BlogAbout

since many of us don't read the Biblio

Via: "mahmood farooqui"

{This is the debut novel of C.P. Surendran, a Resident Editor with The
Times of India. The novel is set in Wayanad and its Naxalite movement
of 70s. The following is a review I've done when Biblio asked to do
one. It is a critique on the way he portrayed Naxalite politics. Was
wondering if you are interested to read it. Vinod}

An Iron Harvest
C.P. Surendran

Reviewed by

Vinod K. José


As the Naxalite movement grew in strength by the 1970s, it was common
for college campuses to be frequently raided by the Police. Anyone
could be picked up on suspicion regardless of whether they had
anything to do with the movement or not. One day, Rajan, a young
engineering student at the Regional Engineering College, Kozhikode,
was not only arrested but went missing in police custody. What exactly
happened to Rajan, one still doesn't know. But all we know is that he
died in police custody. It is widely believed that Rajan was brutally
tortured by the police, killed and the body disposed off. Rajan's
disappearance became the much talked about issue among the Malayali
public at the time with Rajan's father, Echara Warrier, approaching
the court with a habeas corpus writ petition. The court observed that
the Government of Kerala had lied in its affidavit. This led to the
resignation of Kerala Chief Minister and Congress leader, K.
Karunakaran, who was the home minister at the time of the incident.
However, with none of the politicians and policemen responsible for
the murder punished even after 30 years, justice continues to be
denied.

Eventhough justice is still denied the custodial death of Rajan and
the Naxalite movement continues to inspire Malayalam literary
imagination. Numerous short stories, novels and plays have been
written on it. Film makers have made internationally acclaimed films
(For example Piravi, by Shaji N. Karun). In regular intervals, reports
from investigations on how police disposed Rajan's body, testimonials
by retired constables who have confessed that Varghese, one of the
prominent leaders of Naxalite movement in Wayanad, was shot in a fake
encounter, surfaces in the Malayalam newspapers. It is the same
Rajan's story and the Naxalite movement that has inspired
C.P.Surendran, a journalist, poet in writing his debut novel, An Iron
Harvest, the book under review.

John, the main protagonist of the novel is described as the 'young Che
Guevara like leader of the Maoist organization Red Earth'. John, a
student in the Regional Engineering College, Kozhikode, joined Red
Earth and has led a guerrilla squad in many of its operations.
Varkichayan, expelled from a mainstream communist party, is the main
leader of Red Earth. Alongside the story of Red Earth, there is
another story that enfolds. This is on the disappearance of a
classmate of John, Abe, who according to the author is 'a political
innocent', from police custody. It is believed that Abe was tortured
and killed in police custody, and the body was then disposed off by
the crime branch police, Raman, who heads the counter-Naxalite
operations during the Emergency. Abe's father, Sebastian, knocked on
many doors for justice, but in vein. Raman, being a close associate of
the Home Minister, Shankaran Marar, was given protection from all his
adversaries. During an attack on the police station, John and his men
are caught. Raman takes John to a forest and shoots him and even gets
a promotion for that. But, when the National Emergency is over,
Sebastian approaches the court, and gets Marar and Raman convicted for
his son's murder. Justice is delayed, but delivered finally. And the
novel ends.

In an interview to Deccan Herald, the author, C. P. Surendran echoing
the middle class concerns on the movement which inspired him to write
the novel says, 'An Iron Harvest comes from my friends in school and
college who died for what was perhaps never there. Call it revolution,
if you will. What was all that pain and courage for? Now I sleep in an
air-conditioned room and flowers bloom over their graves. What is the
value of heroism?' It is the deep middle class cynicism and
individualism embedded in the above statement that prevents the likes
of C. P. Surendran from going beyond the usual rhetoric that is often
aired and making a more rational analysis of the Naxalite movement for
what it was. When an author begins with the premise that the movement
was an effort in vain, then one can expect where the novel would be
heading. Besides, in Wayanad, where much of the plot in the novel
enfolds, it was because of those on whose graves flowers bloom today
that minimum wages began to be implemented; feudal lords stopped
harassing the adivasis and tenants; practices like Vallikettal,
whereby adivasis would be auctioned in wholesale at Valliyurkavu
temple to work as slaves in the farms of landlords, came to an end;
Kerala Scheduled Tribes Act that promised 'to restore all alienated
land for adivasis' got passed. Naxalites fell short of achieving their
goal, but if it had not been for them, issues such as the agrarian
crisis in Wayanad (manifested in the alarming rate of farmers'
suicides), alienation of land from the adivasis (the 2003 police
firing on adivasis inside Muthanga Wildlife Sanctuary), large scale
deforestation (the felling of trees in Wayanad by the Birlas since
1960s for their newsprint factory and the subsequent environment
movement) etc. would have remained in oblivion. 'What was all that
pain and courage for? Now I sleep in an air-conditioned room and
flowers bloom over their graves'. May be the likes of C. P. Surendran
would always pretend not to know what all that pain and courage was
for. For the air-conditioned room has a way of quarantining one from
the messy reality of the world.

When a novelist claims that his work "is based on a true incident"—a
claim that gives legitimacy to the book—one expects him to portray the
period and its reality with some objectivity. But, in respect to the
plot, the characterization and the many details on the period, An Iron
Harvest proves to be contrary. His characterization leaves an
impression that Naxalites were just some trigger-happy men, who drank
and doped all the time, and who were brought together by mere personal
affinities than any common understanding of politics. Nair is a dope
supplier who runs his business in a pan shack at a busy street in
Kozhikode. One day, during a protest that turned violent against
government, he is knocked unconscious. Varkichayan, a Naxalite leader,
saves him and takes him to a hospital. As a gratitude to Varkichayan,
Nair becomes a Naxalite! Such is the callousness of the
characterization that is done. If one is to read the biographies of
people who were once part of the Naxalite movement (Eg. Ormakurippukal
by Ajita) or talk to an elder in Wayanad, it becomes amply clear that
Naxalites like Kisan Thomman, Sukumaran, Kunjaman, Joseph, Sankaran
Master, Thettamala Krishnankutty, Maran, Choman Mooppan et al. were
people with tremendous understanding of what they were doing and why
they were doing it. They were farmers, union leaders, adivasis, school
teachers or those who broke away from the mainstream communist
parties, each of whom had a distinct history of political engagement.
But, in An Iron Harvest, the author makes sure that none of these
Naxalites are brought alive in the characters of Heston, Rajan, Mani
and others.

From a novel telling Naxalite stories, one would at least expect the
author to provide the readers with some accurate portrayal of how a
guerilla squad carries out an operation. This is also lacking in this
novel. The author seems to have done very little research on this
matter and leaves much of it to his imagination. For example, this is
how a decision is taken among the characters to attack a police
station:

'I think we should conduct a raid,' John said.
… 'We have to decide which police station to raid,' Nair said.
'Pulpally of course,' Heston said.
'It is too far away…,' John said….
'Tirunelli is more accessible to us,' John said.

