed, in a moment of violent gratification. When NATO intervened in Libya, what we see in this picture was probably the best – not the worst – outcome on offer. And we should be grimly glad of it. What fantasy makes us long for some impossibly dignified and humane end to a bloody conflict?4 In bringing up and linking to Bosch’s Garden of Earthly Delights, Jones’ editorial is not unique. It isn’t the first that refers to Capital A Art in order to take stock of the affect of these images.
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Garden of Earthly Delights, Hieronymus Bosch (selection), dated between 1480 and 1505
In fact, what I was struck by was how many art writers, not art historians, not Middle East news reporters, were jumping into this conversation and turning to the old masters and to classical myth to somehow account for what happens to us when we look at these images. So we have references to Holbein, to the Roman Emperor Elgebias, to Hogarth’s images of dissection. And this turn, I would argue, is not simply an aestheticisation of this event, or even the revealing of its immanent aesthetics, where the event itself produces its own imagery that contains an aesthetic quality that is germane to its historical and political existence. Perhaps Jones is nearer the mark when he talks at the end about the element of fantasy in imagining a bloodless end to war. But this is the kind of fantasy that is stillborn at its very moment of conception because there is a stronger fantastical element it has to contend with – Gaddafi himself. Because what else was Gaddafi’s life but the most fantastical, emblematic rise and fall? This is a fantasy in the real world, a fable come down to earth, a fairy tale told through the detritus of the Internet rather than in the pages of a storybook. In the multiple images surrounding the capture and execution of Gaddafi, there is not one image that claims definitively to pinpoint his moment of death, and the ‘secondary literature’, the editorials and analyses, makes much of this aporia. With the loss of the moment of death, the narrative of his epic fall falters, for we don’t know if what we see is a living being, a person, or a corpse, a dead thing. What we see is a stretched-out depiction of this liminal state that robs the story of its catharsis. What we have then is a fable without a moral, that cannot delegate a subject of responsibility, a negative of a fairy tale. And this affective void becomes the progenitor of a new set of images, sublime, high art images that we culturally can hang our hats on. But of course it is more than that. Jack Zipes describes how fairytales are placeholders for the desire for the heimlich, the homely, from a position of the wandering protagonist and of the reader who leaves herself and her world to follow the protagonist home.5 This tale, both magical and profane, leaves no breadcrumb trails, no transition from the extreme violence of the images in the news to news stories more mundane, there is no moral, no closure to the violence, no attribution of responsibility. No good guys and no bad guys and no moment of death. Which means: no moment of life. Into this uncompleted desire for home, for the return to the known, rushes the image. Not simply in the emblematic piling on of images by Holbein and Hogarth, but the materiality
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“Gaddafi’s Condoleezza Rice Photo Album Found At Tripoli Compound”, The Huffington Post, 25 August 2011; “‘I love her very much’: Photographs found in Gaddafi lair of Condoleezza Rice, the tyrant’s ‘darling black African woman’”, The Daily Mail Online, 26 August 2011; “Is this the Yankees fan who shot Gaddafi? The 20-yearold who claims to have shot dictator during brutal melee in despot’s final moments”, The Daily Mail Online, 21 October 2011
of the images circulated take on a new life. The value of the ‘poor’ image, as Hito Steyerl calls it,6 lies in its low resolution, in its ease of circulation – a valorisation of the state of unheimlich that pulls away from the fairytale’s and fable’s desire for home and resolution and towards new and proliferating poor images. This ghastly fairytale come down to earth, proliferates into new magical, transformative objects – trophy images whose radioactivity bears the weight of an excess of signification. Thus we have an itemisation of effects: Gaddafi’s golden gun, Gaddafi’s golden pants, the sewer where he was found (metaphor made real in an ‘I told you so’ way you can’t even make up) increasingly covered with graffiti, Gaddafi’s body lying in a state of profanation, the secret and unverified images of his burial (in an unmarked grave in the night) and the prehistory of these objects: the effects of his house ransacked before his death, the private made public, the pictures of Condoleezza Rice. And finally, the impossible-to-empathise-with Hillary Clinton, whose laughter does not dispel the mythical but rather stretches out its dream state. These proliferating objects are like fairy tale devices that the poor image offers in lieu of a moral. I have a final question. If the images are marked by a lack of resolution, by the negation of the moment of death, then what, in fact, are these images of?
“Hillary Clinton reacts to news of Muammar Gaddafi’s capture in Libya – Video”, The Guardian, 20 October 2011
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Steyerl calls such images spam: images that break the civil contract of photography.7 Spam creates a negative portrait of those who stay deliberately outside of the frame. This extends Deleuze’s interest in how the frame calls attention to what is outside of it, to the unique life of the poor image. If within the frame the suspension of the threshold between life and death gives new life to these magical objects, then what happens outside of the frame? Or of what or of whom outside of the frame is this a negative portrait of? In this image, we see a glimpse of the chaos of the moment, and then a grounding of the image in the golden gun that is brandished. There is an implied violence that exists beyond the
“Gaddafi dead: Chaos and a golden gun at sewer where former dictator was captured”, The Telegraph, 20 October 2011
explanatory title at the bottom. This is an affection image – intimate and close up – of nothing. Or more precisely, a close up of the notion of movement and its pixellated, choppy quality that dissolves figure into ground. This is the portrait, painted in negation, of blobs of slow moving colour which tell the story of giant pixels, images light enough to be easily uploaded and circulated. But more than that the life portrayed is in the threshold itself – the frame that shakes, that shows the contingency and thus the life of the person holding the camera that we know is a cell phone, who is running down the street and following the crowd, who is the crowd and who, we know, had a moment to stop and think about the further life of the image as he uploads it and disappears even further from the frame. n
Notes 1 Transcript of Jeremy Paxman’s interview with David Cronenberg, BBC Newsnight, 26 October 2011. Available at: http://news.bbc.co.uk/1/hi/programmes/newsnight/9624643.stm (last accessed 10 January 2013). 2 W.J.T. Mitchell. “What Do Pictures Really Want?” October 77 (Summer 1996), pp. 71-82. 3 Lorraine Daston. “Projection”. Presentation at Minerva Humanities Center, University of Tel Aviv, 14 January 2010. 4 Jonathan Jones. “The west wrings its hands over dead Gaddafi photos, but war is always hell”. In The Guardian, 25 October 2011. Available at: http://www.guardian.co.uk/commentisfree/2011/oct/25/ dead-gaddafi-photos-war-hell (last accessed 10 January 2013). 5 Jack Zipes. “Jack Zipes – Are Fairy Tales Still Useful to Children?” The Art of Storytelling Show. Available at: http://www.artofstorytellingshow.com/2008/06/29/jack-zipes-fairy-tales/ (last accessed 10 January 2013). 6 Hito Steyerl. “In Defense of the Poor Image”. In e-flux 11. 7 Hito Steyerl. “The Spam of the Earth: Withdrawal from Representation”. In e-flux 32.
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Image Sources • Garden of Earthly Delights, Hieronymus Bosch (selection).
http://en.wikipedia.org/wiki/File:The_Garden_of_Earthly_Delights_by_Bosch_High_Resolution.jpg
• Screen captures from:
http://www.guardian.co.uk/science/blog/2011/nov/07/fate-worse-death-displaying-corpses
http://blakegopnik.com/post/11745751814
http://www.bbc.co.uk/news/magazine-15592177
http://www.huffingtonpost.com/2011/08/25/gaddafi-condoleezza-rice-album-_n_936385.html
http://www.dailymail.co.uk/news/article-2030186/Colonel-Gaddafi-kept-photos-darling-CondoleezzaRice-lair.html
http://www.dailymail.co.uk/news/article-2051784/Gaddafi-dead-Yankees-fan-Mohammed-al-Bibiclaims-killed-dictator.html
http://www.guardian.co.uk/world/video/2011/oct/20/hillary-clinton-gaddafi-capture-video.
