29.4.10

Airoots!

Matias and Rahul push it one step further on Airoots (one of my favourite blogs), questioning the informal-formal conceptual binary when describing and thinking about spaces such as Dharavi.
"We feel that the word ‘informal’ has now become another catchword that can be affixed to all kinds of terms to give them a superficial edge: informal settlements, informal networks, informal cities, informal design. The term has not been adequately thought through and glosses over many dimensions of lived reality.

If we want to describe the cities of today, especially the parts that fall out of the grid or creep through it, we need to invent new terms that express not so much their form but rather the way they evolve. That is why we would rather describe MG Road as being constantly ‘in-formation’ rather than informal.

Saying that a habitat is ‘in-formation’ doesn’t necessarily mean that it is incomplete. Instead, the term echoes Kevin Lynch’s description of cities as “evolving learning ecologies” (1981 p.115) and seeks to capture the capacity of certain urban spaces to evolve continuously and adapt to the context. The hyphen between ‘in and ‘formation’ is there to emphasize the dynamic production of urban forms and its perpetual incremental improvement and conservation."
This is something I have been thinking about too of late. How do we think about the non "rational" / "official" city (that "grid of discipline"), without resorting to a binary opposition and yet account for difference? One way is to not think of this other city as a "lack" or somewhere prior on an imagined time-line. So, non-capitalist not pre-capitalist economies. Or a-modern medicine not "traditional" medicine. And, further, the purity of such categories is always questionable. Conceptual and everyday borders are constantly transgressed. Which is why I like Airoots' "in-formation" habitats. It doesn't foreclose different directions and possibilities.

But, I do sometimes wonder if we are beginning to privilege the economic (Dharavi is always celebrated for being economically vibrant) over the cultural and social. I wonder what the implications of that may be for cultural spaces that are not so economically/commercially as vibrant?

28.4.10

On Certainty...



Jim Ballard the cyborg keeps me happy as I vacillate. Can't believe it's been a year; I'm still in mourning...

17.4.10

Kill Descartes

"At first, it appeared simple: to gain an overview of Paris, one needs to find a suitable viewpoint. But where from? The top of the Montparnasse tower? No – the crowds there would distract. The top of Montmartre (where one would have the advantage of not seeing the Basilica Sacré Coeur)? Perhaps, but the view would be too oblique there. Maybe a satellite photograph? But then only one plan would be obtained . . . The balcony of the office of the Mayor of Paris, in the Hotel de Ville? An empty and cold place, surrounded by ugly fountains: one would see nothing of the vitality of the metropolis. So, is it impossible to comprehend the city? Not if we keep moving! Let us circulate, and then, suddenly, Paris will become gradually visible."

- Latour and Hermant

13.4.10

Le Monde Magazine Shoot

Some outtakes of Chor Bazaar from an editorial shoot I did for Le Monde in March. 






Certain Indian magazines really need a lesson in "how-to-treat-your-photographer-both-as-a-human-being-and-as-a-professional" from them. Also, foreign publications have this wonderful habit of actually paying their photographers on time and not six months after the shoot.




12.4.10

Ghosts, Futures

"...the debris of shipwrecked histories still today raise up the ruins of an unknown, strange city. They burst forward within the modernist, massive, homogenous city like slips of the tongue from an unknown, perhaps unconscious, language. They surprise."

- Michel de Certeau, from Ghosts in the City

Surfaces

The surface-level expressions, however, by virtue of their unconscious nature, provide unmediated access to the fundamental substance of the state of things. Conversely, knowledge of this state of things depends on the interpretation of these surface-level expressions. The fundamental substance of an epoch and its unheeded impulses illuminate each other reciprocally
- Siegfried Kracauer 

7.4.10

Mekas


"I want to speak for the small, invisible acts of human spirit: so subtle, so small, that they die when brought out under the clean lights. I want to celebrate the small forms of cinema: the lyrical form, the poem, the watercolor, etude, sketch, portrait, arabesque, and bagatelle, and little 8mm songs. In the times when everybody wants to succeed and sell, I want to celebrate those who embrace social and daily tailor to pursue the invisible, the personal things that bring no money and no bread and make no contemporary history, art history or any other history. I am for art which we do for each other, as friends.

- Jonas Mekas

27.3.10

Benjamin

"In thousands of  eyes, in thousands of objects, the city is reflected."
- Walter Benjamin

25.3.10

13.3.10

Science / Fiction

More de Certeau:
“There can only be a science of science-fiction.”

Michel de Certeau and the presence of absence

Was it fate? I remember the marvelous Shelburne Museum in Vermontwhere, in thirty-five houses of a reconstructed village, all the signs, tools and products of nineteenth-century everyday life teem; everything, from cooking utensils and pharmaceutical goods to weaving instruments, toilet articles, and children’s toys can be found in profusion. The display includes innumerable familiar objects, polished, deformed, or made more beautiful by long use; everywhere there are as well the marks of the active hands and laboring or patient bodies for which these things composed the daily circuits, the fascinating presence of absences whose traces were everywhere. At least this village full of abandoned and salvaged objects drew one’s attention, through them, to the ordered murmurs of a hundred past or possible villages, and by means of these imbricated traces one began to dream of countless combinations of existences.

