Monthly Archives: December 2009

National Instruments

On the initiative of Moinak Biswas, Film Studies Jadavpur Uni, Kolkata, and with great input from Rosalind Morris, but initially inspired by the Preservation in Globalization workshop convened by Gayatri Spivak and Jorge Otero-Pailos, an interesting redevelopment seems possible. A disused factory site adjacent the Jadavpur campus was toured by our group in early December. A documentation of the site has begun by photographers invited by the Jadavpur Media Lab has generated some great pictures, see here. The site was left pretty much intact when the factory closed in 2003 – well worth  a look.

Now (see below) there is a plan to gut the site and turn it over to the engineering faculty. The site is huge – there is room for something alongside. Hence, the following draft international petition:

For continued innovation at the National Instruments site, Jadavpur.

The redevelopment of the National Instruments site offers a rare opportunity to look forward and back at the changing dynamic of industrial production. The extant materials, documents, personal effects, and machinery (lathes, punch card clocks, work desks) provide a physical record of workplace experience now passing. Jadavpur University, with its reputation, scholarship and global reach is well placed to facilitate an innovative approach that builds upon the proud history of NI and looks forward creatively to new developments.

A simple shroud should not be passed over this accumulated wealth of objects, and labour, from the past. The factory remains might be best preserved by the University in a working space that is devoted to tracking the transformations of industrial production and workplace experience in India. That a museum and art/technology laboratory has been proposed is supported by international scholars, a large number of whom have visited the site and/or noted the initial documentary work produced by Moinak Biswas and his team. We consider this an excellent, exciting and potentially rewarding possibility for joint work and international co-ordination. Scholars would seek international funds to locate research projects on labour history, urban development, new economy (service sector, technology, privatization) and co-research in joint ventures with Jadavpur scholars and students. A truly international project to unite workers of the world might be reanimated here.

The idea is that various people will sign this and it be put to the Jadavpur heads to consider the proposal, from Media Lab and Film Studies, to do something interesting with the site. Well, I think its interesting. I used to work in a similar factory as a grubby teenager. My dad spent a very large part of his life in one – Stanley, Nunawading, Melbourne, Australia. I have a touch of the heebie-jeebie’s looking at the machines, especially the drills where I had spent long low-paid days… (the picture I have used is from a post by Madhuban Mitra and Manus Bhattacharya – with thanks)


Giving some history of National Instruments, and of the original preservation project and future plans, Moinak writes:

The factory started off in 1830 under the name ‘mathematical instrument maker’, then became ‘mathematical instruments office’, both serving mainly the ‘survey of india’ instituted by the east india company. During ww1 it got seriously involved with the defense dept., became national instruments factory; was relocated to the premises you saw in 1957, renamed ‘national instruments limited’ (NIL) as a public sector unit under the union govt. the factory mainly made optical instruments for survey, measurement, photography, etc. and was popularly known for its national 35 camera. It fell into some crisis first in the 60′s, and then into a more serious one in the 80′s, got referred to the board of industrial and financial reconstruction (BIFR). Manufacture stopped in 2003. most workers accepted the voluntary retirement scheme (VRS) and left in march, 2003. 64 employees remained on campus and witnessed the ruination. In 2009, jadavpur university took over the property with the aim of building an extension campus for the engineering faculty.

the media lab of the dept of film studies at jadavpur undertook extensive photo documentation of the premises in june, 2009. we commissioned 10 young photographers and filmmakers to shoot for 4 months on the premises, covering everything possible. we have a bank of 20 thousand still images and 60 hours of video footage. a blog from the stills ( and a couple of films have been made. more projects will follow. we have shot interviews with many ex-employees. it’s now a substantial labour and industrual landscape archive.

but there should also be preservation of a different kind. the university has started renovating parts of the buildings, and will soon remove most of the equipment and files, etc. we were thinking of proposing the creation of a space, using one big room like the canteen you saw, which will preserve their products, some of the tools, machine parts, workers’ id papers, bills, service documents, policy documents, the punch card machines, etc, and at the same time be an active space for independent art practice, including independent film screenings, installations, etc. the major problem is to persuade the university to spare that space. it would pay more serious attention to an international community of artsits and intellectuals. but we should keep in mind what can be sustained and how far, given the public funded university framework in india, and given the fact that anything doing with art has first to prove its vialbility to the engineering faculty dominated.