http://www.telegraph.co.uk/news/worldnews/africaandindianocean/libya/8840141/Gaddafi-deadChaos-and-a-golden-gun-at-sewer-where-former-dictator-was-captured.html
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Taking Flight Perspectives from the Depths of an Ideas Factory Janine Ramlochan
A. I spend most of my time exploring... usually the minds, lives and communities beyond the big city office towers. I return to the .ppt slide, seeking to bring to my workspace some understanding of the world outside our coffee-shop-toboardroom existence. Sitting in people’s houses, rummaging through cupboards, closets and fridges to understand their daily habits, then exploring how they process, relate and react to the current issues affecting their lives. My role is to connect human insight and creativity in a way that fuels new ideas for our (usually multinational) clients. In an ad agency, .ppt is my canvas, more by necessity than choice. It is seen as a sharing mechanism, a collaboration tool, a vehicle for disseminating ideation and a platform through which to draw consensus. Yet for me it was really just masquerading as all of these things. Corresponding to the pattern of ‘a movement’ in both cyberspace and physical space, an idea becomes a nomadic narrative whose path skips across .ppt slides and the tongues of boardroom participants in the process of becoming fully realised. Initially, it boils down to a creative brief, narrowed to a handful of words, chosen specifically to inspire and fuel
creativity. Over time, you begin to recognise when an idea takes flight. No longer is the creative brief relegated to the boardroom table or the depths of someone’s hard drive. Instead, it grows wings, flying off .ppt slides, instantly capturing imaginations around the table. It occupies peoples’ minds as they walk down office corridors, permeates watercooler conversation and begins to grace the screens of tablets and mobile phones across the organisation. Individuals take increasing ownership of an idea as the other options reveal themselves to be lacking in comparison. It becomes their own idea, regardless of where it originated. Prompting or persuading is rarely required. The creative environment of an ad agency has always struck me as unusual – an ecosystem which carefully conspires to meld curiosity, creativity and aesthetics. For me, it was a means of exploring the changes unfolding around us through a prism of mainstream consciousness. At the heart of this illusory world is a contract. Not the one written in ink with our clients, but an unwritten emotional contract with the public. The work requires a conspiracy of emotion between the material we create and the audience we create it for. It
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hinges on engaging the audience’s imagination in absolute truth, latent or otherwise, in exchange for action. Unlike an independent writer, whose work pervades an audience’s consciousness over a period of time, an advertising agency’s task requires immediacy – the emotional compulsion to act... usually the compulsion to buy. Many would say I make it sound far too easy. Within a cross-functional (and often cross-cultural) team, each individual brings different thinking. Differing priorities, disciplines and approaches add layers to the task. Comprehension can be a struggle. Agreement is sometimes elusive. Any artist will tell you it takes focus to nurture your own voice. Crafting a voice on behalf of a client is no different. In an ad agency, the work flows through a network of people, where the ideas are discussed, analysed and modified; reviewed again and, with client approval, advanced to a creative product; then disseminated to the public. Material produced in the form of briefs, documents and creative product is itself evidence of social relations congealed in material form. At the heart of this process is a comfortable tension – resulting in an environment for ideas to be challenged and made stronger.1
B. From a cultural studies perspective, an extensive amount of literature exists examining advertising as a producer of symbols and a form of social discourse. A brand in and of itself becomes a ritual symbol both inside and outside of an ad agency. Ritual symbols have three main characteristics – they condense a range of meanings, unifying them in a cohesive emotional whole; they are multivocalic, simultaneously expressing many points of view; and they retain ambiguity by shifting and adapting as necessary.2 Ritual symbols themselves are projections, for those creating them and for the public that embraces them and catapults them forward. Malefyt and Morais’ recent ethnographic study on advertising agencies reveals how a brand is approached with a similar ‘sacred reverence and ritual etiquette’, suggesting how formal structures and social elements drive the direction in reinventing ritual symbols. Neither the brand nor the relationships are static. The brand and the ad agency are in constant movement, and both represent a space of possibilities where ritual transformations occur. Understanding ritual transformation then becomes central to the structure and process that
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channels social behaviour towards purposeful ends.3 I intentionally blur the lines between a brand and a social movement. While all brands do not become movements, neither will most social causes, sometimes despite the efforts of those who champion them. A social movement which sweepingly captures the imaginations of the public into a tornado of sorts becomes a brand phenomenon, and vice versa, if it has the characteristics of ritual symbol in the creation process, in the experience it creates and in the meaning it holds. C. It is difficult to draw further parallels between the ad agency creative process and social movements. The human impetus is where the similarities diverge. The decision-making process in purchasing behaviour is considerably different from that of participating in a social movement, particularly in the face of political hegemony. It becomes important to consider the contextual realities of the social movements of our time and how they coalesce. The term ‘globalisation’ generally indicates the social process, highly influenced by technological development, which has created spatial connections and interdependence across a greater number of (previously isolated) actors at economic, political, cultural and communications intersections.4 The rhetoric of globalisation tends to gloss over a range of issues. An example is the escalating disparity in income – the income gap between the richest fifth and the poorest fifth of the world’s population has gone from 30:1 in 1960, to 60:1 in 1990, to 74:1 in 1997, and is projected to increase exponentially by 2020 – illuminating the sentiments of a large swathe of people who increasingly feel left behind.5 It is easy to see that the rise of social media platforms and the adoption of technology have provided a formal structure, giving transparency and voice to many where none previously existed. Unlike traditional mass media, technology tools – particularly the Internet, mobile phones and social media – not only facilitate the creation and dissemination
of content, but are also able to by-pass choke points and traditional gatekeepers to increase the flow of content distribution and access. This has begun to alter the balance of power between citizens and governments.6 During the 2011 Tunisian and Egyptian Arab Spring protests (over a range of frustrations – unemployment, corruption, political freedoms, inflation, etc.), Twitter became a key source of real-time logistical co-ordination of information and discussion, both within the region and globally. Both revolutions featured prominent use of social media by activists organising demonstrations and by those disseminating or discussing the events.7 An evolving relationship emerged between traditional news media organisations and independent actors who consume mainstream news stories and remix and re-interpret them, in often high-quality content which stands alongside professionally produced content. News no longer emerged from a handful of stable media outlets, but from a hybrid and dynamic information network whose structure and influence were malleable to how an undefined number of actors behaved.8 Evidence suggests roles have emerged for actors who drive the purpose and direction in a social movement, while social media platform functionality accentuates the coalescing of trended activity and invites participation from further afield. One example of this was during the 2009 Iranian election when Twitter users all over the world altered profile images and changed their location to Tehran in a show of solidarity.9 The importance of this confluence of activity is perhaps best encapsulated in a quote by a professor at the Universidad Nacional Autónoma de México, discussing the Yo Soy 132 movement. Following a pre-election rally-turnedstudent-protest in 2012, which quickly migrated online and went viral, one of the university’s professors offered that [Previously], it would have been a non-event which was only known in the underground and always
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questioned… was it real? Was it manipulated? Is the information real? Ten years ago, this would’ve gone down as an urban legend, and today [the protest] was a campaign turning-point and a fact.10 Understanding communication flow has become entangled with understanding political contention and power. It is the growing struggle between independent actors and hegemonic entities which now determines what is discussed, how and by whom – and, consequently, the impact on systemic change.11 While communications will never be the sole influence in political change – levels of Information Communication Technology (ICT) penetration and GDP matter, as do state capacity and public views of regime legitimacy, etc. – ICT plays a role by altering the communications landscape and amplifying political pressure. In response, states have begun to take sides, with some actively promoting ICT for its democratising impact, while others are building tomorrow’s information dykes and dams.12 D. Although the wave has yet to crest into an internationally recognised social movement, the ongoing Mexican drug war provides texture to this discussion. The drug war conflict centres on drug cartels fighting amongst themselves for regional control and against local government forces. Journalists have increasingly become targeted in the cartels’ attempt to silence the news media, which they see as damaging to their activities. Violence against journalists has significantly limited the quality of information available to the public, both in Mexico and the rest of the world. A recent study, “Narcotweets: Social Media in Wartime”, explores the use of social media as a participatory news platform in the wake of damaged state and media structures in Mexico. As cartels gained an increasing hold over news media, the control of information has shifted to social media, where an emergence of ‘citizen curators’ has begun aggregating real time news to fill the information vacuum.
Understandably, many of the citizen curators have engaged in this activity anonymously. With weakened information flow and diminished journalistic practices, inaccuracy and misinformation have become a concern. Government attempts to criminalise misreporting add yet another layer inhibiting clarity.13 Mexico’s current environment illuminates an interesting picture of emerging practices in social media, oscillating between political protests and existing on the fringes of a warzone. A Veracruz journalist, who continues to report on drug violence, was asked about the impact of getting out her story, which the interviewer saw as potentially lethal (to her and her family) and unlikely to make a difference in an environment where institutions are inoperative. It is like throwing messages in bottles into the sea and thinking that maybe nobody is picking them up… but one day, someone will find them. That’s the everyday effort of journalism here… with the advantage that we have the sea.14 E. Looking at this through the lens of an ad agency illuminates a human dynamic – the human impetus to selforganise towards meaningful ends when left to our own devices. This seems to be the case, regardless of whether it is at store-closing time, election time or in wartime. Social movements and public use of media, rather than the business of media, are the clear drivers of changing media habits. From a commercial perspective, I wonder if our current history of organisational media evolution will be characterised by our own self-imposed limitations projected onto a media landscape which continues to inspire, fuel and frustrate media industries everywhere. The boundaries of media no longer exist except in our minds. Meanwhile, individuals, artisans and activists of all genres have begun to flourish in their experimentation, broadening the spaces in-between. n
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Notes
Wartime” (Proceedings of the 6th International Association for
1 Timothy De Waal Malefyt and Robert J. Morais. Advertising
the Advancement of Artificial Intelligence [AAAI] Conference
and Anthropology: Ethnographic Practices and Cultural
on Weblogs and Social Media, Microsoft Research, 2012),
Perspectives (Berg Publishers, 2012, New York), pp. 10-11. 2 David Kertzer, Ritual, Politics and Power (Yale University Press, 1988, New Haven, Conn.), quoted ibid., p. 37; ibid., p. 6.
pp. 515-518. 14 “Mexican Media: Es Muy Complicado”, On the Media radio podcast, 22 June 2012, National Public Radio, WNYC, Chicago.
3 Ibid., pp. 45-46. 4 Danilo Zolo. (Eds.) Alan Ware and Vincent Hoffmann-Martinot, Globalization: An Overview (ECPR Press, 2007, University of Essex, UK), p. 1.
References • Lotan, Gilead, Ian Pearce, Devin Gaffney, Mike Ananny, Erhardt Graeff and danahboyd. “The Revolutions were Tweeted: Information
5 Ibid., p. 18; David McNally, Another World is Possible: Globalization and Anti-Capitalism (Arbeiter Ring Publishing,
Flows during the 2011 Tunisian and Egyptian Revolutions”, International Journal of Communications 5, p. 3 (2011). • Malefyt, Timothy De Waal and Robert J. Morais. Advertising
2002, Manitoba, Canada), pp. 45-46. 6 Itay Wand, States and Societies in the Digital Arena: ICT, State Capacity and Political Change in Asia (Master’s Thesis,
and Anthropology: Ethnographic Practices and Cultural Perspectives (Berg Publishers, 2012, New York).
University of British Columbia, 2012). Available at: https://circle.
• McNally, David. Another World is Possible: Globalization
ubc.ca/bitstream/handle/2429/43234/ubc_2012_fall_wand_
and Anti-Capitalism (Arbeiter Ring Publishing, 2002, Winnipeg,
itay.pdf?sequence=1; Wand, Three Questions: ICT, State
Manitoba).
Capacity and Political Change in Asia, available at the Asia-
• Monroy-Hernández, Andrés, EmreKiciman, danahboyd and Scott
Pacific Foundation of Canada website, http://www.asiapacific.
Counts. “Narcotweets: Social Media in Wartime”(Proceedings
ca/thenationalconversationonasia/events-and-activities/three-
of the 6th AAAI Conference on Weblogs and Social Media,
questions/Three-Questions-ICT-State-Capacity-and
Political-
Change-in-A (last accessed 17 October 2012). 7 Gilead Lotan et al. “The Revolutions Were Tweeted: Information Flows During the 2011 Tunisian and Egyptian Revolutions”, International Journal of Communications 5, p. 3 (2011). 8 Ibid., pp. 5-6; Wand, States and Societies in the Digital Arena, op. cit., p. 7. 9 Devin Gaffney. “#iranElections: Quantifying Online Activism”, quoted in Lotan et al., ibid., pp. 5-6.