And so, they attack Tirunelli station. But why do they attack? Do they
attack out of boredom? Do they really target a police station
according to how accessible it is to them? Why does the author remain
silent about the politics behind such operations? Is it because, it
would make it easier for him to parrot what the mainstream media and
the intellectual class in our country today, are saying about the
'mindless violence' of the Naxalites?

In 1968, close to a thousand poor farmers, mostly from Meenachil taluk
in Kottayam district migrated to Pulpally Panchayat in Wayanad. When
they started cultivation, the Pulpally devaswam (temple authority),
claimed ownership over 27,000 acres of their land and asked them to
vacate from those land. The Forest department initiated the process of
eviction. Farmers resisted, and subsequently the Malabar Special
Police (MSP) was called in (MSP was a colonial armed police force
started by the British to crush the Mappila resistance and the
numerous smaller resistances in Malabar. Post independence, MSP came
under Kerala government. After the Naxalite movement, they conjoined
MSP with Kerala Armed Police). MSP, camped in Pulpally Sitadevi
temple, began to harass the farmers who continued cultivation. A
memorandum from these farmers reached a group of Naxalites. They
organized a couple of meetings with the farmers and decided to attack
the MSP camp in Pulpally. According to the testimonials of the locals,
this was how the 'Pulpally station attack' happened. It is in the
light of this real incident that the author writes about the
'Tirunelli station attack'. There is however a difference. As far as
the author is concerned the attack was just the outcome of the
decision made by a bored group of six guerrillas who one fine day felt
like attacking a police station and thereby, choosing the most
'accessible' police station in the vicinity. Whereas Pulpally station
attack was done by a group of approximately hundred men and women, who
were to be evicted from the land they lived. Of course, this kind of
fact would not make it into a novel that completely misses out on the
politics behind the Naxalite movement. To the credit of the Naxalites,
the farmers finally got their land back in Pulpally.

It is also important to take note of the role that the author assigns
to women in his novel. Convicted in the 'Pulpally station attack',
Ajita, a woman Naxalite leader, spent nine years in jail. Her mother
Mandakini, a Gujarati and a former headmistress in a school in
Kozhikode, had also joined the Naxalite movement. There were many
other women who sympathized and conspired with the movement. However,
the author portrays the Naxalite movement as a purely male affair,
devoid of any participation of women. At the same time, the only woman
who gets some amount of attention in the novel is Janaky, a childhood
friend and a former lover of John. Janaky gets married to Raghu, who
works in Dubai, and has a one year old child, Mohan, who suffers from
progressive atrophy of the heart. She returns to Kerala and John goes
to meet her after he receives a letter from her. After years of
separation, the warmth between them lingers, leading to a clumsy,
frantic lovemaking. Later in the day a conversation starts between
them. Janaky tries to convince John who, in her words, has changed
from 'my lover to the rebel of lost causes', about the worthlessness
of his politics. John disagrees and tries to convince Janaky about the
relevance of his politics. Getting nowhere, the conversation ends
bitterly with Janaky grieving 'sometimes I feel bitter that you
preferred politics to me. Guns to my roses'. The author gives the
impression that women after all are not interested in 'politics',
especially the one that is armed with 'guns', which also explains for
the absence of any women Naxalites in the novel. Instead, he confines
women to a world of 'roses', away from 'politics'. As a result, he
reinforces the existing gender stereotypes.

The author's research on the differences between Naxalite politics and
the politics of mainstream communist parties are also poor. When the
senior most leader of Red Earth, Varkichayan discusses politics with
John, which by the way is the only instance in the novel where a top
leader discusses politics with anyone, a distorted representation of
the issues raised by the Naxalites in Wayanad is given. On the
fundamental limitation of their movement, John says: '…And the
fundamental limitation is that the mainstream communist parties have
corrupted the worker's ideology to the point that he thinks that
things will change through the ballot box. He is not entirely in the
wrong either. The Land Reforms Act that the Communist ministry brought
into effect gives him hope in parliamentary politics…As far as I'm
concerned if we are able to unionize the workers in the plantation and
ensure them a reasonable deal in terms of wages, that in itself is a
big achievement. Revolution perhaps can wait.'
'Fair enough,' Varkichayan wheezed.

To be fair to the Naxalites in Wayanad of the 70s, Land Reforms Act
was the first thing that they attacked. Their numerous pamphlets
talked of how land reforms failed to change the land ownership
pattern, and how it provided loopholes for meeting the interests of
the rich plantation owners. One such 'exemption' in the Kerala Land
Reforms Act 1969, which was a boon for the rich farmers, stated,
'ceiling is lifted in the, case of rubber, tea and coffee plantations,
private forests and patently non-agricultural lands and lands
belonging to religious and educational institutions'. The Naxalite
movement, which was more active in the agricultural hill areas of
Kerala, 'exposed land reforms', convincing their constituency of poor
farmers, agriculture laborers and adivasis of the need to take to a
revolutionary path. The slogan of the mainstream communist parties,
'land to the tiller', and the electoral promise they made regarding
redistribution of land in favor of the landless poor, were misnomers
at least for the peasants in plantation districts like Wayanad.

The National Sample Survey (37th round) has some interesting data on
the land distribution in Kerala. Even after the land reforms, while
76.3 per cent of the Kerala population, owning merely 00.00—00.99
acres of land per household, hold merely 21 per cent of the total land
in Kerala, 9.3 per cent of the population own a whopping 54.2 per cent
of the land. It is quite clear from this that the land reforms in
Kerala happened at a superficial level. When the main protagonist in
the novel, John, is portrayed as convincing his leader Varkichayan, on
the efficacies of Land Reforms, and opts not to raise the issues of
land distribution in Red Earth's campaign, the plot moves far from the
reality of the period, and the issues raised by the movement. And to
one's surprise, the main leader, Varkichayan without a debate, seems
to approve of John's line of argument.

The real life story of Rajan and his father Echara Warrier is a story
wrought with injustice and anyone who has followed the case would
agree on that. Like many other court cases where political bigwigs and
senior police officers are involved, nobody ever got punished for the
murder and even Rajan's dead body remained undelivered to his family.
A few months ago, Echara Warrier too passed away. Despite all this,
the author would like to make it a success story in the novel.
Sebastian, father of Abe, who approaches court soon after the
Emergency, manages to sent Marar, and Raman to jail, thus 'restoring
honor to his son'. According to a reviewer of An Iron Harvest in a
newspaper, 'Sebastian nearly drowns in despair, but in the end emerges
a winner, redeemed by what he so irrevocably has lost'. Is this act of
twisting a story of injustice into a matter of celebration justified?

