DIY Anti War Drones and more:
John Hutnyk, London: “The East as a career: Marx Writing Capital and the Value of Bengal.”
Um 18.15 Uhr in Raum 220
DIY Anti War Drones and more:
6 June 2014. Nottingham Trent University
In Desert Screen, Paul Virilio suggests the notion of a ‘squared horizon’ as a way of envisioning the interposition of the screen, multiple screens, in matters of war, conflict and international relations. Yet, the ‘squared horizon’ might also function as a starting point for bringing together the various frames and trajectories which make up Virilio’s oeuvre. The ‘squared horizon’ evokes the fragmented, pixelated existence of late capitalism, the perpetual dividing up of time into ever smaller units, the deferred, bracketed out future, put aside in favour of the instantaneous and immediate, the impact of urbanization with its grid systems and blocks on our experience of space, time and identity.
We are pleased to present a one-day conference focusing on the work of Paul Virilio organized around theme of the squared horizon.
Attendance to the conference is free but please reserve your place here so we have an idea of numbers.
Conference Schedule (room tbc)
9.30 Registration and Coffee
The Big Night: Into the Ultracity – John Armitage, University of Southampton
11.30 SQUARING OFF – VIRILIO AND SPACE
The secret underground bunkers do exist!!! – Michael Mulvihill, Artist.
The Negative Abyss – Mark Featherstone, Keele University
Topological Variations in Virilio’s Le Futurisme de l’instant – Enda Mccaffrey, Nottingham Trent University
14.00 SQUARING CIRCLES – VIRILIO AND TIME
War and Post-War: Memory and European Identity in Paul Virilio’s Phenomenology of Modern Technology – Neil Turnbull, Nottingham Trent University
Concepts and Catrastophes: Jean Baudrillard and Paul Virilio – Gerry Coulter, Bishop’s University, Canada
15.30 SQUARE HEADS – VIRILIO AND THE DIGITAL IMAGINATION
Framing the Criminal – Sophie Fuggle, Nottingham Trent University
The digi-child and dromospheric sensibility – Felicity Coleman, Manchester Metropolitan University
Inner screens and cybernetic battlefields: Paul Virilio and Robocop – Brian Sudlow, Aston University
5pm Close of Conference followed by Conference dinner in Nottingham (details tbc)
ATTENDANCE IS FREE. BOOK YOUR PLACE HERE
For further information about the event please contact: email@example.com
The play Enig-Mas asks: What is woman? What is man? Where does love lie when you’re on a political quest? What does it take to be a revolutionary? Set in 1930s India and Bengal and modern Britain in 2000s, Professor Raminder Kaur of University of Sussex, has written a new play inspired partly by the 1931 novel, Kuhelika (Enigma) by the renowned Indian writer and poet/ national poet of Bangladesh Kazi Nazrul Islam. This play puts a searing lens on relations between men and women in times of political turbulence. It is one of the plays in the new season from Mukul and Ghetto Tigers directed by Mukul Ahmed.
The story covers a period of 7 decades through generational and geographical connections, characters that are vastly separated by time and space, but intimately connected through blood and passion. It is partly set in 1930s pre-independent India and Bengal, and 2000s Britain. Jahangeer, an impressionable young man, is gradually turned into a protagonist of revolution against British colonial rule. His high-class Muslim background proves to be an asset in circumventing British surveillance when the main ‘trouble-makers’ are identified as Hindus, making a marked contrast to the present era. Through the play we witness with the characters, the joy and horrors of revolutionary struggle, the sacrifices and dangers as well games and dilemma of loyalties and personal pain and loss.
The play relates a series of incidents inextricably interlinked through sorrow, grief, humour and happiness. Love, hatred and extreme emotions are laid out in multiple scenarios and deeply moving music and dramatic style. It makes for a memorable theatre experience through a story that reaches out from the past and embraces the present with echoes and meaningful questions that probe who we were, what we have become and suggest possibilities for all our futures.