Microsoft Research, 2012). • “Mexican Media: Es Muy Complicado”, On the Media radio podcast, June 22, 2012, National Public Radio, WNYC, Chicago. • Wand, Itay. “States and Societies in the Digital Arena: ICT, State Capacity and Political Change in Asia”, Master’s Thesis, University of British Columbia, 2012. Available at: https://circle.ubc.ca/ bitstream/handle/2429/43234/ubc_2012_fall_wand_itay. pdf?sequence=1 • Wand, Itay. Three Questions: ICT, State Capacity and
10 Alejandro Pisante. “Mexican Media: Es Muy Complicado”, On
Political Change in Asia. Available at: http://www.asiapacific.
the Media radio podcast, 22 June 2012, National Public Radio,
ca/thenationalconversationonasia/events-and-activities/three-
WNYC, Chicago, 4:41.
questions/Three-Questions-ICT-State-Capacity-and
11 Wand, Three Questions, op. cit. 12 Wand, States and Societies in the Digital Arena, op. cit., pp. 12-13, 20. 13 Andrés Monroy-Hernández et al. “Narcotweets: Social Media in
Political-
Change-in-A. • Zolo, Danilo. (Eds.) Alan Ware and Vincent Hoffmann-Martinot, Globalization: An Overview (ECPR Press, 2007, University of Essex, UK).
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Enhancement or Distortion? From the Claude Glass to Instagram Robert Willim In my eyes, and I imagine in the eyes of any photographer, artist or designer worth their salt, anyone posting a fake DOF [Depth of Field] Instagram photo looks like a poor, tasteless fool who needs to be shown the error of their ways. And unfortunately for the rest of us, they are so proud of their creations (of which they actually had no creative input besides pointing, clicking, and selecting a filter from a list), that they want to show them to the world at every possible opportunity. Hence the amount of irrelevant and inane photos on any social media site is now growing exponentially. Thankfully however, with the average short life-span of online fads, Instagram will most likely be forgotten and overshadowed by something equally horrendous in the next six months. Escapetone 2012 It is easy to lower the tone of the picture by washing it over with gray or brown; and easy to see the effect of the landscape, when its colors are thus universally polluted with black, by using the black convex mirror, one of the most pestilent inventions for falsifying Nature and degrading art which was ever put into an artist’s hand. John Ruskin, quoted in DuprÊ 2005:28
T
he two quotes above were taken from texts separated by around 150 years. In both quotes, the authors dissociate themselves from relatively widely-used imaging technologies. The first rant was written on a blog administrated by a small design studio located in Boston. The criticised technologies were applications like Instagram, Hipstamatic, Snapseed, etc., which around 2010 gave users of smartphones, like the iPhone, the potential to swiftly apply preset filters and effects
to their photos. The second text was written by the art critic and thinker, John Ruskin, in the 19th century. The technology he disdained was the Lorrain mirror (also called the Black mirror). The tinted mirror was used by artists and tourists to frame and visually represent landscape motifs according to picturesque aesthetic ideals. The Lorrain mirror is related to another device called the Claude glass, which was a small looking-glass that came in different colours.
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The quotes represent broader debates and currents related to imaging technologies and mediation. I will use the quotes and the currents they represent as points of departure to primarily discuss practices of mediation. In the discussion, I will enlace a genealogical account of landscape representation, in which the word ‘picturesque’ will be important. The main point with this essay is to scrutinise the ways that visual media in some different historical contexts have been associated with either enhancement or distortion. Instagram Aesthetics Instagram was launched in October 2010. Central to the concept, with its instant, one-click filtering of photos, was the inclusion in a larger web of image sociality, where users could upload, share and comment on photos. The app, accompanied by the marketing pitch, “Fast, beautiful photosharing for your iPhone”, was an imaging tool combined with a web-based social network. One of the founders, Kevin Systrom, stated that The idea was to make mobile photography fast, beautiful and fun. We learned from experience that taking photos on the phone didn’t lead to the results that we wanted, so we created the filters and tools to achieve a more artistic experience (Systrom, quoted in Richmond 2011). At the end of 2011, Instagram had almost 15 million users, sharing hundreds of millions of photos (Keath 2011; Van Grove 2011). The numbers kept growing. In early 2012, Facebook acquired Instagram for $1 billion (Rusli 2012). The filtering aesthetics so characteristic to Instagram were applied in other services. The photo editor, Snapseed, featuring a number of filters, was acquired by Google in 2012, and later the same year, Twitter included a number of photo filters in its interface, filters with names such as ‘vintage’ and ‘gritty’.
Apps, services and products offering communications through social networks and digitally mediated sociality came in many guises. Several featured filtering effects for images. At the time Instagram was bought by Facebook, a product called Viddy was recognised as a budding ‘Instagram for Video’. On the company’s blog, it was stated that: “Viddy is a simple way for anyone to capture, beautify, and share amazing videos with the world”. Filters similar to the ones that many users appreciated when using Instagram could now easily be applied to moving images. In the early 21st century, the visual aesthetics of filtering effects characterised by saturated colours or pale, washed-out imagery prevailed among millions of users in the social networks. Through the Filter Applications and tools like Instagram and the Lorrain mirror or the Claude glass were based on their abilities to transform and filter images or views. A filter (or digital effect) is a device for transformation and mediation. The digital apps were explicitly based on effects called filters that users could apply. Many of these offered transformations that either emulated the looks from earlier analog, lo-fi or toy cameras, like the Russian LOMO or the Chinese Holga. What used to be a quirky side-effect of cheap toy cameras, the so-called ‘lo-fi’ look, has become increasingly fashionable among digital photographers in the past couple of years. Amongst other things, ‘lo-fi’ images are characterised by over- or under- exposure, distortion, intense grain and low colour fidelity. Traditionally, in film cameras, these traits were caused by inexpensive plastic lenses, light leakage and colour and exposure changes created by creative or inexpert film processing (Smith 2011).
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Some of the criticism against apps emulating lo-fi aesthetics and vintage looks were based on the argument that the filters distort and ruin the visual representation (Shankland 2011). The argument can be related to the complex issue of truthfulness and the realism of visual representation (cf. Crary 1992; Kemp 2006). It can also be related to questions on immediacy and the dreams of transparent media (Bolter and Grusin 2000). Lorrain mirrors and Claude glasses were used mostly before the 20th century, but some artists were inspired by them in new genres of art, appreciating the filtering and altering effects of tinted glass. During the 20th century, artists like Gerhard Richter and François Perrodin made works with tinted glasses and mirrors, experimenting with the progressive loss of the image, devaluation and abstraction (Maillet 2004:187ff.). Some decades later, Matts Leiderstam used Claude glasses in his artistic examinations of landscape interpretation and seeing (Leiderstam 2006). Filtering might distort perceptions and images, but often this distortion is the very aim of a work (Krapp 2011; cf. Boym). Applications of distortion are related to creative appreciations of noise, which might be seen as a comment on the quest for truthful mediated representations throughout history. Various noise-cancelling technologies have been developed in order to get rid of unwanted interference and distortion. But when is a visual effect experienced and defined as noise? Within photography, filters have been used to reduce or transform the visual input in cameras to create pictures with various qualities. Filters for colour correction, contrast enhancement, polarisation or various effects affect the image. To some extent, filters may reduce what is considered noise. But there is no clear-cut limit to define when a filter turns from being a noise reducer to an inducer of effects that might very well be experienced as noise. This ambiguity of filters often becomes a hot topic when new technologies or media are introduced to users, something that the quotes at the beginning of the essay illustrate.
Out in the Landscape There have been extensive theoretical discussions and accounts around how to conceive landscapes within the social and cultural sciences and the arts (see Wylie 2007; DeLue and Elkins 2008; Ingold 2011). Landscape is often related to the concept ‘environment’, and consequently to ‘ecology’ and ‘nature’. The question is of whether we can thoroughly understand the notion of landscape without scrutinising the uses and understandings of these concepts (Morton 2007; Thornes 2008). However, I haven’t the space here to delve deeper into this dense conceptual and theoretical ‘landscape’ or ‘ecology’ (sorry for the pun) – I will stick mainly to the scopic notion of landscape, not because I find it analytically the best understanding of the concept at large, but because this notion is of most relevance to the discussion here. The word ‘landscape’ can be etymologically traced to mediaeval descriptions of agrarian areas closely associated with the everyday practices of farmer communities. ‘Landscape’ was land shaped by human activities (Ingold 2011). During the 16th century, the word became linked to Dutch landscape painting, a tie that has strongly formed subsequent uses of the word. Landscape is since then often associated with painterly depiction and scopic practices. The equation of the shape of the land with its look – of the scaped with the scopic – has become firmly lodged in the vocabulary of modernist art history. Landscape has thus come to be identified with scenery and with an art of description that would see the world spread out on canvas, much as in the subsequent development of both cartography and photography, it would come to be projected onto a plate or a screen, or the pages of an atlas (Ingold 2011:126f., italics in original). In this sense, landscapes connote a distance, a subjectobject relation where panoramic framings of wide expanses
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can be turned into views by an onlooker. According to this understanding, landscapes are entities at a distance that can be enjoyed from a standpoint, preferably from a scenic overview. This notion makes landscape something you as an observer, artist or tourist can go out in. You are in the landscape but still looking at it. You come close, but it is still somewhat at a distance. Picturesque Views The scopic practices of the scenic overview have a chequered cultural history in Europe and North America. The enjoyment of landscape views has long been practiced. But during the 17th century, and after, notions of landscape and nature became charged with new values in Europe. The concepts became integrated in artistic practices and in gardening and architecture in novel ways. The landscape concept also became central for the growth of a new set of practices in the form of tourism. Ideas about authentic experiences and representations are crucial for the understanding of both art and tourism. A concept that was applied in art and subsequently in tourism was the picturesque. To approach the world as if it were a picture first appeared in practices of painting and was then adopted in gardening as well as in tourism, but, since the 19th century, has been associated to a high degree with paltry aesthetic qualities and bad taste. John Macarthur writes about these shifting understandings when he scrutinises the history of the picturesque and how it has been related to notions of architecture, disgust and irregularities. Today, understanding experience through images is ubiquitous, and its accompanying technology so sophisticated that the term ‘picturesque’, which once meant a radical blurring of art and life, is frequently used as a synonym for aesthetic failure, trivial cultural products and naïve tastes (Macarthur 2007:1).