The author rightly knows what the Unique Selling Proposition (USP) of
the book is. Hence, he has identified it and tailored it around the
context of a 'Maoist revolutionary organization', something that is
exotic and sellable these days. Sadly, it is one of those works which
has failed to objectively analyze Maoist politics, but one that
reaffirms many of the earlier middle class prejudices.

The blurb in the opening page of the book introducing C.P. Surendran
declares him to be 'one of the most important poets of India.' Whether
that is an exaggeration or not, his debut novel definitely would not
make him 'one of the most important novelists of India.' The novelist
fails to portray the spirit of the real life story, distorts facts,
and gives an image makeover, perhaps, a consequence of writing it
'from the comforts he gets from his AC room', as he said, and
forgetting to be truthful to his 'friends graves', and their stories.

*************
Vinod K. José is the reporter in Delhi for Radio Pacifica Network, an
American newscast. Vinod is from Wayanad, Kerala. He can be contacted
at vinodkjose@gmail.com
 Permalink

Re: [Reader-list] There has been a change of plan: Raqs Media Collective

Via: Jose-Carlos Mariategui

Dear Monica:

Thanks for your detailed answer.

Obviously the global side is not the one to be questioned, not only because
to question some type of global process may be absolutely complicated since
no clear specific rules apply. In this sense, a good word you use is
'neutral' grounds, since globalization cleans up local reality to much more
unpredictable spaces, with universalized information loosing its
contextualization and its former canonization and therefore a source of
reality.

Though globalization is a complex process, it may not be compared to a local
process. Even in local terms, the processes may be more challenging and
complicated since when you 'talk' to a global audience there is in deed a
group of people that know your work and are willing to see what is the most
recent work developed (there is an international audience). Though these
avid group may seen interesting it is also 'neutral' and somewhat irrelevant
to the specific local contexts.

My reality, at least working for many years in Latin America is that few
local people are interested in those global questionings (except obviously
from a minuscule local group of cosmopolitan intellectuals and artist that
are culturally versed). This is why the exploration of what happens in the
city along with the local engagement is more difficult, silent, problematic
(even erroneous) and usually unheard and unimportant for an international
audience.

I can put once more the case of Peru to clarify this much more: the VAE
Festival ( www.festivalvae.com), which one of few constant annual new media
art festivals in Latin America, does a lot of things outside the capital
city, Lima. Those interactions are silent and inexistent to everyone in
Lima (and obviously to the global audience). Nevertheless, these small
things ('acts'), done with more difficulty, being more expensive (since
there are no technical conditions), more problematic (not a steady audience
if an audience at all) had been happening with some intensity for the last 3
or 4 years. Today we can say that some of those places are 'waiting' for
the Festival to happen in their locality every year. So after some years of
'struggle' and allocating resources, there is a contribution to a local
experience that through workshops and presentations may trigger new local
practices and an expansion of their knowledge.

This is today even much more important if we consider that young people are
already 'digital natives' which means they use technology as a 'mother
tongue' though quite unfortunately the content available (specially through
TV) is very poor. In that sense, when you mean that it is difficult for
someone with a non-visual arts
background to enter the art context, I think
that more than arts background we need people with 'media' background, which
I believe a vast majority of young people are. One of our aims in involving
artists from Peru and abroad in this local exchanges is questioning what the
outcome is going to be. As I told you perhaps it will require many years to
see something out there, but sooner or latter something may happen. I had
found that with younger audiences the involvement in new media art is almost
immediate, they are media ready (and I am not speaking here necessarily of
the Internet, but other 'offline' media such as the TV or radio).

So these local situations (transformations, change) are absolutely necessary
and in my perspective, without trying to criticize too much, are usually
unimportant to the international audience. So here I have new questions:
If you mean there is not a local audience for your work (which I think is a
very harsh statement), are you just thinking in a global audience? If from
a local perspective these processes seem important, to what degree you think
the experience could be mounted or duplicated to other realities? In my
perspective it may be difficult but possible, thherefore to activate a group
of peripheral projects and participants can led to interesting results.

While you are refereeing to Raqs projects with international curators, if
the purpose of working globally obviously resituates the people, what will
be then the difference to work in Dehli or in New York, for example? I
believe that Dehli and the Sarai centre are places of confrontation that had
triggered many of your works and that is what is valuable. This is why I
believe as much as the local gives to us, we must give back...don't you
think?

All the best,

Jose-Carlos





on 7/31/06 7:26 AM, Monica Narula at monica@sarai.net wrote:

> dear Jose-Carlos

Thanks for your mail. It opens up many questions. Some
> responses, far
from 'explanatory' and perhaps starting strands of
> thought...

- The art context in India is primarily around what is termed as
> the
"visual arts". 95% of the works shown and transacted are paintings.
>
Followed at a distance by sculptures/objects and then the rare
photographic
> show. Photography has yet to find a stable space, though
there is some
> important work being done in this domain. It is only in
the last few years
> that there has been somewhat of a shift towards
the showing of video works
> and some installation work. These works
are emerging both from established
> and newer artists, and basically
have a wider circulation outside India.

-
> It is extremely difficult for someone with a non-visual arts
background to
> enter the art context here. The reasons for this are
yet to be researched
> and understood. The recent entry of some
documentary practitioners in to
> this context is due more to their
international presence rather than any
> serious rethinking of the
values and consensus that run the art contexts
> here. (The documentary
film on the other hand has had for many years a
> decent and at times
controversial public presence, and a committed public
> around it.)

- This situation will hopefully change over the next few years,
> with
more diverse kinds of practitioners making interesting works and
>
staking a claim in the art space - which we think has begun. This
process
> will be interesting as it will mean changes in the ways 'art
practice' sees
> itself in relation to other practices and also to ways
in which new publics
> can and will emerge around the domain of the
'art context'.

- We have shown
> our CD works (GVHM, No_des and Ectropy) in Delhi and
Bangalore and these
> works have a circulation (also as cds). Also many
of our works travel -
> lightly - through publications and the web. In
terms of installation, we
> could not find a context to show (we have
shown a few works within means
> affordable to us in Sarai). This is
slowly going to loosen up over the next
> decade, as art contexts will
probably become more curious to practices from
> other domains.

- It is an interesting process how many of our installation
> works
emerge, and expectedly a complex one. Works have emerged through
>
conversations and the sharing of ideas and questions with some
extremely
> curious and sharp people in many parts of the world. (I
would not club them
> all together in any one idea of an institutional
context.). In this let me
> share a recent interaction. A young curator
located between Lithuania and
> Sweden has been in dialogue with us for
more than two years. We share ideas,
> critiques, questions, resources
etc. Over this period he has invited us to
> think on an idea that has
been exciting and troubling him for some time.
> This process of
thinking may find an expression in an installation to be
> first hosted
in a place that he has access to, which will definitely by
> outside
India. As a process, we find this exciting and challenging, along
>
with our work here in Sarai/Delhi. And i do think that such an
interaction
> - whether from a 'local' context or a 'global' one -
deserves respect and
> engagement.