This is great stuff – history and potential. But there are also things to debate. University take over of the fading industrial economy has a long track record (see here, here and  here). Is it really possible to tamper with such trajectories? Besides drafting the above call at Moinak’s request, I also offered my two pice worth of cynicism earlier in the discussion [note: I was a bit ill at the time]:

Moinak, your sentence on the the creation of a space that will both preserve the NI worker’s “products, some of the tools, machine parts, workers’ id papers, … punch card machines, etc, and at the same time be an active space for independent art practice” is a great start. But I wonder if the museum/archive route is too passive, and might not claim much in terms of physical space in the building (when it all should be kept in those terms - see Mao Mollona’s excellent film on industrial steel machinery in Sheffield, where a fully functioning workshop has been maintained 1890′s era machines in working, and profitable, order). I also wonder if, importantly, the preservation argument does enough in conceptual terms within the overall regeneration/transformation of the economy and the University – a discussion I imagine that must be going on, and needs new thinking.

I am acutely aware that here “anything doing with art has first to prove its viability to the engineering faculty dominated”, and wonder if the focus of what we present might be geared towards this. That said, I am stumped for where to look for initial funds, or clearly marked ‘preservation funds’. It is not my forte. However, ongoing funding could also be geared into the conception.

An Art/Laboratory would probably have pedagogical, research and creative components.

At issue is who inhabits the space, what it provides, and outcomes now and for the future.

Thus, neither a mortuary service for fading industry, nor a hollow art scene doing a ghost dance for dead capital (tried and tested, but too often turned into mere foyer or coffee shop – eg Tate Modern), the project has far greater inter- and intra- disciplinary purchase, and potential as for very wide participation. The former workers, the Jadavpur students, local residents, the city in general, and both national and international research teams across many areas can be drawn into the nexus of this site conceived as instrumental to the transition between older and newer economic modes. Research, teaching and creativity all have a role in transition.

A range of projects, both national and international – but many funded internationally – could locate in dedicated space within the project:

Possible internationally funded Research Projects for Instrument Lab

- changing infrastructure of economies, history and globalization, technology and colonialism, warfare and commerce, education and training history (see journal of the Confernce of Socialist Economists)

- class composition and worker’s inquiry, labour history, transition economies and the transformation of work, co-research with workers of older and newer economic production (this is a project I would like to pursue between Goldsmiths, Queen Mary Business School and Jadavpur – funded by Economic and Social Research Council UK perhaps, the Co-Research would involve workers paid as researchers in both discontinued production such as National Instruments, as well as in new industries in Kolkata such as creative economy, service sector, media and telecoms. They would be researching, documenting and theorizing their own conditions of work – aim initially at a three year project @ £500k for 4 paid researchers on site, plus money for collaborative work).

- precision capitalism, mathematical arts of production, skill, craft and body/machine knowledge: instrument hand and brain, cyborg labs then and now (Fuller/Harwood/MUTE or RAQS?).

- obsolescence and regenerative second life, industrial remains and urban renewal, science and fiction, creative revival as life force in cities (see P.Hall and M.Castells: Technopoles of the World).

- photographic imaging and war/industry convergence (as digital is to analog; globalization is [not] to industry)

- teaching exchange, especially in cultural studies of work, education, training, urban preservation and curating (possible Network Grants at £70k each)

These projects in various ways – there would be many others possible – would be conceived to locate researchers at Jadavpur, employed locally and internationally, and would work with local constituents and stakeholders (workers, researchers, students, local residents, support staff). Each would entail a pedagogical exchange function, as well as a display (installations, museum, art) aspect. The point is to keep this alive to change, the transformation of work, of class composition, or urban environs, and of the university itself (as universities move to project based work, and older models of disciplinary containment are supplemented).

Ahhh, now I have written all this down I think maybe its not strong enough yet to stave off the impending disposal of most of the workplace artefacts, beautiful machines (valuable machines) and other remains, but those remains are the resource and raw material of something potentially great in the future. Our labour can reanimate them – the sweat of our friends to whom we owe a debt (not just of mourning).

Sorry for the Derridisms – the flu drugs again kick in…


So, the trite thing to ask is ‘What would Benjamin have to say about the Boxing Day sales?’ If you think that the Arcades equation goes: Capitalism > Paris > Arcades > Flaneur > Snowdome then you have probably missed the entire premise. Condensation is not all that goes on here – the world is not desiccated trinkets. It’s the constellation that can be discerned in the appreciation of trinkets that matters. The book remains unfinished (and I hate to say it but that also seems to be my excuse, though the mountain and the morphine are not yet in reach).

CU71012A “Cultural Studies and Capitalism”

Hi – If you are coming to my course on Marx’s Capital in 2010 (starts Jan 14th), for the first lecture it would be helpful if you have seen, or again seen, Orson Welles’ film ‘Citizen Kane’. And if you know someone who is going to do this course and wanted to do some Xmas period (or Mao’s birthday – 26 Dec) shopping and get them a present, it would not hurt to get them a box set of “Battlestar Galactica”. – J

Lecture course Spring 2010 – Centre for Cultural Studies.