One night two summers ago, I was in a car speeding across the border into the eastern Indian state of Bihar. The unlit, pitch-black freeway didn’t deter traffic from barreling forward at breakneck speeds. In the inevitable accident, a young man was shredded by a truck. A politician showed up, but instead of taking charge, he distracted the police with laughter and gossip.
Preventable death or official callousness is not unique to Bihar, but this particular incident seemed, to me, typical. Bihar is a state that until recently took the troubles that bedevil all of India and amplified them to levels that were unbearable even by Indian standards. In Bihar, an accident was carnage and apathy was criminal neglect. Although matters have since improved, to survive, the poor still traffick their children and the rich still get out.
Few writers are better placed to examine this near-dystopian state of affairs than the novelist Amitava Kumar, a native son, although now a professor of English at Vassar College.
“A Matter of Rats” calls itself “a short biography of Patna,” the capital city of Bihar, but like Kumar’s other books, it is many (perhaps too many) things at once. A memoiristic essay that strives to reconcile his feelings for his hometown — despair on the one hand and concern on the other, for it is where his elderly parents still live. “There is no way to avoid it,” he admits. “When I step on Patna’s soil, I only want to see how much older my parents look.” It is an insider’s alternative to the scornful narratives of Patna made popular by Western writers, and which the author, with even greater scorn, calls “hysteria as travel writing.” It is also an adventure in pursuit of witnesses to stories both real and apocryphal — a 1967 visit by Marlon Brando, the rumor that Napoleon’s bed lies in a decrepit old Patna mansion. (There is a bed in Patna that belonged to a Napoleon, just not that Napoleon.)
It is, in all, an intimate and whimsical book, but one that truly shines when the author turns his gaze to the ordinary people who still live in Patna — the rat catchers of the lowly Musahar caste, the tutor who helps poor children crack the entrance tests to India’s exalted institutes of technology.
The chapter on the rat catchers is the book’s finest, skillfully evoking the circumstances of chaos, filth and absurdity in which even the city’s middle-class professionals are forced to live.
Patna’s vast number of rats, the author tells us in a marvelous bit of anthropomorphizing, appear like “stout ladies on tiny heels, on their way to the market.” Nurses at a city hospital play the radio at night in the hope of keeping the rats from nibbling their toes. The rats haven’t escaped the attention of a local bureaucrat. But instead of trying to get rid of them, he sets himself the loftier ambition of ending anti-rat prejudice. If middle-class people would only appreciate rats, he rationalizes, they would also appreciate the Musahars, who are condemned to catch the rats. A Musahar whom the author accompanies on a rat-catching expedition isn’t holding his breath for change. “High-minded abstractions weren’t among his pressing concerns,” Kumar tells us. “His worry was finding food for that day and the next.”
That food was rats.
A MATTER OF RATS
A Short Biography of Patna
By Amitava Kumar
116 pp. Duke University Press. $19.95.
VisionMix international artists’ and filmmakers’ network presents a screening of
“VisionMix Short Cuts” film, followed by a Roundtable.
When: 19.00 to 21.00, Tuesday 13th May 2014
Where: SOAS, University of London, Old Building Khalili Lecture Theatre
Thornhaugh Street, Russell Square London, WC1H 0XGhttp://www.soas.ac.uk/visitors/location/maps/
VisionMix is an international network of video and sound installation artists and documentary filmmakers whose members are based in Delhi, Kolkata, Mumbai and London. Launched in October 2013, VisionMix’s aim is to explore the agency of the artist in lens-based media projects that are acts of resistance, investigating the relationship between the social responsiveness of ‘documentary’ practices, video installation art and other audio/visual art forms. Whether dealing with issues of gender, environmental challenges, migration or issues around ‘marginality’, the ways in which these works mobilize audiences invites questions about the methods used in their production. VisionMix is also planning exhibition-screenings and symposia in the UK and in India in 2015-17.