- Some of our work has emerged from collaboration and in
> 'neutral'
grounds. This made possible very intriguing dialogues and
> processes.
Sometimes I do wish that we could ourself host a few of these
>
unpredictable encounters.

- We are yet fully to understand the complex
> processes that we are
all part of in today's world and will give ourselves a
> few more years
before we find ourselves able to speak definitively on
> 'publics' and
'places'. We have found very demanding and challenging
> interlocutors
and viewers in many different ways and places. This has made
> our own
map of the world more dense and knotty, and not merely defined by
>
national borders.

best
M

On 30-Jul-06, at 7:32 AM, Jose-Carlos Mariategui
> wrote:

> Dear Monica:
>
> Thanks for the information on the Raqs
> solo-exhibition in Dehli. I
> just
> must say that it is in my perspective
> strange to see that this is
> the first
> solo exhibit of Raqs in Dehli,
> taking into consideration that Raqs
> is Indian
> and that it has been
> exhibiting internationally for many years.
> Perhaps as
> in the case of
> many of us (that we face as non-westerns), it is more
> feasible to develop
> projects in Europe or the US.
>
> To which factors you attribute this
> situation? Has Raqs exhibited
> in other
> cities of India or in cities of
> neighbouring countries? How
> difficult is
> it?
>
> I am not criticising
> the situation but questioning it, because when
> we do
> 'something for
> abroad' it may dissociate the project with immediate
> reality.
>
> I
> believe there is a need (and an struggle) to present works in
> local and
>
> regional contexts and there may be strategies for its deployment.
> I had
>
> recently curated a screening of recent video art from Latin America
>
> (www.videografiasinvisibles.org) that went first to Europe too but
> now
> is
> going to be presented in all Latin America (thanks to the support
> of
> the
> Spanish Cooperation Agency's network of Cultural Centres of Spain
> in
> all
> Latin America). Sometimes these supranational organizations may be
>
> very
> useful (more than national organizations).
>
> Perhaps this would be an
> interesting topic of discussion during the
> Pacific
> Rim New Media Summit
> at ISEA 2006. Specially on how we can develop
> parallel
> networks in the
> Pacific Rim.
>
> All the best,
>
> Jose-Carlos
>
>
>
>
> on 7/29/06 2:33 PM,
> Monica Narula at monica@sarai.net wrote:
>
>> Raqs Media Collective : 'There
> Has Been a Change of Plan'
>> (Selected Works 2002-2006)
>> Nature Morte
> Gallery, A 1 Neeti Bagh, New Delhi
>> August 5 - 26, 2006
>>
> ---------------------------------------------------------------------
>>
> ---
>> ----------------------------------------
>> Sometimes, adjustments have
> to be made. Schedules need calibration.
>> There are contingencies, questions,
> obstinate demands, weak excuses,
>> strong desires. You return to the city you
> never left. You pause,
>> take stock. Sit still and let a conversation begin.
> Maybe?
>>
>> Around you, aeroplanes sit on wooden platforms in a wilderness
> like
>> widows on a funeral pyre. Clocks measure fatigue, anxiety and
> modest
>> epiphanies across latitudes. A door to nowhere stands obstinately
>>
> against the sky. All your cities are a blur.
>>
>> "Do you like looking at
> maps?"
>>
>> Meanwhile, measures are taken, shoes lost and found, ghost
> stories
>> gather, the city whispers conspiracies to itself, the situation
> is
>> tense but under control. Someone offers you a postcard.
>>
>> Now: Let's
> see what happens.
>>
> ---------------------------------------------------------------------
>>
> ---
>> ----------------------------------------
>> Raqs Media Collective is
> pleased to announce its first solo
>> exhibition in Delhi - 'There Has Been A
> Change of Plan' at Nature
>> Morte Gallery. The exhibition features selected
> works (2002 - 2006)
>> in the form of cross media installations with networked
> computers,
>> objects, postcards, video, sound, prints and projections.
>>
>>
> Works exhibited include: 'Lost New Shoes', selections from 'A Measure
>> of
> Anacoustic Reason', 'Location (n)', '28.28 N / 77.15 E :: 2001/02
>>
> (Co-Ordinates of Everyday Life, Delhi 2001-2002)', 'Erosion by
>> Whispers',
> 'Preface to a Ghost Story' and 'There Has Been a Change of
>> Plan'. (See
> Details in PDF attatchment with this mail)
>>
> ---------------------------------------------------------------------
>>
> ---
>> ----------------------------------------
>> About Raqs Media
> Collective
>> www.raqsmediacollective.net
>>
>> (Excerpt from the Wikipedia
> Entry on Raqs Media Collective -
>>
> www.wikipedia.org/wiki/Raqs_Media_Collective)
>>
>> Raqs Media Collective was
> formed in 1992 by independent media
>> practitioners Jeebesh Bagchi, Monica
> Narula and Shuddhabrata
>> Sengupta. Based in Delhi, their work engages with
> urban spaces and
>> global circuits, persistently welding a sharp, edgily
> contemporary
>> sense of what it means to lay claim to the world from the
> streets of
>> Delhi. At the same time, Raqs articulates an intimately lived
>>
> relationship with myths and histories of diverse provenances. Raqs
>> sees its
> work as opening out a series of investigations with image,
>> sound, software,
> objects, performance, print, text and lately,
>> curation, that straddle
> different (and changing) affective and
>> aesthetic registers, expressing an
> imaginative unpacking of questions
>> of identity and location, a deep
> ambivalence towards modernity and a
>> quiet but consistent critique of the
> operations of power and
>> property.
>>
>> In 2001 Raqs co-founded Sarai
> (www.sarai.net) at the Centre for the
>> Study of Developing Societies (CSDS)
> in Delhi where they coordinate
>> media productions, pursue and administer
> independent research and
>> practice projects and also work as members of the
> editorial
>> collective of the Sarai Reader series. For Raqs, Sarai is a
> space
>> where they have the freedom to pursue interdisciplinary and hybrid
>>
> contexts for creative work and to develop a sustained engagement with
>> urban
> space and with different forms of media.
>>
>>
>>
>>
>> Monica Narula
>> Raqs
> Media Collective
>> Sarai-CSDS
>> 29 Rajpur Road
>> Delhi 110054
>>
> www.raqsmediacollective.net
>> www.sarai.net
>>
>>
>
>
>
> _________________________________________
> reader-list: an open discussion
> list on media and the city.
> Critiques & Collaborations
> To subscribe: send
> an email to reader-list-request@sarai.net with
> subscribe in the subject
> header.
> List archive:
>

Monica Narula
Raqs Media
> Collective
Sarai-CSDS
29 Rajpur Road
Delhi
> 110054
www.raqsmediacollective.net
www.sarai.net