CU71012A “Cultural Studies and Capitalism”

Lecturer: Professor John Hutnyk (thursdays 11am-1pm [Tom's seminars 3-5]).

This course involves a close reading of Karl Marx’s Capital (Volume One). The connections between cultural studies and critiques of capitalism are considered in an interdisciplinary context (cinema studies, anthropology, musicology, international relations, and philosophy) which reaches from Marx through to Film Studies, from ethnographic approaches to Heidegger, from anarchism and surrealism to German critical theory and poststructuralism/post-colonialism/post-early-for-christmas. Topics covered include: alienation, commodification, production, technology, education, subsumption, anti-imperialism, anti-war movement and complicity. Using a series of illustrative films (documentary and fiction) and key theoretical texts (read alongside the text of Capital), we examine contemporary capitalism as it shifts, changes, lurches through its very late 20th and early 21st century manifestations – we will look at how cultural studies copes with (or does not cope with) class struggle, anti-colonialism, new subjectivities, cultural politics, media, virtual and corporate worlds.

Indicative reading:

T Adorno, The Culture Industry

A Ahmad, In Theory: Classes, Nations, Literatures

M. Taussig My Cocaine Museum

G Bataille, The Accursed Share

K Marx, Capital: Volume One

Marx and Engels, The Communist Manifesto

G Spivak, A Critique of Postcolonial Reason

S Zizek, Revolution at the Gates: Selected Writings of Lenin from 1917

S Lotringer (ed), Hatred of Capitalism: A Reader

Many of the lectures will include visual material. Very occasionally this may be part of a feature film or a longer documentary and on such occasion the rest of the film should be viewed in the Library. Usually a short screening will occur in the second hour of the scheduled lecture.

The main reading will be the relevant chapter or chapters of Capital each week. Do also read the footnotes, they are sometimes quite entertaining (attacks on ‘moneybags’, comments on Shakespeare, notes on bamboo ‘thrashings’, and celebrations of the work of Leonard Horner, factory inspector). The key secondary text will be in a reader pack available from the CCS office

Mode of Assessment: This course is assessed by a 5,000 word essay to be submitted to the Centre for Cultural Studies office early in April 2010.

Literature and Film Go Wild in the Streets: from Burning Books to the War on Terror.

Abstract for Joel (to be written up by March)

Literature and Film Go Wild in the Streets: from Burning Books to the War on Terror.

Book burning is something close to the heart of novelist Salman Rushdie, whose work, The Satanic Majesties was famously burnt in Bradford  twenty years back (and in India six months earlier) in 1989. This protest is said by many commentators to mark the public articulation and mobilization of a specifically Muslim South Asian presence in the UK (Malik 2009). There is much scholarship on this theme and the changes it rings in: Gayatri Spivak long ago pointed out how ‘the Rushdie affair has been coded as Freedom of Speech versus Terrorism’ (1993:237), and with its long history, the burning of books of course agitated the liberal sensitivities of many commentators who later were all in favour of the bombing of Baghdad, including, presumably various libraries, museums and bookshops. This is not to excuse the fatwa or to enter into the debates about censorship or appropriate handling of Islamic narrative (the six wives of the Prophet as prostitutes was always going to get Rushdie into trouble, as his sales publicist no doubt hoped, but horribly underestimated). The point that interests me here is the reconfiguration of the streetscape of diaspora and terror that this book burning achieved. An outrage reconfigures and then changes shape – as Rushdie’s characters also do – through the context of geo-political intrigue, investing these characters and issues with darker sentiments that is then played out in suburban space. The book burning on the street evokes other street politics – from burning cars and rioting (example: the film Sammie and Rosie get Laid – Frears/Kureishi) through to a more persistent low level everyday anxiety of racial profiling in a surveillance state. Where Spivak attends to a geographic and linguistic ‘really existing’ Asia that has now become the major location for the sharp end of the war on terror, from South East to North East (Philippines, North Korea) and North West to Middle East (Afghanistan, Palestine) we can talk of an expanded reconfigured Asia as host for a the theatre of war (Spivak quotes Koshy 2003:x) that ever more becomes a matter of urban/street conflict in locations like London, Manchester, Bradford and Birmingham. On streets like those of Lewisham, London, this Asia, and the visibility of ‘Asians’ loses geographical specificity and is embodied in the figure of the threatening Muslim: the people of the book become book burners and Jihadis. Various commentators do not seem to agree on how this came to pass or what should be the response, but clearly there can be multiple and varied globalized versionings of terror. The war on terror at home can be seen in the sociological reportage of Malik, Gopinath and Fekete, in the cinematography of Kureishi and Frears, and the theoretical reflections of Chow, Derrida and Sen.

See also here and here.


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