This shift can be related to a cultural dynamic of which Orvar Löfgren writes in his history of vacationing. He stresses that the world of tourism is characterised by “the tension between routinization and improvisation, between the predictable and the surprising, which produces a craving for fresh sights and novel experiences” (Löfgren 1999:26f.). The picturesque was a quality that was articulated in various ways. Macarthur stresses the understanding of “the picturesque as an ensemble of concepts and techniques” (Macarthur 2007:2). In relation to tourism and artistic practices in Europe during the 18th and 19th centuries, it was promoted in different ways in different national contexts. But there were also similarities in how it was articulated among a growing cadre of cosmopolitan, new elite tourists (Löfgren 1999:21). This early tourism was very much about establishing norms and genres of representation (ibid.:26). Learning the picturesque thus meant being able to locate landscapes with special qualities – it was the interplay of certain elements, shadow and light, foliage, irregular and varied landscape features that made a truly picturesque view. The picturesque motif often carried an air of nostalgia, epitomized in the idyllic rural life. Signs of decay, an old cottage, a ruin, a tombstone further stressed this atmosphere. Melancholy laments over the passing of time, as well as the insignificance of human beings became important parts of the picturesque sensibility (ibid.:20f). The picturesque became part of a quite heterogeneous landscape aesthetic, but there are some recurring themes. When reading about 18th century tourists, the French-born painter Claude Lorrain often appears in the texts. He was active during the 17th century and was famous for his tranquil landscape motifs from the Italian countryside outside Rome.
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The visual features of Lorrain’s paintings, especially his treatments of light, became an aesthetic ideal among tourists and artists searching for the picturesque. In order to charge experiences of landscape with aesthetic qualities reminiscent of Lorrain’s paintings, tourists and painters started using optic devices called Claude glasses or Lorrain mirrors. This was the kind of device that John Ruskin criticised in the quote at the introduction of this text. The devices came in a number of variations based on two major types. The first, the Lorrain mirror, was a slightly convex, tinted mirror. The other, the Claude glass, was a framed, transparent, coloured glass. By using glasses with various shades, shifting emotional registers or temporal variations could be evoked. A brownish tone could call forth a warm and mellow atmosphere, while a bluish glass could be associated with a nightly moonlit vista and so on. The conceptual similarities to some digital filters available centuries later are striking. Through Glasses and Screens We can today spot differences between the ways that different users have been approaching technologies like Instagram. Some are utterly negative towards these apps and devices; others find them funny to play around with; others consciously use them in creative practices, sometimes parallel with uses among photographers of more quality- and credibility-controlled equipment. Similar practices occurred in relation to Claude glasses and the picturesque (Löfgren 1999:27). The uses of media (new or old) might become part of routinised uses, but that doesn’t mean that these are automatised and thoughtless practices. The use of newer filtering applications, as well as earlier uses of mirrors and glasses, is not the mechanical adoption of a technology. While many artists and tourists embraced the qualities of devices like the Claude glass, others despised them, and used “the derogatory label of Claudianism” (ibid.).
John Ruskin, who during the 19th century wrote extensively on art and architecture, was, as we have seen, explicitly critical of the Lorrain mirror. According to Macarthur, Ruskin advocated a kind of picturesque which was based on ... a concept of truth that can govern both moral and aesthetic considerations. He was thus drawn to the empiricism of the picturesque, and as a skilled and trained draughtsman and painter, believed that such truths grew out of artistic practice in the observation of the natural world (Macarthur 2007:14). Ruskin’s ideas about the value of artistic skill and the empiricism of the picturesque is probably one of the reasons why he was one of those who strongly rejected the use of any kind of “filtering effects”, like Claude glasses and Lorrain mirrors. According to Ruskin, these devices contributed to “falsifying Nature”, ruining and degrading art. Similar thoughts on the ways technologies and media ruin experiences or perceptions of the surrounding world are echoed through subsequent debates on tourism. Löfgren reflects on this: When the sightseeing bus cruises along we observe the vacation landscape through the smoke-colored Claude-glass of the panorama window. What is new, what is continuity since the days of Mr Plumptre? [James Plumptre was an English clergyman who wrote about his travels in the British Lake district at the end of the 18th century.] What does it mean to appropriate the landscape through the Claude-glass, through the sight of the camcorder, through the car window, or resting on a walking stick? Through intense reading of classical authors, romantic poetry, years of MTV-viewing, or leafing through package tour catalogs? (Löfgren 1999:96).
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Today the practices of tourism and art are seldom connected, even if critique against some site-specific art has evoked associations to tourism-like practices (Kwon 2004). Here it might, however, be interesting to blur the borders between the worlds of art and tourism in order to focus on media use and notions of landscape. Ideas about, for example, authenticity are central to both art and tourism, opening up questions like: What equipment is required to get an authentic tourist experience? Or, what does it take to create good art? Which technologies and media are accepted in certain contexts but banned in others? What is a creative tool? When are technologies experienced as intrusive, when do they distort or enhance? It might be fruitful to further scrutinise these questions and variations of this cultural dynamic, and how it is related to new digital media and technologies. In the cultural analysis of contemporary practices and processes, we can learn from earlier uses of and debates about technologies like the Claude glass and the Lorrain mirror. Borrowed Features Let’s finally return to the quotes at the beginning of this essay. Why the strong words about “tasteless fools”, “pollution” and tools “falsifying Nature and degrading art”? We have touched upon these issues by juxtaposing recent photo apps with tools like the Claude glass and ideas about the picturesque. The feelings expressed in relation to uses of media and imaging devices can also be related to a historically recurring theme of what could be called normative aesthetics. It is part of a defence of craftsmanship and ideas about professionalism. It is part and parcel of the social dynamics that occur when new technologies are introduced in various practices. When electric, then electronic and digital musical instruments were introduced, there were reactions against the loss of musical craftsmanship. Some writers still prefer mechanical typewriters, arguing that computer-based writing is numbing and dumbing. The same goes for imaging
technologies. This might be one attempt at understanding the irritation expressed at the beginning of this essay. But there is more to the story. New tools encourage and strengthen some practices. New technologies are to some extent often prosthetic (McLuhan 1995). They offer new possibilities; they might enhance the abilities of the user, while they are also numbing or blocking some capacities (a simple example being a note book and calendar that enhance mnemonic practices while simultaneously numbing the memory.) It shifts knowledge in the head to knowledge in the world, as cognitive scientist and design thinker Donald A. Norman would have said (Norman 1998:54:ff.). This shift of knowledge (and skill) can be challenging. There is a moral undercurrent that seems to run along much of the critique against uses of various technologies. The undercurrent is best illustrated by the fable about ‘the bird in borrowed feathers’, in which a bird (sometimes a crow or a jay) borrows finery from another species in order to impress. The beautiful bird is, however, revealed to be ‘fake’ and the borrowed (and sometimes its own) feathers are torn off. This moral stance seems to spur critics when they disdain uses of new technologies as “cheap gains” or as reliance on tools without having any real skill. I feel tempted to slightly tweak the fable to being about borrowed features. This stance and related suspicions of dilettantism have also been challenged throughout art history in recurring boundary disputes on what is and what is not (good) art. These disputes have occurred in relation to both the Claude glass and the Lorrain mirror as well as to recent software photo filters. Looking at these debates and practices, we can note that the bird seems to have as many friends as enemies. It is in this field of associations to various shades of skilfulness and dilettantism that the uses of both the Lorrain mirror and Instagram can be positioned. In order to further examine this, we need to know more about how imaging technologies and media are used in specific contexts. In
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these examinations, the notions of borrowed features as well as ideas about when media are experienced as enhancing or distorting can be fruitful. n
• Löfgren, O. On Holiday: A History of Vacationing (University of
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Of Civics Fiction and Fictional Civics Sisir C. Anand
My Inner Orwellian Why do we restrict which office we vote for? Can’t I directly vote for, say, my community postman in a Web 2.0 world, where voting algorithms can be anonymous and cheap? Why aren’t children elected to Parliament? Why doesn’t the nomenclature ‘civil servant’ not have the counterpart ‘military servant’ or ‘judicial servant’? These are cute, escapist questions I ask myself when I get hung-over on civic anomie, trying to get in touch with my inner Orwellian. As I navigate the various democracies given to me – by birth and some also through highbrow scavenging – I have wondered whether I am democratic enough or do I merely fantasise about it? Then I ask, more empirically: if democracy means so much to me, why don’t I fantasise about it? Where are the counterparts to science fictions in the domain of the civics discipline? School children hardly get alternative civics to read for leisure that could combat the wild imaginative powers of their science-oriented peers. Where are the Popular Civics magazines and the Tell Me Why’s of Cabinet and other civic curiosities? What empiricist world records does civics cater to, and what are its unsolved problems? Where are my cuttingballot civics laboratories? What’s Your Fictionality? Fictional civics and civics fictions. Let me explain the difference by borrowing from history. Fictional history is akin to alternative history (uchronia), where historical events and contingencies are played with through counterfactual speculations like “What if Gandhi had lived on?” Historical fiction, instead, keeps known historical facts intact, yet fleshes out a wobbly narrative that speculates on undocumented and thus lost facts/possibilities. Stretching this to geography, fictional geographies are imaginary worlds, and geographical fiction is fleshed-up geographic fact. Fictional civics is an alternative civics-verse, while civics fictions are about being creative within the civics we subscribe to. Often the word ‘civic’ refers to an adjectival form of city, but here I refer to the academic discipline, civics. Futurist civics is gaining with the advent of civic technologies, and we hence need more promising frontier fictions to help find a sublime civic solace.