 Permalink

Rakshat Hooja: A survey of 5 RWAs in Delhi

Via: Vivek Narayanan

---------- Forwarded message ----------
From: *rakshat hooja* >
Date: Jul 21, 2006 3:53 AM
Subject: survey of 5 RWAs in Delhi*To: reader-list@sarai.net


*

*In this post I will try to briefly summarize the quick readings of
qualitative findings of the first part of a questionnaire based survey
undertaken in 5 Resident Welfare Associations (RWAs) of New Delhi/ Delhi
(C-8 Vasant Kunj, GK II, Self Financed Flats Shiekh Sariai Phase 1 and
Self Financed Flats Mukherjee Nagar. The second part of the survey
consisted of more qualitative interviews which I will cover in the next
post along with more detailed analysis of the qualitative data
collected. Also I have not created tables in order to stick to the text
format of the mailing list. *

* *

*****C-8 Vasant Kunj*****

* *

*This is 15 year old RWA where membership charges are Rs 1100 per annum
or Rs 100 per month.*

* *

*Members of the RWA among the sample – 87.5%*

* *

*Percentage satisfied with the civic amenities in the colony/residential
area – 50%*

*Percentage satisfied with the electric supply in the colony/residential
area – 87.5%*

*Percentage satisfied with the water supply in the colony/residential
area – 0%*

*Percentage satisfied with security in the colony/residential area – 0%*

* *

*Percentage that vote in the RWA elections – 87.5% (100% among the members)*

* *

*Percentage that has had to complain/deal with Delhi Jal Board/Electric
Utility/MCD in the recent past – 87.5% ( 100% have complained
individually, 50% have also complained with the help of the RWA, 1
respondent had complained with a independent resident group other than
the RWA)*

* *

*Percentage that felt that the RWA was useful/had empowered them in
their dealing with the various government agencies/ utilities – 75% *

* *

*NOTES (nowhere near exhaustive at this moment, just some things that
caught my eye while quickly glancing through the questionnaires) – *

* *

1. *Women are a majority in the executive council on the RWA.*
2. *RWA runs a community center, gym, badminton court, TT table in
the colony*

* *

*BYTES (these are some of the quotes by residents. All the
questionnaires were filled by the respondents in their own hand writing
so as to avoid loss in translation) *

* *

*K Gulati (C 8/ 8011 Vasant Kunj) "The benefits have reached only few
people, but we have been able to voice our difficulties through the
Resident Welfare Association. The RWA has not been of any help in
improving water supply except for areas where elected members live." *

* *

*SS Kapur (C8/8060 Vasant Kunj) "RWAs impact on civic facilities and
other essential requirements depends on the enthusiasm of its members.
Every election of RWA brings in change for good or worse. *

* *

* *

* *

*****SFS Flats Sheikh Sarai*****

* *

*This is 22 year old RWA where membership charges are Rs 800 per annum *

* *

*Members of the RWA among the sample – 100%*

* *

*Percentage satisfied with the civic amenities in the colony/residential
area – 100%*

*Percentage satisfied with the electric supply in the colony/residential
area – 87.5%*

*Percentage satisfied with the water supply in the colony/residential
area – 100%*

*Percentage satisfied with security in the colony/residential area – 42.8%*

* *

*Percentage that vote in the RWA elections – 100% *

* *

*Percentage that has had to complain/deal with Delhi Jal Board/Electric
Utility/MCD in the recent past – 87.5% (Most residents complain
individually as well through the RWA office)*

* *

*Percentage that felt that the RWA was useful/had empowered them in
their dealing with the various government agencies/ utilities – 87.5% *

* *

* *

*NOTES (nowhere near exhaustive at this moment, just some things that
caught my eye while quickly glancing through the questionnaires) – *

* *

1. *Women members are active but most are co-opted and not elected*
2. *Facility for paying electricity, water and telephone bills and
property tax is provided by the RWA. Advise on property tax is
also provided. *

* *

*BYTES (these are some of the quotes by residents. All the
questionnaires were filled by the respondents in their own hand writing
so as to avoid loss in translation) *

* *

*A P Sexena (C-476 SFS Flats Sheikh Sarai) "Defective tubewells have
been made operational, security guards have been appointed, roads have
been improved" *

* *

*D C Tayal ( C- 238 SFS Flats Sheikh Sarai) "RWA organizes health camps,
walks, servant verification camps, car check up camps etc." *

* *

* *

* *

* *

*****A 14 Kalkaji Extension*****

* *

* *

*This is 22 year old RWA where membership charges are Rs 100 per month*

* *

*Members of the RWA among the sample – 71.5%*

* *

*Percentage satisfied with the civic amenities in the colony/residential
area – 28.5%*

*Percentage satisfied with the electric supply in the colony/residential
area – 86%%*

*Percentage satisfied with the water supply in the colony/residential
area – 43%*

*Percentage satisfied with security in the colony/residential area – 28.5%*

* *

*Percentage that vote in the RWA elections – 71.4% *

* *

*Percentage that has had to complain/deal with Delhi Jal Board/Electric
Utility/MCD in the recent past – 71.4% (only 14% of the sample had
complained through the RWA)*

* *

*Percentage that felt that the RWA was useful/had empowered them in
their dealing with the various government agencies/ utilities – 71.4% *

* *

* *

*NOTES (nowhere near exhaustive at this moment, just some things that
caught my eye while quickly glancing through the questionnaires) – *

* *

1. *There are no women in the RWA committee.*
2. *Election process is by show of hand.*
3. *RWA conducts many functions on festivals and national days.*

* *

* *

*BYTES (these are some of the quotes by residents. All the
questionnaires were filled by the respondents in their own hand writing
so as to avoid loss in translation) *

* *

*T Nag (5B – A 14 – Himgari Apts. Kalkaji Extension) The only use of the
RWA is that is serves as a platform for developing new acquaintances and
friendships among the members. *

* *

*B Banerjee (10A- A 14- Himgari Apts Kalkaji Extension) "I complain
individually because the RWA is defunct functionally in our colony." *

* *

* *

* *

***** GK II*****

* *

* *

*This is a 38 years old RWA where membership charges are Rs 700 for life.*

* *

*Members of the RWA among the sample – 100% *

*Percentage satisfied with the civic amenities in the colony/residential
area – 88.8%*

*Percentage satisfied with the electric supply in the colony/residential
area – 100%*

*Percentage satisfied with the water supply in the colony/residential
area – 88.8%*

*Percentage satisfied with security in the colony/residential area – 55.5%*

* *

*Percentage that vote in the RWA elections – 100% *

* *

*Percentage that has had to complain/deal with Delhi Jal Board/Electric
Utility/MCD in the recent past – 100% (33.3% through the RWA, rest
individually) *

* *

*Percentage that felt that the RWA was useful/had empowered them in
their dealing with the various government agencies/ utilities – 100% *