- Michel de Certeau
Memorable passage from The Practice of Everyday Life.

7.3.10

After Auschwitz...

"After Auschwitz, history is no longer a rational unfolding. The summit of reason, order, administration, is also the summit of terror. Calculation and accounting encounter the mathematical sublime of railway timetables and of genocide at the same time."
- Bill Readings (on Adorno's "After Auschwitz")

9.2.10

Cinema City Goes to Berlin


Happy to be part of Madhushree Datta's paltan that is heading to the Berlinale this year.

If anyone finds themselves in Berlin from the 11th to the 21st of February, please go checkout "Cinema City", which is a group show that Madhu has curated.
"Cinema City is a project to document, archive and re-read the cinema producing cities through images and narratives within cinema and its impacts and manifestations in the lived world; involving inter-disciplinary and collaborative research, pedagogy and art and media productions."
The Cinemas Project will be featured as an installation at the Delphi Filmpalastam. Amruta Sakalkar has  designed a lovely little two-seater cinema hall in which the images will be presented. Thanks to Madhu, Kausik and the folks at KRVIA and Majlis for putting it all together.

Here is a list of the people that are exhibiting/screening their work:

The Western Suburb: Installation on Sweatshops of Cinema (Avijit
Mukul Kishore, Mamta Murthy, Rikhav Desai & Found Footage
Archive of Majlis); Cinema City Lived: Book of Spatial and Textual
Cartography (Design Cell, KRVIA; Text: Hansa Thapliyal, Design:
Ankit Bhargav); Phantom Lady on Light Boxes: Performance Photography
(Pushpamala N); The Cinemas Project: Photo Art on Single
Screen Cinemas (Zubin Pastakia, Design: Amruta Sakalkar); Bioscope:
Cinema-City-Modernity Dateline (Kausik Mukhopadhyay);
Calendar Gala: Iconography in 20th Century (Art Works by Multiple
Artists, Research: Shikha Pandey); Pila House: Interactive Computer
Archive (Rohan Shivkumar and Design Cell, KRVIA; Software Design:
Thatzit)

Films:
Certified Universal (Avijit Mukul Kishore, India 2009, SD, 15’); Dark
Room (Renu Savant, India 2009, SD, 10’); Have You Dreamt Cinema?
(Hansa Thapliyal, India 2009, SD, 16’); Sin City (Srikant Agawane,
India 2009, SD, 16’)

Visual Designer Cinema City: Kausik Muklhopadhyay

Creative Director and Curator Cinema City: Madhusree Dutta

28.1.10

''Have patience, and I'll make halvah for you from unripe grapes.''
- Persian proverb

16.1.10

A Theory of the Real



Memento from a mind-bending class on the philosophy of science at CSCS, Bangalore. Definitely one of the better courses I have taken to date.

One of the discoveries was the work of Donna Haraway.  In her book Primate Visions, among many, many other things she successfully makes the case that the natural sciences much like the human sciences are inextricably within the processes that give them birth. And so, like the human sciences, the natural sciences are culturally and historically specific, modified, involved.

Here is a nice quote that stayed with me from the introduction:
Both fiction and fact are rooted in an epistemology that appeals to experience. However, there is an important difference; the word fiction is an active form, referring to a present act of fashioning, while fact is a descendent of a past participle, a word form which masks the generative deed or performance. A fact seems done, unchangeable, fit only to be recorded; fiction seems always inventive, open to other possibilities, other fashionings.

14.1.10

Lift Kara De





I took the above images with my cellular phone while waiting for the elevator on my way up to a friend's place in Bombay. Every now and then it is worth reminding ourselves of just how naturalised spatial segregation is in our everyday world. Both, how we cut up and divide space and the justifications that we provide for the same, are, no doubt, a certain kind of politics.

Check out Hiland Sapphire, a luxury building project of the United Credit Belani group in Calcutta. The self-proclaimed "residence of choice for the manor born" lists on its website the characteristic features of the complex: Set in an "idyllic landscape" lined with foliage and fountains, the apartments have "capacious rooms of the bygone British era" fitted with "airy French windows". Further, the complex comes with a fully equipped "top-notch surveillance" system because "security, these days, has become an issue of foremost concern". All this is, of course, put together according to our very own "Vastu principles".




In case those gorgeous renderings haven't convinced you and you're still in two minds, there's more good news: your domestic help will not get in the way of your European manor dreams. I quote from an earlier version of their web-site (which has since been removed, but shows up in Google's cache memory when searched.):
Separate living quarters, toilets and washrooms will be provided for all domestic help employed by residents. Moreover, to render them 'invisible', segregated entrances and elevators have been constructed.
Whoever said Utopia was a place that could never exist? For the Great Indian Middle-Class Imagination Machine, it is very much here.

(Hat tip to Immanuel's Cant for the title of this post)