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Neotenic Civics1 If I were to remember my civics lessons from school, my main recollections would be of a thin textbook whose questions and answers were a crammer’s delight, for they involved neither interpretation nor analysis. My civics curriculum gives me only a vomit-worthy feeling of nostalgic repulsion. Civics was mostly about logistics, scant philosophy and diplomacy. There were no civics practicals, no continuous civics assessments and no conspiracy theories. Adolescence didn’t leave you with sudden feelings for civics, beyond the knowledge that your license to vote was deferred to age 18, and there were no clear-cut marks on your civic performance. Civic engagement seemed to live and die in debating clubs, but the topics were safe and premeditatedly politically correct. Nobody (given adequate scruples) wanted to replicate the model of politicising the young – wasn’t politics an adult domain? Making a child toe a party line was a practice that belonged to China, with its authoritarian outlook. No, India was a place where antagonistic civic outlooks were permitted, even within a family. Most useful ‘civics’ was sponged up through informal learning. Babyspeak exists in all cultures, to help toddlers pick up their mother tongue. Why is it missing from civics? We need cute civics! Gone with the Civics Teaser As a student, I loved the sciences, and detested the social sciences, simply because it was easier to find a hand-me-down book of science brain teasers lying around, mocking me for being too unrefined or too impatient to make much progress with riddles. I proudly terrorised them in return. Today’s pedagogic resources are much better, but they still don’t boast of a book of social science brain teasers that would keep me civically challenged a while longer. There are compendia of exotic facts, but no workbook that would smugly deride the reader for failing to handle a juicy civics enigma. Finding my civics literacy abysmal and my political awareness boorish, I abstain from voting, believing that, like drunk driving, senseless voting is dangerous. The problem with the civics curriculum I studied in school is that it has nowhere you can go wrong. There are axioms that are taken at bullet-point value. A great teacher supports these theses with real-world cases. But there is no fantasticism, where civics would foster a rebellion. The grassrootsism of civics pedagogy fails as it is learnt as a series of top-down sketches, meant to seduce power-mongers into a career of machtpolitik. There is a failure to exoticise the subject, a lack of an informal or pseudo-civics that captures interest by misdirection. Usual co-curricular activities in civics involve mock elections, but these are very sanitised exercises. Mock elections should have all the paraphernalia of a civic election, including its various shades of token villains, sensitising learners to the need for police action, etc. A mock election with a pedagogic twist is a must. Civics should get under the skin. Enabling an adequately simulated civics world with a mock currency would allow for critical civics insights. We could borrow from basic stereotypes that interest children to recreate the superheroes and supervillains of civics. Since we are moving to a world where multiculturalism is the norm, there is a need to understand kyriarchy, where it should be harder to continue to divide the world into the present dichotomies of oppressor and oppressed. For want of a better phrase, civics needs to expose its licentiousness, and the pursuit of civics must be salacious in metaphor. The most disappointing was the textbooks’ lack of a portrayal of civics as something with open-ended challenges. Thus the danger in civics pedagogy is the lack of imaginative crackpot civics. Form Brahma One of my earliest inroads into fantasy civics was when I started wondering, as a child, at how bland all the government forms were. Yeesh, what is so lyrical about having a ‘birth certificate’
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or a ‘ballot box’? While searching for some sensual transcendence, I was enraptured by the theological cosmogony of the Indian epics. What if we could have a ‘Form Brahma’ instead of a birth certificate? I had a civics moment and created a mythological civic world, and later discovered that public relations and propaganda were big at Kurukshetra. In an unknowing way, I was ‘branding’ civics because to me it was an inhuman mythology. A mentor later demythologised both the epics and the civics for me, pointing out that civics is lacking in the epics, and the epics are lacking in civics. My surrogate imaginary friend told me that I was being unfair to other religions by partaking of a solely Hindu mythology. Form Brahma might be blasphemous as a moniker. I learnt my first lesson in faulty civics when I was alerted to the fact that beyond a few historically named cities, not many rivers or mountains (or other geographic features) in India are named after a non-Hindu heritage. I was dreaming of the unity in diversity that my school text books taught me while understanding the hypocrisy of civics. I was torn between wanting a fantasy to spirit reality, but instead finding within the fantasies such notional prejudices that record the self-censoring civics.
The most disappointing was the textbooks’ lack of a portrayal of civics as something with open-ended challenges. The danger in civics pedagogy is the lack of imaginative crackpot civics.
Thou Shalt Covet Civics What was the original sin of civics that we would love to eavesdrop on and gossip and euphemise about later? We have always confronted secret histories, secret geographies and even secret economics that instil in us a wonder at these disciplines. What about secret civics? What are the secrets of civics, and what is it about civics that makes it deserve a secret? Do we fail to reverse engineer the civics that works? Is the healthy civics of star countries that top civic indices composed of trade secrets that have been patented away and are too costly to licence? India is less of a country and more of a geographical expression, like the Equator, as Churchill had it. Is India’s civics as enviable – why does one size fit all? Artisanal Civics In a century of the self, where is the demand for an artisanal civics? What of the civics dreamer who wishes, “I want to live a quarter of my life in a democracy, another quarter in an autocracy, another quarter in an anarchy and another quarter in a plutocracy”? Surely it can’t be as hard as changing your gender, the most cosmetic-and-cosmic of surgeries. In a world that portends a cradle-to-grave homage to capitalism, shouldn’t all civic diversities be celebrated? What are the axioms of civics, and what do we expect a utopian civics to be? Did our ancestors have innate civic intuitions that we have had the luxury to lose? Or has it been a cyclic game of deduction, induction and abduction?2 Today civics has become more homogenised, a kind of copycat globalised version, bent on reinventing solely the politicalcorrectness wheel that puts our fictioneering to shame. Luckily the world is still multi-polar enough to keep future anthropologists interested. Why do we yearn for a stable civics, reeking
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of formulism? Today, there is an opportunity for civics tourism, where you can visit the various political laboratories of the world at their primetime. With the emergence of strategic tourisms like agrotourism, voluntourism, astrotourism, etc. one expects tourist agencies to advertise an itinerary filled with civic delights. Aren’t elections a kind of vicarious civics with all their spectacle? Where are the ballot-paper collectors and the election museums that celebrate the notorious artefacts of the civics of stolen elections, or the various follies of Partition? History, geography and economics have a stronger archive. Isn’t civics denied curation or are we unskilled in teasing it out? UNESCO should promote a heritage that takes a flattering interest in civics, prospecting more for the outposts of proselytising civics. Civics by Proxy One can note how trendy a field is by the buzzwords and neologisms it releases. The art of the ‘Machiavellian slip’ is as exciting and embarrassing as its Freudian cousin. How lovely that the Eskimos have finely discriminating functional words for various types of snow – yet we don’t have words that extrapolate the complexity of our civic experience. Linguists need to spice up our civic commentary with colourful monikers beyond the scandal-‘gates’. Metaphors for our social and political experience are visually taken care of by our political cartoonists. Parliament building with its several pillars can be morphed in caricature into a cage, and the tabloids pat themselves on the back. But is that the stuff of enviable fantasies of symbolism and iconography? On the Internet, we find our Robin Hood 2.0s who try to steal civics from those who have too much of it, and attempt to donate it to those who don’t. The demographics of inclusivity often suggest that the Internet isn’t really as democratic as it pretends. But many revolutionaries often also die in the absentee civics of the net, their dissent quenched by the celebrity-status of netizenism, and we are denied the moments of passionate protests that in our yesteryears gave us our principled radicals who overthrew the corrupted powerful. We could be inspired from various pedagogic memes to cultivate an interest in civics. Think of 99 civic things to do before you die, anyone? Fiction 1 Here are a few usual semantic expressions that involve history: / people whom history has passed by / the urge to undo recent history / homage to historic erasure / without creating false histories / and there can be historical hangovers / as blatant historical forgeries / Civics is comparatively apologetic and insipid. It fails to be blatant and provocative, even in the spirit of the word. Here are a few better ones: / paying homage to his civic and political muses / paradoxical to civic virtue / collapse of civic life only encourages / embarrassed at having broken such an obvious civic code, an act of ‘civic carelessness’ / treat cities as material homage to civic visions of order / but in its own civic satire it also misses the mark / as a lament over the civilising mission of / nostalgia for the civilising aspects of / paying homage to the civic religion that is climate change / “It is poor civic hygiene to install technologies that could someday facilitate a police state”. / The exercise in metaphor is to replace history with civics3 and see if it semantically tallies. Examples: civic hangovers, civic forgeries. The idea then is to create occasions that give meaning to the new phrases.
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Fiction 2 How do we as egalitarians resolve the Kashmir issue? You divide it. But how? Dividing it geographically seems combative because it will then be a scramble for resources. Dividing it historically is impossible because one can’t resurrect the original Partition with its Mountbattens. Dividing it economically is dehumanisingly materialistic while proudly utilitarian. Dividing it ethnically, linguistically raises issues of viable civic scale and sovereignty, and promotes dissidence for dissidence’s sake. Maybe you can divide it civically. Invoke a time-sharing contract where Kashmir belongs to Pakistan and India by turns. Probably it would benefit all if the Kashmiris could, like Cinderella, magically turn from Pakistanis to Indians (and vice versa) at every other midnight and enjoy the civic camouflage of it all.4 Or wouldn’t it, yet? Fiction 3 1500 hours: Inauguration of X by honourable Y. 1800 hours: Cultural Programme. Most civic events that invoke the chief-guest-lamp-lighting format – public occasions such as conferences, rallies or inaugurations – have a light cultural event as an accompaniment. Often they want to reflect Indian culture, and they employ artistes from music, dance and drama. What a severe non-secular truncation of Indian culture! Why can’t something as energetic as Kabaddi or Kho-Kho be treated as a performance art? Fiction 4 By the people, of the people, for the people, <insert preposition> the people. By, of and for. Why did Lincoln settle for these prepositions? Brainwave: let me get my list of prepositions and de/reconstruct. Why would it be useful? Probably in paying homage to it by satire. After all, it is not as if there aren’t critics who denounce the Gettysburg Address, howsoever much it has been hailed. What if we had to alchemise this slogan to lead to new civic gold? Try, for instance, the ubiquitous board that declares‚ ‘Men at Work’, and use it to evoke sensitisation to child labour. Introduce prepositions between ‘child’ and ‘labour’, illustrate multiple vantage points and invent a new vanguardism. Vindicated by Civics The idea of a fictional civics and civics fictions combo is to provoke controversies that go deeper than civics, so that we are enlightened to the status quo and the brutality of civics as it is. It is time to think of civics as a lifestyle sport if it doesn’t feel enchanting enough due to its everydayness. There is so much of a vacuum in the civics of the imagination that our civic arsenal needs upgrading. We have to constantly challenge civics’ sacred cows and herald surreal civics lessons. It is hard to find our fictional texts exemplifying civic participation, and we don’t take much of a gamble on our civics. We need to overthrow the purely symbolic civic traditions that predominantly indulge in cosmetic civic makeovers (urban beautification), and instead promote a makeover of the civic, where none sacrifices the citizen as mere civic fodder. We need a superficial fictitious civics that deepens discourse by its parapolitical value.5 We need to identify our civic black holes and include our civic absurdities in indelible pages of civics. The staples of a civic education should give breathing space to some junk creative civics, the civics that aspires to be merely poetic, so that we are not left at the mercy of the soap opera of civics. Civics pedagogy too is destined for the post-modern scalpel. In this essay-disguised manifesto, I have attempted to look at how fantasy civics might play a futuristic role in cultivating citizens and salvage them from the dustbins of civics. In the process I have speculated wildly, giving birth to metaphors that I find missing from civics; I
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am not done fantasising, but the bottom line is that such fantasies might grip children and the young into a civic fervour – we need a kind of Sherlock Holmes for astute community service. Why is there no whimsicality for the civics in the textbook? There’s a need to cut the clutter of civics, not pretend that it’s rocket science. In contributing to this Reader, my Projections motto: Tomorrows’ Civics Today!6 “My music wants to transcend taste, it doesn’t want to have a face, it doesn’t want to be culture”, says the Angolan writer Ondjaki, through one of his stories. IT DOESN’T WANT TO BE CULTURE! What does our civics want to be, or is it a sorry case of nothing wants to be civics enough? n
There is a need to cut the clutter of civics, not pretend that it’s rocket science. My Projections motto: Tomorrows’ Civics Today!
