Archive for the ‘Photography’ Category

comrade 1

comrades

hammer grafitti

reach for freedom

IMG_3268

brick face

appetite

russian toys by vertov

consumption

anarchist book fair cabaret 2

st pauls assembly 2

st pauls assembly 3

anarchist book fair cabaret

st pauls assembly 1

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reticulation 9.6 copy

Abstract: This essay aims to diagram the set of connectivities (or “system of relations”) developing in business outsourcing affective, communicative labor and the value-adding digital image in contemporary Hindi-Urdu cinema. What emerges is a resonant set of nested temporalities constituting a new media assemblage. Throughout, I draw on a set of analyses that has developed the notion of affective labor as a decisive break in the organization of value under capital. In this work by feminist political economists, postcolonial critics, and Marxist phenomenologists, affect becomes the substance of interaction and communication: distinct from “emotion,” affect is defined by its relational, bodily character, and cannot be reduced to an internalized feeling. In that regard, affect is considered pre-individual, operating in that moving strata of being and becoming where the subject and populations meet. Affect is both virtual and actual at once, it is an emergent, incipient space of mutation and potential as well as the site of modulation, control, and capitalist valorization. Theoretical frameworks that have brought together Marx, Freud, Foucault, and Deleuze have conceived of affective labor using terms such as desiring production, and more significantly, numerous feminist investigations, analyzing the potentials within what has been designated traditionally as women’s work, have grasped affective labor with terms such as kin work and caring labor [or “labor in the bodily mode”]. Through an analysis of No smoking (Kashyap, 2008) and Office Tigers (Mermin, 2006), I explore the singular emergence of affective labor in the South Asian context, in pervasive processes that are informatizing (rendering as/through data) various forms of life and work. I correlate the function of affective labor in both business outsourcing and digital media through analyses of two key modalities: the evolving functionality of information in the nonlinear, open system of computer technology; and the modulation of subjectivity in the capacities of attention and sensation of value creation.

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vashi station

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Epicenter, Gurgaon

Punjab Wadi Bus Stand, Deonar

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Colaba

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Train to Virar

These photos seem to me to have come together quite by chance, but then they also emerged from patterns of behavior and forms of style, against the backdrop of flows of people, traffic, capital, information. In India today these patterns are emerging through a new ecology of sensation. But I make no claim for these photographs as “art.” And yet clearly the history of perspectivalism, the dominance of representationalism in the engagement with a living multiplicity is at stake for me in creating these images. There is an accretion of information some of which coheres, much of which does not, but each image has a certain duration at different scales of perception, a noncoinciding resonant unity, a unity-in-multiplicity is what I hope to continue through the photography (mutating affect, not representation). An ecology of sensation meeting its cliché: Bollywood meets graphic novels at the back of a rikshaw, Agra’s Mughal-era oriental(ized) stone work turning topological and dimensional (is it less or more racist? to what extent is the question relevant to what it does?), the ferris wheel on Juhu beach, the weighing machine at the local station. This time that I have been able to spend here in India thanks to a research grant from the Fulbright foundation, has allowed me to research the materiality of the ecology of sensation of mobile phones and experiment in forms of creatively engaging this ecology.

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