* *

* *

*NOTES (nowhere near exhaustive at this moment, just some things that
caught my eye while quickly glancing through the questionnaires) – *

* *

*It was with the help of the RWA and other associated RWAs the colony
was able to achieve the following:*

* *

1. *Lowering the category for the colony from A to B for the purpose
of calculation of house tax. *
2. *Roll back of the tariff hike of electricity by the government.*
3. *Freezing of the cable TV rates *

* *

* *

* *

*****SFS Mukherjee Nagar*****

* *

*This is 10 year old RWA where membership charges are Rs 100 per month.*

* *

*Members of the RWA among the sample – 62.5% (one respondent said that
the RWA did not exist in his colony!)*

* *

*Percentage satisfied with the civic amenities in the colony/residential
area – 50%*

*Percentage satisfied with the electric supply in the colony/residential
area – 75%*

*Percentage satisfied with the water supply in the colony/residential
area – 62.5%*

*Percentage satisfied with security in the colony/residential area – 37.5%*

* *

*Percentage that vote in the RWA elections – 50% (one respondent said
that there was no need to vote as the elections are unanimous) *

* *

*Percentage that has had to complain/deal with Delhi Jal Board/Electric
Utility/MCD in the recent past – 87.5% (37.5% complain via the RWA)*

* *

*Percentage that felt that the RWA was useful/had empowered them in
their dealing with the various government agencies/ utilities – 87.5% *

* *

*NOTES (nowhere near exhaustive at this moment, just some things that
caught my eye while quickly glancing through the questionnaires) – *

* *

1. *There are no women in the executive member in the RWA*

* *

* *

*BYTES (these are some of the quotes by residents. All the
questionnaires were filled by the respondents in their own hand writing
so as to avoid loss in translation) *

* *

*K S Shukla (346 SFS Mukherjee Nagar) "The RWA can only be useful if the
executive members show sincerity …. Rather than occupy the seats. They
should stop the infighting." *

* *

*S K Chauhan (126 SFS Mukherjee Nagar) "RWA is most essential for a
colony because some work can not be undertaken by individuals." *

* *

*

- --
- --------------
Please use Firefox as your web browser. Its protects you from spyware
and is also a very feature rich browser.
www.firefox.com


- --
- --------------
Please use Firefox as your web browser. Its protects you from spyware
and is also a very feature rich browser.
www.firefox.com
*

- --
Vivek Narayanan
Sarai: The New Media Initiative
Centre for the Study of Developing Societies
29 Rajpur Road
Delhi 110 054
Phone: (91-11) 2396 0040, ext. 22
Mobile: 98109 36654
 Permalink

The Vidarbha Jan Andolan Samiti Blog

Via: "Shivam Vij"

Dear all,

The Vidarbha Jan Andolan Samiti has put up a blog -
http://andolan.blogspot.com - as part of its campaign for statehood
for Vidarbha as also the continuing farmers' suicides.

Amongst other things there is a list of names of 655 farmers who have
committed suicide since June 2005:
http://andolan.blogspot.com/2006/07/vidharbha-jan-andolan-samiti-regi.html

A group of farmers is planning a march to Delhi on 15 August.

Imagine such a large number of people committing suicide in any other
profession - say, in the BPO industry* - and imagine our response. It
would be frontpage news in all national papers. It would occupy far
more air time than on TV than what the continuing agricultural crisis
in Vidarbha and Telangana is currently getting. There would be
dedicated "campaigns" and people across the country would be sending
money to the Prime Minister's Relief Fund. Ordinary people would come
out to their rescue, companies would announce relocation packages.

Between 1993 and 2003, a hundred thousand farmers in India have killed
themselves, largely due to debt. Whether it is state control and lack
of competition or the lessening of state support to agriculture that
has caused the crisis is open for the ideological jury. What cannot be
disputed is that it is a national shame and deserves far more
attention from all of us.

There is a lot to talk about what's happening in Vidarbha, and a lot
is controversial. Bt Cotton, cotton subsidies in the west, the
reduction of minimum support price by the government, the government's
suicide compensation as an incentive to commit suicide, the state
control over agriculture. Besides, imported cotton in India is cheaper
than the cotton being produced in India. The government has not been
raising the tariffs on imported cotton because India's textile
industry would then suffer in its competitiveness in the global
market. So either farmers suffer or the textile industry workers.

Imagine a hundred thousand people in the textile industry committing
suicide in a span of ten years*. Imagine.

Whatever the reasons and debates be, the suicides must stop, and they
must stop now. I urge those of you in the media to give the subject a
lot more attention, and bloggers and writers to write about it.

Also see http://www.theotherindia.org/index.php?tag=vidarbha

Best,
Shivam




*I am not at all being insensitive here. I do wish the textile and BPO
industries all the best, and long fruitful lives for all their
employees.
 Permalink

Himal August issue

Via: "editorial@himalmag.com"

Himal Southasian's August 2006 issue is now available!
www.himalmag.com

COVER PACKAGE -- LOOKING BANGLADESH IN THE EYE

As Bangladesh readies itself for elections in January, several questions
come to mind: Will the polls provide release from political confusion, or
drag the country further into the deltaic mud? Is the system of 'caretaker
government' during elections all that it is made out to be? Himal's cover
package also analyses the strengths of Bangladesh that we feel will carry it
through the rough times ahead. Articles:
* Corrupted democracy - Liz Philipson
* The crippled caretaker - Ali Riaz
* When we dead awaken - Rubana
* Photo Feature: Looking the Urdu-speaking Bihari in the eye
* Bangladesh the powerful - Editorial

SALAAM MUMBAI: The August issue also presents a variegated run of articles
on Bombay:
.the experiences of women migrants to the city - Sonia Faleiro
.documentaries about the city - Uma Mahadevan-Dasgupta
.and an answer to the question: is Bombay just rude? - Naresh Fernandes

In addition:
* The Times of India's final frontier - Sukumar Muralidharan
* Nathula and Southasia - Prashant Jha
* The Maldives' failed roadmap - Mohamed Latheef, in exile in Colombo
* Working in the informal sector - Rajashri, Renana Jhabvala
* Sec 377 and same-sex desire - Gautam Bhan
* World Bank report critique - Faisal Bari

Plus: Commentaries, reflections, reviews and much more!

Starting this month, Himal's Development Classifieds section offers a
convenient bulletin board for vacancies in the development sector and
related fields.

While you are at www.himalmag.com, check out our extensive, fully searchable
archive of back issues, as well as a daily selection of editorials from
major Southasian news sources, and a weekly round-up of the issues that are
making waves throughout the region.

Himal is also available at fine bookstores throughout Southasia. For
subscriptions, go to our website, rightmost column. Or write to
subscription@himalmag.com


 Permalink

Re: [Reader-list] There has been a change of plan: Raqs Media Collective

Via: Monica Narula

dear Jose-Carlos

Thanks for your mail. It opens up many questions. Some responses, far
from 'explanatory' and perhaps starting strands of thought...