Notes 1 Neoteny is an evolutionary trend in which humans extend their juvenile life, and thus promote their childlike curiosities, by ignoring the formal, restricting codes of a responsible adulthood geared for Darwinian survival. 2 The three branches of logic involve induction, deduction and abduction. Deduction works in the sciences, where truths are discovered based only on what is known. Induction helps to create assumptions and predictions. Abduction allows one to reverse the harsh arrow of logic and escape into hypothesising, and thus fantasy. These three work in synergy during any thought process. 3 Civics as a discipline is often overlooked as being within political sciences. That might explain this discrepancy. 4 This crank and desperate solution borrows from the literary character of Haliwa created by Israeli Arab writer Sayed Kashua in his short story “Cinderella”. 5 Parapolitics (Raghavan Iyer) is the method of reflexively thinking about the frontiers of politics. 6 The apostrophe is intentionally placed to account for infinite tomorrows.
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Contributors
• Akash Gaur completed his MFA in Visual Communication from the College Of Art, New Delhi, in 2012. His practice derives from fantasy and his dream world, which bring him new journeys to travel every day. He gives attention to the nano activities all around him, taking them as life experiences that emerge as reflections of himself through his work. <akashgaur123@gmail.com> • Akhil Katyal finished his PhD at SOAS and is currently teaching literature at St. Stephen’s College, Delhi University. He is also writing a biography of the KashmiriAmerican poet Agha Shahid Ali. His bilingual poetry collection Mad Heart/ is forthcoming with Vani Prakashan, 2013. <akhilkatyal@gmail.com> • Alexander Karschnia is a performer and theorist who has also authored three books: The Pastime (Bielefeld, 2005), NA (AR) HET THEATER (After Theatre? Amsterdam, 2007) and Command Johann Fatzer (Berlin 2013). He, Nicola Nord and Sascha Sulimma together form the international performance group, andcompany& Co. His youthful sins include the invention of the Frankfurt night dance demos and successful failure with the Schlingensief CHANCE 2000 federal election campaign in 1998. Since his stay in Brazil in the summer of 2010, he blogs at: http:// alextext.wordpress.com. <alextext@googlemail.com> • Alexis Bhagat is a writer and curator in New York, where he was born. He studied sculpture and ecological design at Goddard College. He is currently completing a memoir structured around changing definitions of ‘politics’ at different moments in his life. He co-founded ((audience)), an organisation dedicated to the advancement of the aural arts. The travelling programme of soundscapes, ‘Listen My Heart to the Whispers of the World’ by ((audience)) recently premiered at DT Star Cinemas, New Delhi. <alexis@au.dience.org> • Ali Fuat Sengul is Assistant Professor of Cinema and TV at Mardin Artuklu University, Turkey. His research areas include cinematic realism, ethnographic film and visual anthropology. <afsengul@gmail.com> • Alice Corble is a PhD student at Goldsmiths, University of London, researching the changing place and value of libraries in contemporary society. She has experience working in public and alternative libraries in London and became a certified ‘Radical Librarian’ with The
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Feminist Library. Alice was an AHRC research fellow at Sarai during Winter 2012-2013, when she explored the postcolonial library landscapes of Delhi and Kolkata. <a.corble@gold.ac.uk> Aline Carvalho graduated in Media Studies from Fluminense Federal University, Rio de Janeiro, Brazil, and took her Masters from the Paris 8 University in France. Her book, Cultural Production in Brazil: From Tropicalia to Cultural Hotspots, was published in 2009. An activist and researcher on digital culture, she is currently developing an investigation on network activism and Internet governance. More of her writing can be found at www.tropicaline. wordpress.com. <alinecarvalho.cultura@gmail.com> Andrea Liu is a visual arts and dance critic/dancer who writes about the juncture between modernism and postmodernism, dematerialised post-studio art and the de-historicisation of minimalism into a formalist aesthetic. She has been artist-in-residence at Ox-Bow, Atlantic Center, MFAH Houston, Millay Colony, Jacob’s Pillow, Corniolo Art Platform with visiting artist Brett Bloom of Temporary Services, Center for Book Arts Letterpress (Sem.), Homesession Barcelona, the 2013 Art & Law Residency and will be a Fellow at ZK/U Berlin Center for Art and Urbanistics in Summer 2013. She runs a temporary gallery, the Naxal Belt, in Bushwick, New York. <naxalbelt@gmail.com> Andrew Stefan Weiner teaches in the Curatorial Practice MA Program at the California College of the Arts. His PhD in Rhetoric from UC-Berkeley examined aesthetics and politics in West Germany and Austria circa 1968. He has written on contemporary art for publications including ARTMargins, Grey Room and Afterall. He is editing a book on the emergence of the ‘discursive exhibition’. <aweiner3@cca.edu> Anirban Gupta-Nigam is a research scholar in the School of Arts and Aesthetics, Jawaharlal Nehru University, New Delhi. <revdwickscherrycoke@gmail.com> Anisa Rahim is a public interest lawyer who has worked with legal aid organisations in the US and, more recently, with the Human Rights Law Network in New Delhi. She took the pictures featured in this Reader between the years 2005 and 2012. She currently teaches law at Jindal Global Law School. <anisa146@gmail.com>
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• Anitha Suseelan is an Associate Professor at the RV School of Architecture, RV College of Engineering, Bangalore. She is also a Research Scholar with the Doctoral Programme of the Centre for Environmental Planning and Technology University (CEPT), Ahmedabad. <anithasuseelan@gmail.com> • Atreyee Majumder is writing a PhD dissertation in political and historical anthropology at Yale University. Her research on space, urbanism, socialisms, publics and political conduct emerged from being exposed to lives and worlds of resource sovereignty, law, displacement politics and political ecologies as a lawyer and activist in a different life. History and historical imagination entered her referential world through the works of Walter Benjamin, as also the everyday lives of marshalling friends from ‘history’ in times of tragedy and peril among her friends and associates in Howrah. <atreyee.m@gmail.com> • Ayesha Hameed is a researcher and MA co-ordinator at the Centre for Research Architecture at Goldsmiths, University of London. Her practice includes performance, video and writing, and examines borders, migration and detention. Publications include contributions to Photoworks, PLACE: Location and Belonging in New Media Contexts and Tate Etc., and upcoming group exhibitions include contributions to the Forensic Architecture Project at the House of World Cultures (Berlin) and Le Bal (Paris). http://ayeshahameed.net/ <ah@kein.org> • Aylwyn Walsh is a performance maker/scholar working on the arts and social change. Her work is concerned with exploring the intersections of interdisciplinary methodologies through performance. She is currently developing research in women’s prisons in the UK, concerning women’s prison habitus as performance for survival. Walsh is a lecturer at the University of Lincoln, and is artistic director of Ministry of Untold Stories. <awalsh@lincoln.ac.uk> • Barbara Sirieix is an independent curator and art critic based in Paris, France. Her research interests include issues about the moving image. She was co-founder and curator of Red Shoes, a not-for-profit organisation dedicated to artist’s films and video art from 2008 to 2011. <sir.barbara@gmail.com>
• Bhuvaneswari Raman is trained as an architect-planner and social scientist. Her research interests are in the area of land politics, urban governance and the economy. She is an Assistant Professor at the Jindal School of Government and Public Policy, Jindal Global University. Her present research focuses on the urbanisation of non-metros; technology and city; and e-governance. <raman.bhuvaneswari@gmail.com> • Boris Murnig studied architecture at the University of Technology, Graz, and the UPC/ETSAV, Barcelona. He graduated in 2012 with the thesis “(Re)Constructing Calcutta: A Study Describing Uncontrolled Urban Development” from the Institute of Architectural Theory, History of Art and Cultural Studies, in cooperation with the Habitat Forum, Berlin. In 2012, he co-founded the Delta Circle Project (www.deltacircle.jux.com), an interdisciplinary platform with a focus on the documentation and presentation of development processes in India and Bangladesh. <bmurnig@gmail.com> • C:\VEhF\ or “VEhFIFBIQU5UT00=” (Sougata Bhattacharya) is an electronic sound and digital artist from India based in Paris, France. The artist explores notions such as data, feedback, network, patterns, noise, codes and Information Theory through his performances and productions. His recent ‘livecode’ performances consisted in writing and projecting programming language codes to produce sound pieces at concerts. www.VEhF.net (artist represented by the agency Sonic Container). <sonic.container@gmail.com> • Chandan Gomes makes photographs for a living. In 2011, he became the youngest recipient of the India Habitat Centre Fellowship for Photography. Photographs from his awarded essay were part of the Inaugural Delhi Photo Festival. He has also exhibited at Chobi Mela, Asia’s largest photography festival. His first photo book released in November 2012. Gomes read Philosophy at St. Stephen’s College, Delhi (2009), and enjoys writing on photography. He lives in an eclectic Old Delhi neighbourhood, nestled in a Mughal garden built by Aurangzeb’s sister, Roshanara. <chandan.rang@gmail.com> • Charu Maithani is a writer, researcher, facilitator and curator of digital and electronic art. An infrequent filmmaker, she is currently working with Khoj International