The film, “VisionMix Short Cuts” (55 minutes) showcases 12 artists and filmmakers from the India-based members of VisionMix, whose directors have contributed samples of their work, and are interviewed about their practise. These are: Atul Bhalla, Sheba Chhachhi, Ranbir Kaleka, Priyanka Chhabra, Anupama Srinivasan, Sameera Jain, Gigi Scaria, Asim Waqif, Paramita Das, Moutushi, Avijit Mukul Kishore and Kavita Joshi. VisionMix’s curator (and director of this anthology) Lucia King, is an artist-filmmaker and researcher of South Asian artists’ non-fiction film practices, and will contextualize the film after the screening.
The post-screening roundtable invites the UK-based VisionMix associates to explore how local predicaments and today’s art (and non-fiction film) industries are contributing to the artists assumed forms of public intervention, the themes and tactics used in these projects. VisionMix welcomes students, curators, art historians, industry professionals, researchers, filmmakers, artists and those interested in new media developments on an international stage, to join this discussion.
For more information: firstname.lastname@example.org
Radio Australia, 8 May 2014
Bougainville Shareholders support corporate review
Updated 8 May 2014, 9:30 AEST
The Australasian Centre for Corporate Responsibility says it is encouraged that most Bougainville Copper shareholders are in favour of appointing an independent jurist to investigate the company’s involvement in counter-insurgency activities during the Bougainville civil war.
The Centre’s resolution, put to the Bougainville Copper annual meeting in Port Moresby was overwhelmingly defeated.
Presenter: Jemima Garrett
Caroline le Couteur, Executive Director of the Australasian Centre for Corporate Responsibility
Communicating India’s Soft Power: Buddha to Bollywood
Professor Daya Thussu
Date: Thursday 8 May 2014, 6:30 pm
Venue: Nehru Centre, 8 South Audley Street, London W1K 1HF
As the world’s largest democracy with a vibrant and pluralist media system, India offers an excellent case study of the power of culture and communication in the age of mediated international relations. This pioneering attempt – the first book-length study of India’s Soft Power – from an international communication/media perspective, fills the existing gap in scholarship as well as policy literature in this area. The book, published by Palgrave/Macmillan in New York in their prestigious Global Public Diplomacy series, has been described by Professor Ashis Nandy as an ‘excellent, comprehensive yet brief survey of the scope and limits of India’s Soft Power and the country’s changing status in global public culture and media’.
Daya Thussu is Professor of International Communication and Co-Director of the India Media Centre at the University of Westminster in London. Professor Thussu has a PhD in International Relations from Jawaharlal Nehru University, New Delhi and he is the author or editor of 16 books and the founder and Managing Editor of the Sage journal Global Media and Communication.
The event will mark the formal launch of the book by Dr Virander Paul, Deputy High Commissioner of India in the UK, to be followed by a brief presentation about the book by the author and a discussion with Professor Lord Bhikhu Parekh about the issues raised in the book.
Television plays a very important role in constructing and presenting images of Indian modernity. Channeling Cultures brings together scholars from various disciplines to locate television within multiple histories of the nation as well as current trajectories in global culture and politics. Building on analytical frameworks of postcoloniality, citizenship, democracy, development, globalization and consumerism, this volume addresses questions in televisual form, genre, identity, politics, affect, gender, body and sexuality, and explores regional, national, and global itineraries of Indian television.
Focusing on the genres of news, reality show, and soap opera, the book interrogates some of the standard assumptions of television studies and more broadly global media studies. It provides fresh perspectives on the transition of Indian television from a state monopoly to a market-driven system and liberalization’s nuanced relationships with Indian media in general. The arguments invite the reader to critically engage with many theoretical perspectives ranging from political economy to cultural studies that energize the field of research on Indian television. The book will interest all those looking to critically engage with television, media theory, and popular culture.
Buy it here OUP India