- The art context in India is primarily around what is termed as the
"visual arts". 95% of the works shown and transacted are paintings.
Followed at a distance by sculptures/objects and then the rare
photographic show. Photography has yet to find a stable space, though
there is some important work being done in this domain. It is only in
the last few years that there has been somewhat of a shift towards
the showing of video works and some installation work. These works
are emerging both from established and newer artists, and basically
have a wider circulation outside India.

- It is extremely difficult for someone with a non-visual arts
background to enter the art context here. The reasons for this are
yet to be researched and understood. The recent entry of some
documentary practitioners in to this context is due more to their
international presence rather than any serious rethinking of the
values and consensus that run the art contexts here. (The documentary
film on the other hand has had for many years a decent and at times
controversial public presence, and a committed public around it.)

- This situation will hopefully change over the next few years, with
more diverse kinds of practitioners making interesting works and
staking a claim in the art space - which we think has begun. This
process will be interesting as it will mean changes in the ways 'art
practice' sees itself in relation to other practices and also to ways
in which new publics can and will emerge around the domain of the
'art context'.

- We have shown our CD works (GVHM, No_des and Ectropy) in Delhi and
Bangalore and these works have a circulation (also as cds). Also many
of our works travel - lightly - through publications and the web. In
terms of installation, we could not find a context to show (we have
shown a few works within means affordable to us in Sarai). This is
slowly going to loosen up over the next decade, as art contexts will
probably become more curious to practices from other domains.

- It is an interesting process how many of our installation works
emerge, and expectedly a complex one. Works have emerged through
conversations and the sharing of ideas and questions with some
extremely curious and sharp people in many parts of the world. (I
would not club them all together in any one idea of an institutional
context.). In this let me share a recent interaction. A young curator
located between Lithuania and Sweden has been in dialogue with us for
more than two years. We share ideas, critiques, questions, resources
etc. Over this period he has invited us to think on an idea that has
been exciting and troubling him for some time. This process of
thinking may find an expression in an installation to be first hosted
in a place that he has access to, which will definitely by outside
India. As a process, we find this exciting and challenging, along
with our work here in Sarai/Delhi. And i do think that such an
interaction - whether from a 'local' context or a 'global' one -
deserves respect and engagement.

- Some of our work has emerged from collaboration and in 'neutral'
grounds. This made possible very intriguing dialogues and processes.
Sometimes I do wish that we could ourself host a few of these
unpredictable encounters.

- We are yet fully to understand the complex processes that we are
all part of in today's world and will give ourselves a few more years
before we find ourselves able to speak definitively on 'publics' and
'places'. We have found very demanding and challenging interlocutors
and viewers in many different ways and places. This has made our own
map of the world more dense and knotty, and not merely defined by
national borders.

best
M

On 30-Jul-06, at 7:32 AM, Jose-Carlos Mariategui wrote:

> Dear Monica:
>
> Thanks for the information on the Raqs solo-exhibition in Dehli. I
> just
> must say that it is in my perspective strange to see that this is
> the first
> solo exhibit of Raqs in Dehli, taking into consideration that Raqs
> is Indian
> and that it has been exhibiting internationally for many years.
> Perhaps as
> in the case of many of us (that we face as non-westerns), it is more
> feasible to develop projects in Europe or the US.
>
> To which factors you attribute this situation? Has Raqs exhibited
> in other
> cities of India or in cities of neighbouring countries? How
> difficult is
> it?
>
> I am not criticising the situation but questioning it, because when
> we do
> 'something for abroad' it may dissociate the project with immediate
> reality.
>
> I believe there is a need (and an struggle) to present works in
> local and
> regional contexts and there may be strategies for its deployment.
> I had
> recently curated a screening of recent video art from Latin America
> (www.videografiasinvisibles.org) that went first to Europe too but
> now is
> going to be presented in all Latin America (thanks to the support
> of the
> Spanish Cooperation Agency's network of Cultural Centres of Spain
> in all
> Latin America). Sometimes these supranational organizations may be
> very
> useful (more than national organizations).
>
> Perhaps this would be an interesting topic of discussion during the
> Pacific
> Rim New Media Summit at ISEA 2006. Specially on how we can develop
> parallel
> networks in the Pacific Rim.
>
> All the best,
>
> Jose-Carlos
>
>
>
>
> on 7/29/06 2:33 PM, Monica Narula at monica@sarai.net wrote:
>
>> Raqs Media Collective : 'There Has Been a Change of Plan'
>> (Selected Works 2002-2006)
>> Nature Morte Gallery, A 1 Neeti Bagh, New Delhi
>> August 5 - 26, 2006
>> ---------------------------------------------------------------------
>> ---
>> ----------------------------------------
>> Sometimes, adjustments have to be made. Schedules need calibration.
>> There are contingencies, questions, obstinate demands, weak excuses,
>> strong desires. You return to the city you never left. You pause,
>> take stock. Sit still and let a conversation begin. Maybe?
>>
>> Around you, aeroplanes sit on wooden platforms in a wilderness like
>> widows on a funeral pyre. Clocks measure fatigue, anxiety and modest
>> epiphanies across latitudes. A door to nowhere stands obstinately
>> against the sky. All your cities are a blur.
>>
>> "Do you like looking at maps?"
>>
>> Meanwhile, measures are taken, shoes lost and found, ghost stories
>> gather, the city whispers conspiracies to itself, the situation is
>> tense but under control. Someone offers you a postcard.
>>
>> Now: Let's see what happens.
>> ---------------------------------------------------------------------
>> ---
>> ----------------------------------------
>> Raqs Media Collective is pleased to announce its first solo
>> exhibition in Delhi - 'There Has Been A Change of Plan' at Nature
>> Morte Gallery. The exhibition features selected works (2002 - 2006)
>> in the form of cross media installations with networked computers,
>> objects, postcards, video, sound, prints and projections.
>>
>> Works exhibited include: 'Lost New Shoes', selections from 'A Measure
>> of Anacoustic Reason', 'Location (n)', '28.28 N / 77.15 E :: 2001/02
>> (Co-Ordinates of Everyday Life, Delhi 2001-2002)', 'Erosion by
>> Whispers', 'Preface to a Ghost Story' and 'There Has Been a Change of
>> Plan'. (See Details in PDF attatchment with this mail)
>> ---------------------------------------------------------------------
>> ---
>> ----------------------------------------
>> About Raqs Media Collective
>> www.raqsmediacollective.net
>>
>> (Excerpt from the Wikipedia Entry on Raqs Media Collective -
>> www.wikipedia.org/wiki/Raqs_Media_Collective)
>>
>> Raqs Media Collective was formed in 1992 by independent media
>> practitioners Jeebesh Bagchi, Monica Narula and Shuddhabrata
>> Sengupta. Based in Delhi, their work engages with urban spaces and
>> global circuits, persistently welding a sharp, edgily contemporary
>> sense of what it means to lay claim to the world from the streets of
>> Delhi. At the same time, Raqs articulates an intimately lived
>> relationship with myths and histories of diverse provenances. Raqs
>> sees its work as opening out a series of investigations with image,
>> sound, software, objects, performance, print, text and lately,
>> curation, that straddle different (and changing) affective and
>> aesthetic registers, expressing an imaginative unpacking of questions
>> of identity and location, a deep ambivalence towards modernity and a
>> quiet but consistent critique of the operations of power and
>> property.
>>
>> In 2001 Raqs co-founded Sarai (www.sarai.net) at the Centre for the
>> Study of Developing Societies (CSDS) in Delhi where they coordinate
>> media productions, pursue and administer independent research and
>> practice projects and also work as members of the editorial
>> collective of the Sarai Reader series. For Raqs, Sarai is a space
>> where they have the freedom to pursue interdisciplinary and hybrid
>> contexts for creative work and to develop a sustained engagement with
>> urban space and with different forms of media.
>>
>>
>>
>>
>> Monica Narula
>> Raqs Media Collective
>> Sarai-CSDS
>> 29 Rajpur Road
>> Delhi 110054
>> www.raqsmediacollective.net
>> www.sarai.net
>>
>>
>
>
> _________________________________________
> reader-list: an open discussion list on media and the city.
> Critiques & Collaborations
> To subscribe: send an email to reader-list-request@sarai.net with
> subscribe in the subject header.
> List archive:

Monica Narula
Raqs Media Collective
Sarai-CSDS
29 Rajpur Road
Delhi 110054
www.raqsmediacollective.net
www.sarai.net

 Permalink

Human rights abuses rampant in Sindh: Report

Via: Zulfiqar Shah

 Permalink

Re: [Reader-list] Lebanon Map JPG

Via: Mansour Aziz

FYI,

I'm uploading them immediately, as soon as they are done, both as JPG
and PDF at:

lebanonupdates.blogspot.com

We are also working on setting up a special site, which will include
an interactive map, at:

maps.samidoun.org

In solidarity,
Mansour
 Permalink

Lebanon Map JPG

Via: NAEEM MOHAIEMEN

I just posted JPEG version of the Lebanon Attack Map
on this blog we set up for Rasha:

http://rashasalti.blogspot.com
 Permalink

[Announcements] Live streaming at ISEA

hi,

I hope there might be some on the Sarai list that might be interested in
doing a remote presentation or deliverying a pre-recorded presentation for
replay at ISEA.
I have included the details below, please forward to the list if
appropriate and anyone else you may think would be interested.

Kind regrads

adam


ISEA (International Symposium on Electronic Art)2006, an international
conference held in conjunction with ZeroOne San Jose: A Global Festival of
art on the Edge,
will be held in San Jose, CA, August 7-13 2006. Both events are "situated
at the critical intersection of art and technology." ISEA2006 re:mote is a
symposium
within ISEA2006 and is issuing a Call for Proposals.


ISEA2006 re:mote, August 10-12, 2006

International new media art discourse is stimulated by festivals and
events like ISEA2006 which form temporary cultural centers to represent,
present and discuss
networked and digital technologies. However by forming temporary centers
we also tacitly create a notion of a periphery - with temporary centers
also come
temporary peripheries. In new media culture this is a paradox as much new
media art, theory, and discourse reflects on the network itself and the
elusiveness and
redundancy of centers and peripheries.

ISEA2006 re:mote attempts to dissuade us from imposing these distinctions
by providing a platform for artists, commentators, curators, performers
and theorists to
participate in ISEA 2006 via online and pre-recorded media.

ISEA2006 re:mote Open Call

ISEA2006 re:mote is inviting media spaces and individual artists,
theorists, and curators from around the world to speak or perform via
remote technologies to the
audience at ISEA. Presentations to be directed at the four themes of ISEA
2006. Participants are invited to present or perform on topics included
within the ISEA
symposium, and onsite audience interaction with the presenters is also
encouraged. ISEA re:mote will focus on presenting media spaces and people
that would
otherwise be excluded from presenting their work at ISEA due to financial,
political, or logistical reasons.

The length of each presentation can be negotiated, however, for now we
have set the maximum time limit of 20 minutes. Technologies used will be
up to each
presenter, the premise is that the technologies should be easy for you to
use and access and ISEA2006 re:mote will manage the corresponding
technology
requirements as much as possible onsite at ISEA2006. Live and
pre-recorded material can be included. Live presentations could use any
available technlogies
including voice technologies such as Skype/OpenWengo/Gizmo/Linphone/Ekiga
or other softphones, audio or video streams, video conferencing with
softwares like
ichatAV/Ekiga/Skype/OpenWengo, web cams, shared desktops using softwares
like VNC/RemotePC or Remote Desktop, text chats such as irc or webchats,
avatar
environments, gaming environments, or even the telephone! In situations
where your available bandwidth is limited or restricted, delivery of
digital presentation
material (audio/video) can be delivered electronically or posted by
traditional mail. In all situations online presence of the presenters
would be beneficial, this
may take the form of IM, irc or other text based chat technologies if
'realtime' audio or video communications are not possible. Creative use of
remote
presentation technologies is encouraged!

Time slots have to be negotiated, but we are willing to bend as much as we
can to include as many people as possible from various time zones.
Unfortunately there
are no honoraria available for this event.

ISEA2006 will feature four themes: Interactive City, Community Domain,
Transvergence, and Pacific Rim. Please see the following links for further
information on
each on the themes:

Transvergence
http://01sj.org/content/view/25/71/

Interactive City
http://01sj.org/content/blogcategory/23/68/

Community Domain
http://01sj.org/content/view/23/69/

Pacific Rim
http://01sj.org/content/blogcategory/25/70/


All proposals need only be a short paragraph outlining what you would like
to present, a short bio (one paragraph), and the software, technology, or
other delivery
process you would like to use for the presentation. Please email this
information to Adam Hyde at :

adam@xs4all.nl


ISEA2006 re:mote is a collaboration between ISEA2006 ( http://01sj.org/ )
and Adam Hyde ( http://www.xs4all.nl/~adam
) and is based
on the re:mote series of events:

re:mote auckland - organised by r a d i o q u a l i a and ((ethermap
http://www.remote.org.nz/

re:mote regina - organised by r a d i o q u a l i a and soil media lab
http://soilmedia.org/remote/


=======================================



-- Adam Hyde ~/.nl selected projects http://www.xs4all.nl/~adam the
streaming suitcase http://www.streamingsuitcase.com r a d i o q u a l i
a http://www.radioqualia.net Free as in 'media' email : adam@xs4all.nl
mobile : + 31 6 186 75 356 (Netherlands mobile)






 Permalink
Next1-10/133