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Artists’ Association, New Delhi. She holds an MA in Aural and Visual Culture from Goldsmiths, University of London. <charumaithani@gmail.com> Chiranjit Borah trained as a graphic designer. He currently designs and develops interactive educational content for school children. <chiranjeetb@gmail.com> Darshana Sreedhar completed her Masters in English literature from Delhi University in 2009 and her MPhil from the Centre for the Study of Social Sciences, Kolkata, in 2011. She is currently pursuing her PhD in Cinema Studies from the School of Arts and Aesthetics, Jawaharlal Nehru University. Her dissertation explores the history of the Malayalam soft porn industry from the 1970s. <darshanatvm@gmail.com> David Teh works at the National University of Singapore in the fields of critical theory and visual culture. His research centres on contemporary art in Southeast Asia. From 2005-09, he was an independent critic and curator based in Bangkok. His recent projects have included ‘The More Things Change…’ (5th Bangkok Experimental Film Festival, 2008); ‘Unreal Asia’ (55. Kurzfilmtage Oberhausen, Germany, 2009); and ‘Video Vortex #7’ (Yogyakarta, 2011). David’s writings have appeared in LEAP magazine, artforum.com, Art & Australia and The Bangkok Post. His recent essays have been published in Third Text and Afterall journal. David is also a director of Future Perfect, a new gallery and project platform in Singapore. <davteh@gmail.com> Deepani Seth is a designer and ethnographer. She has researched on public healthcare and mobile phone usage for livelihood purposes. <deepani_seth@hotmail.com> Divya Vishwanathan is an architect-urban designer, settled in Bangalore. She credits her having lived in various places across India through her childhood with having inculcated in her a love for understanding cities and culture. Media and art are her special interests. She is also an avid reader and loves listening to music. <divyavish@gmail.com> Douglas Murray studied Social Thought and has a Masters in Special Education. He teaches literacy in the Bronx, New York. <dryanmurray@gmail.com> Eline McGeorge is a Norwegian artist living and working in London and represented by Hollybush Gardens,
London. Her work incites theoretical, political and visual engagements through work processes combining materials and references in collage, montage, drawing, sculpture, animation, text and publications, prints, video and more, most often put together in installation. <mail@elinemcgeorge.org> • Gagandeep Singh is a BCom graduate who studied Religion and Fine Arts for his Masters. He runs a telecom business and is into the world of sketches, often starting his day in a café with coffee and sketching. He was recently part of ‘City as Studio 03’ and ‘Sarai Reader 09: The Exhibition’. <gagan5in@yahoo.com> • Gigi Scaria was born in 1973 in Kothanalloor, Kerala. He completed his Bachelor’s degree in Painting from the College of Fine Arts, Thiruvananthapuram, in 1995, and his Masters in the same from Jamia Millia Islamia, New Delhi, in 1998. Some of his selected shows include ‘The Sahmat Collective: Art and Activism in India since 1989’, Smart Museum of Art, University of Chicago, 2013; ‘Cynical Love: Life in the Everyday’, Kiran Nadar Museum of Art, New Delhi, 2012; ‘Everyone Agrees: It’s About to Explode’, Venice Biennale, 2011; 3rd Singapore Biennale, 2011, and ‘Chalo! India: A New Era of Indian Art’, 5th Anniversary Exhibition, Mori Art Museum, Japan, 2008. Scaria’s solo shows include ‘Prisms of Perception’, the Ian Potter Museum of Art, University of Melbourne, 2012; ‘Amusement Park’, Chemould Prescott Road, Mumbai, 2009; ‘Settlement’, Christian Hosp, Berlin, 2009, and ‘Absence of an Architect’, Palette gallery, New Delhi, 2007. In 2005, the artist received the Sanskriti Award in Visual Art. Scaria lives and works in New Delhi. <gigiscaria@gmail.com> • Hans Hortig studied landscape planning at the Technical University of Berlin, and the Swiss Federal Institute of Technology, ETH Zurich, with special focus on landscape architecture and territorial research. He graduated from the TU Berlin Chair of Landscape Architecture and Open Space Planning in 2012. His final thesis, “The Cauvery River as Fluvial Territory”, focussing on the influence of the Cauvery river on the territory of South India, was supported by a DAAD fellowship. He works as a freelance landscape-architect and is co-founder of the Delta Circle Project. www.deltacircle.jux.com <delta.circle@yahoo.in>
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• Janine Ramlochan is an Indo-Caribbean Canadian media artist and creative strategist. She draws on a background in advertising, where she bridged conceptual ideas with an interest in human behaviour, cultural dynamics and media consumption. She has worked with ad agencies in New York, Bangkok, Toronto and Paris on numerous local and international brands. <janine.gngha@live.ca> • Joshua Neves is Assistant Professor of Modern Culture and Media at Brown University. His research centres on global media, cultural theory, and media urbanism. He is currently completing a book manuscript exploring media, development and political society in Olympic Era China. <jwneves@gmail.com> • Kaushik Bhaumik is a historian of film and contemporary culture. He is co-editor of Visual Sense: A Cultural Reader, published by Berg, 2008, Oxford. Forthcoming works include a monograph on early Bombay cinema and the co-edited Project Book for the ‘Cinema/City: Bombay/Mumbai’ project. An art show, ‘The Rise of the BROWNationals’, a collaborative effort with artist Vishal K. Dar, opened in Bombay in December 2012. <kaushik@osians.com> • Kavya Murthy is the Programme Coordinator at SaraiCSDS. Previously a student of sociology, she has been dreaming for some years now of ethology (with great fascination for Old World Monkeys). She is currently interested in intersections between philosophies of science and political ecology. <murthy.kavya@gmail.com> • Kiran Chandra is a visual artist pursuing her MFA at Hunter College, New York. She has shown her work in India and the US. She has worked as an educator with various organisations, such as the Brooklyn Arts Council, the Museum of Modern Art and the Dia Art Foundation, amongst others. <kiranchandr@gmail.com> • Lauren Rosati is a Brooklyn-based curator and art historian. She currently is Curatorial Assistant in Modern and Contemporary Art at the National Academy Museum, New York, and a PhD student in Art History at the Graduate Center, CUNY. She was the Assistant Curator of Exit Art from 2007 to 2012. She recently co-edited, with Mary Anne Staniszewski, Alternative Histories: New York Art Spaces, 1960 to 2010, published by MIT Press in October 2012. She co-founded ((audience)), an
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organisation dedicated to the advancement of aural arts. <lauren@au.dience.org> Lucia Maria Sá Antunes Costa is a landscape architect with a PhD from University College, London. Currently a Full Professor of Landscape Architecture PROURB/ FAU-UFRJ-Graduate Program in Urbanism, Faculty of Architecture at the Universidade Federal do Rio de Janeiro, she is also the Coordinator of the Professional Masters in Landscape Architecture-PROURB. Her published research has appeared in Landscape Architecture. <lucialice@gmail.com> Manuela Ciotti is Assistant Professor in Global Studies at Aarhus University and a ‘Framing the Global’ Fellow (2011-2014) at Indiana University, Bloomington. She has published several essays in leading journals, and she is the author of Retro-Modern India. Forging the low-caste self (2010) and Political Agency and Gender in India (forthcoming). She is currently researching global presences of contemporary Indian art. <manuela.ciotti@gmail.com> Meera Baindur is on the faculty at the Manipal Centre for Philosophy and Humanities, Manipal University, Karnataka. She has a doctoral degree in environmental humanities with particular emphasis on the concept of nature in Indian intellectual traditions. She is interested in cultural geography and the idea of place from various perspectives. She is currently engaged with the concept of embodiment and identity in experiences of the individual. <mansilight@gmail.com> Mehreen Muratza has a BFA from Beaconhouse National University, Lahore. Winner of The Charles Wallace Pakistan Trust – Rangoonwala Foundation Award, she is a Gasworks resident artist, 2010. Murtaza lives and works in Lahore, Pakistan. Her works have been acquired by collections such as the Museum of Monaco; DZ Bank, Frankfurt; Cartwright Hall: Bradford City Art Gallery and Museum, UK; and Devi Art Foundation, Gurgaon. <murtaza.mehreen@gmail.com> Myrto Tsilimpounidi is based at the University of East London, with a DPhil from Sussex. She is a social researcher and photographer whose work engages in urban sociology and visual cultures. Current research projects exploring landscapes of belonging, street
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politics, irregular migration and marginalisation. She is executive director of Ministry of Untold Stories, and editor of a collection called Remapping Crisis: A Guide to Athens. <myrtotsil@gmail.com> Nandita Badami has completed her MPhil from the Centre for Political Studies, Jawaharlal Nehru University. She is interested in the afterlives of ‘used’ commodities and their circulation in informal economies. <nandita.badami@gmail.com> Nicole Wolf researches, writes, teaches and curates with moving images. Her interest lies in political cinemas, specifically experimentations with documentary modalities, to think through their relation to publics, notions of conflict and dissonance. A continuous engagement with South Asian documentary practices informs her inquiry into cinematic international alliances. She currently teaches at the Visual Cultures Department of Goldsmiths, London. <n.wolf@gold.ac.uk> Rajeev Kathpalia is on the faculty at CEPT University, Ahmedabad. A partner with Vastu Shilpa Consultants, Ahmedabad, a professional consultancy practice in architecture, urban planning and design, he is also a Trustee and Director of the Vastu Shilpa Foundation, a non-profit research organisation in environmental and habitat design. <kathpalia.rajeev@gmail.com> Robert Willim is Associate Professor of European Ethnology with the Department of Arts and Cultural Sciences, Lund University, Sweden. As an artist and cultural analyst, Willim’s research has primarily dealt with themes like digital and material culture as well as cultural economy. His artworks are positioned close to his practices as an ethnographer, and the works often emanate from research questions. www.robertwillim.com/ <robert.willim@kultur.lu.se> Robin Simpson is an art historian, curator and student based in Vancouver. He is currently enrolled in the PhD program in Art History at the University of British Columbia and holds a doctoral fellowship with the Social Sciences and Humanities Research Council of Canada. <robin.b.simpson@gmail.com> Rohini Devasher was born 1978 and lives and works in Noida. She received her MA in Printmaking from the Winchester School of Art in the UK and her BFA in Painting
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from the College of Art, New Delhi. Devasher’s practice over the past few years has been rooted in science, with a focus on processes of emergence. Her current work involves research and fieldwork in astronomy. <rodevasher@gmail.com> Rohit Raj Mehndiratta is an architect and urban designer. A graduate of the School of Architecture, CEPT, Ahmedabad, he later pursued research work in Architecture and Urbanism at the Massachusetts Institute of Technology. His academic and research interests lie in the domain of visual urban representations and the politics of urban development. In 2007, he started his own consultancy firm, Studio VanRo, in partnership with Vandini Mehta. <studiovanro@studiovanro.com> Runa Das Chaudhuri has worked under the Doctoral Programme at the Centre for Studies in Social Sciences, Calcutta (CSSSC) and has recently been awarded her doctoral degree by Jadavpur University. Her dissertation explores the thematic of the interplay between the uncanny and the everyday in the context of Bangla ghost stories written for children between 1940 and 1980. She works as an Asia Art Archive Project Researcher at CSSSC. Her current research interests include Cultural Studies and the sociology of consumption in urban India. <runadc2006@gmail.com> Saba Sharma holds a Masters in Anthropology from the University of Leuven in Belgium; her essay here derives mainly from ethnographic research conducted in South Africa in 2011 towards her thesis. She works at present as a research associate at the Centre for Equity Studies in New Delhi, which undertakes studies on hunger and social exclusion with a view to influencing public policy for the most marginalised. <sabasharma4@gmail.com> Sabih Ahmed is a researcher based in New Delhi. Since 2009, he has been part of the Research+ team at Asia Art Archive, with which he conducted a digitisation project of the personal archive of Geeta Kapur and artist Vivan Sundaram in 2010, now available at http://www.aaa.org.hk/Collection/CollectionOnline/ SpecialCollectionFolder/304. <aaa.sabih@gmail.com> Sadia Shirazi is engaged in a transdisciplinary practice investigating the relationship of art and architecture to socio-political issues, cultural memory and exhibition
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practices. Her recent curatorial projects include ‘230 MB/Exhibition Without Objects’ (Khoj International Artists’ Association, Delhi, 2013); ‘136 MB/Exhibition Without Objects’ (The Drawing Room, Lahore, 2012); and ‘Foreclosed. Between Crisis and Possibility’ (The Kitchen, New York, 2011). She has written for various print and online publications and lectured on her work internationally. Shirazi holds an M-Arch degree from the Massachusetts Institute of Technology and was a curatorial fellow of the Whitney Museum Independent Study Program and teaches at Parson’s The New School for Design in New York. <sshirazi@gmail.com> Sara Wingate Gray is a researcher, writer, artist and doctoral candidate at University College, London, where she is investigating the philosophy of the public library. In 2006, she founded The Itinerant Poetry Library, a worldwide-travelling public library of poetry. She has been a Visiting Research Scholar at The Poetry Center & American Poetry Archives (2007-08/2011) and in 2010 was an International Librarianship Fellow (IREX/Bill and Melinda Gates Foundation). <uczcswi@ucl.ac.uk> Shehzad Noor Butt is a singer and songwriter schooled in eastern classical music. She has been performing with the band, Poor Rich Boys (and the toothless winos), for the past few years, and is currently teaching music at the Lahore Guitar School. <noorbuttshehzad@gmail.com> Shiju Sam Varughese is Assistant Professor at the Centre for Studies in Science, Technology and Innovation Policy (CSSTIP) in the School of Social Sciences of the Central University of Gujarat, Gandhinagar. His research interests include Cultural Studies of Science and Technology; Science Fiction Studies; Public Engagement with Science; and Social History of Knowledge. <shijusam@gmail.com> Silke Eva Kästner is a painter who lives in Berlin; she developed her mobil approach while travelling in New York, Japan and India. She runs Gallery Waschhaus, a place for experimental and site-specific art practice. She also works for and initiates intercultural projects at House of the Cultures with students in Berlin and abroad. www. silkekaestner.de <silkekaestner@gmx.de> Sisir C. Anand, a science graduate, is interested in interdisciplinary fictions that serve as pedagogic aids. He works fictions. <iscars@gmail.com>
• Srinivas Aditya Mopidevi is a PhD scholar in Visual Studies at the School of Arts and Aesthetics, Jawaharlal Nehru University. His MPhil dissertation was “Constellations on the Move: New Media Art in the ‘Contemporary’”. As part of ‘Sarai Reader 09: The Exhibition’ (Devi Art Foundation, 2012), he initiated artbarricade.org, a web journal that dedicates itself to producing thinking on contemporary cultural practice. <adetya369@gmail.com> • Thomas Crowley is a researcher at the Delhi-based Intercultural Resources (ICR) organisation and was a NonFiction Writing Fellow in Sarai’s ‘City as Studio’ programme (2012-13). <thoscrowley@gmail.com> • Thomas Mical of the Hawke Institute, University of South Australia, completed his M-Arch at the GSD with a thesis on “Blade Runner Urbanism for Cyber-City, Tokyo”. He has taught architecture theory internationally and recently lectured at the School of Planning and Architecture, Delhi. His research involves spatial alterity, hybrid typologies and misreading film theory as architectural theory. <thomas.Mical@unisa.edu.au> • Todd Lester is Executive Director of the Global Arts Corps, founder of freeDimensional and creator of Lanchonete, a five-year experimentation of artistic witnessing focused on a neighbourhood in the centre of São Paulo, Brazil. www. lanchonete.org. <saopaulolanchonete@gmail.com> • Vandita Sharma is a space designer. Her core interest is museum design; among other spaces, she has worked on a children’s educational museum in Andhra Pradesh and on the Khalsa Museum at Anandpur Sahib. <vandita_s20@hotmail.com> • Venugopal Maddipati is an architectural historian. He received his B-Arch from the School of Planning and Architecture, Delhi, in 2001, and his PhD in Art History from the University of Minnesota in 2011. He has been teaching at the School of Planning and Architecture and is currently a Junior Fellow at the Nehru Memorial Library. <venugopal.maddipati@gmail.com> • Vinu Abraham is a writer based in Trivandrum and has worked as the Kerala correspondent of The Week for 20 years. He has published 11 books, including short story collections and novels. The film Celluloid (Kamal: 2013) is based on his novel, Nastanayika. He has written scripts for prominent films such as Rathinirvedham (TK Rajeev,
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2011) and Chattakkari (Santhosh Sethumadhavan, 2012). <binujose96@gmail.com> • Yuri Queiroz Abreu Torres is an architect with a Masters in Environmental Engineering from Osaka University. Currently a PhD candidate at PROURB/FAU-UFRJ-
Graduate Program in Urbanism, Faculty of Architecture, Universidade Federal do Rio de Janeiro, he is an Assistant Professor at the Faculdade Redentor. His published research has appeared in digital landscape. <torres.yuri@gmail.com>
Editorial Collective, SARAI READER SERIES
Editors
• Raqs Media Collective (Jeebesh Bagchi, Monica Narula and Shuddhabrata Sengupta) enjoys playing a plurality of roles, often appearing as artists, occasionally as curators, sometimes as philosophical agent provocateurs. They make contemporary art, curated exhibitions, edited books, staged events, collaborated with architects, computer programmers, writers and theatre directors. Raqs (pron. rux) follows its self-declared imperative of ‘kinetic contemplation’ to produce a trajectory that is restless in terms of the forms and methods that it deploys even as it achieves a consistency of speculative procedures. Raqs remains closely involved with the Sarai programme (www.sarai.net) at the Centre for the Study of Developing Societies (CSDS), Delhi, an initiative they co-founded in 2000. <studio@raqsmediacollective.net> • Ravi Sundaram is a Senior Fellow at CSDS. In 2000 he founded the Sarai programme along with Monica Narula, Jeebesh Bagchi, Ravi Vasudevan and Shuddhabrata Sengupta. He is the author of Pirate Modernity: Media Urbanism in Delhi (Routledge, 2009, London). His forthcoming work, No Limits: Media Studies from India, is due to be published by Oxford University Press. Sundaram’s current work is on contemporary fear after media modernity. <ravis@sarai.net> • Ravi Vasudevan works in the area of film and media history at Sarai/CSDS. His work on cinema explores issues in film, social history, politics, and contemporary media transformation. His current research tracks the way film use was dispersed from the site of the cinema into a variety of practical functions. He is also exploring the emergence of video technologies as part of a new Sarai project he is coordinating with Ravi Sundaram on media infrastructures and information. <raviv@sarai.net>
• Shveta Sarda is an editor and translator, and has been based at Sarai-CSDS since 2001. She has translated Trickster City: Writings from the Belly of the Metropolis (Azra Tabassum et al., Penguin India, 2010), is co-editor of Cybermohalla Hub (Sternberg, Berlin, and Sarai-CSDS, Delhi, 2012) and has edited P.T.O. (Sarai-CSDS, 2012). <shveta.sarda@gmail.com>
Raqs Media Collective and Shveta Sarda
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Sarai Reader 09: PROJECTIONS Editorial Collective, Sarai Reader Series Raqs Media Collective, Ravi Sundaram, Ravi Vasudevan Edited by: Raqs Media Collective and Shveta Sarda Assistant Editor: Shyama Haldar Kilpady Design: Pradip Saha/DamageControl Design intern: Nirmal Singh Cover image: Anisa Rahim Back cover image: Chandan Gomes Section separators: Pradip Saha Produced in conjunction with ‘Sarai Reader 09: The Exhibition’, 18 August 2012–16 April 2013, curated by Raqs Media Collective at the Devi Art Foundation, Gurgaon. ‘Sarai Reader 09’ is a collaboration between Sarai-CSDS and Devi Art Foundation. Curatorial group from Sarai-CSDS: Shveta Sarda, Bhagwati Prasad, Kavya Murthy Curatorial group from Devi Art Foundation: Kanupriya Bhatter, Anannya Mehtta, Reha Sodhi ‘Sarai Reader 09’, the exhibition and the book, have been supported by generous grants from Royal Norwegian Embassy, Delhi; Foundation for Arts Initiatives, New York and Thyssen-Bornemisza Art Contemporary, Vienna. Additional support: Goethe-Institut, New Delhi; Pro Helvetia, New Delhi; Office for Contemporary Art, Oslo; Alliance Français, New Delhi; TAKE on Art, New Delhi
Published by The Director, Centre for the Study of Developing Societies, 29 Rajpur Road, Delhi 110054, India Tel: (+91) 11 2394 2199 Fax: (+91) 11 2394 3450 www.sarai.net, dak@sarai.net Delhi, 2013 ISBN 978-93-82388-03-6 Any part of this book may be reproduced in any form without the prior written permission of the publishers for educational and non-commercial use. The contributors and publishers, however, would like to be informed. Available for download at: http://www.sarai.net/publications/readers/09-projections Printed by Impress, New Delhi 424 pages, 17.8cm x 21cm Paperback: Rs. 350, US$ 15, Euro 12
ISBN 978-93-82388-03-6